MobileSportsProductionYB2016 PDF

2016
FEATURING THE TENTH ANNUAL
VENDOR SERVICES DIRECTORY
THE COMPLETE GUIDE TO
MOBILE PRODUCTION
SERVICES & TECHNOLOGY
TION
OUP PUBLICA
IDEO GR
A SPORTS V
Cloud Solutions for the

Sports Broadcasting Industry
Amazon Web Services (AWS) provides
secure, on-demand, highly-scalable services
to store, process, and deliver media.
Discover how using AWS has
already helped leading sports
organizations like Major League
Baseball to be more agile,
flexible and cost effective.
Learn more at
aws.amazon.com/digital-media
Contact us at
aws-sports-media@amazon.com
AWS supports leading security

processes and certifications
including ISO27001 and PCI,
as well as the MPAA Best
Practices for Content Security.
TRUE INNOVATION TAKES GUTS.

HDC-4300 4K camera with 8x Super Slow Motion
You cant create tomorrows products with yesterdays technology. Thats why Sony built the new HDC-4300 camera with a
new generation of 2/3-inch sensors, featuring native Ultra HD (3840 x 2160) capture and capable of up to 8x Super Slow
Motion in HD.* Now you can execute cut-outs and zooms during replay while maintaining pristine Full HD resolution. You
can originate HD while archiving an evergreen 4K master.* And use many of your current B4 lenses, camera control units
and paint boxes. With Sonys HDC-4300, the direction isnt just 4K. Its forward.
See for yourself at sony.com/hdc4300.
* Requires additional software, sold separately.
2015 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited.
Features and specifications are subject to change without notice. Sony and the Sony logo are trademarks of Sony.
Fast plays deserve

a fast network.
Schedule your games in under 90 seconds.
New Connection
Sports Network Account # 9451
Schedule
College Football Championship Game @ AT&T Stadium
University vs State Feed #1
Broadcaster Sports Network
98345120
01-12-2015 18:00
01-13-2015 01:00 EST (7 h)
HD-SDI (HITLESS_UNCOMPRESSED)
AT&T Stadium 1:1
Legs
Broadcaster Remote Production Facility HQ 1:1
Settings
Comments
AT&T Global Video Services
Support for mobile devices, laptops and desktops
Self Service Provisioning

Hitless Video Services
Diverse Routing
Multi-Media Channel
Low Latency
Low Jitter
Contact 800.221.7680 or ATTGlobalVideo@list.att.com to learn more!

2015 AT&T Intellectual Property. All rights reserved.
AT&T and Globe logo are registered trademarks of AT&T Intellectual Property.
GAME CHANGING
TECHNOLOGY FOR YOUR
SPORTS VIDEO WORKFLOW
Delivering captivating content is harder than ever. At the forefront of fan
engagement, sports production has to push the envelope. High-resolution
content, tighter production schedules, and more delivery options than ever
require the most efficient pipeline possible.
Let us show you how workflow optimized storage from Quantum can help.
Call 800-677-6268 or visit stornext.com/sports
2015 Quantum Corporation. All rights reserved.
GRAPHIC DESIGN
CUSTOM SOF T WARE
HARDWARE ENGINEERING
The competitions coming. We can help you stay ahead.
Youre in a tough race. New technologies.

New competitors. New challenges.
To maintain your lead, you have to seamlessly integrate
IP into demanding live-production environments.
Thats why our Glass-to-Glass IP solution lets you use
SDN-enabled control systems to manage hybrid SDI/IP
workflows and provides vertically accurate IP switching
in live environments. And were supporting IP in every
major product category, so you can move as quickly as
you want.
Its IP your way, so you can get ahead and stay
ahead with more flexibility, more scalability, and
more business agility.
Mark Hilton
B4 lens mount
LDX Camera
Telecast Fiber
Copperhead
Karrera/Kayenne
Production Switchers
EDIUS NLE
GV Convergent
GV Node
IP Processing Node
Densit Modular
NVISION Routing
K2 Dyno Replay
K2 Summit Servers
Kaleido Multiviewers
Now get vertically accurate IP switching

with GV Node
Vice President, Broadcast Infrastructure
Copyright 2015 Grass Valley. All rights reserved. Belden is a registered trademark of Belden Inc. or its afliated companies in the United States and other jurisdictions.
Grass Valley, GV Node, Densit, EDIUS, K2 Dyno, K2 Summit, Kaleido, Karrera, Kayenne, LDX, NVISION, and Telecast are trademarks or registered trademarks of Grass Valley.
260 Fifth Ave., Ste. 600

New York, NY 10001
Tel: 646.205.1810 Fax: 212.696.1783
www.sportsvideo.org
LOOKING AHEAD
Paul Gallo, Executive Director

paul@sportsvideo.org Tel: 212.696.1799
15 Remote-Production Leaders
Opinions on the current state and
future of the industry
Martin Porter, Executive Director

marty@sportsvideo.org Tel: 516.767.6720
Ken Kerschbaumer, Executive Director, Editorial
kenkersch@sportsvideo.org Tel: 646.205.1810
Jason Dachman, Chief Editor
jason@sportsvideo.org Tel: 646.861.2373
Brandon Costa, Senior Editor
brandon@sportsvideo.org Tel: 646.861.2370
Karen Hogan, Senior Editor
karen@sportsvideo.org Tel: 646.559.0434
Susan Qualtrough, Copy Editor
susan@sportsvideo.org
Riva Danzig, Art Director
riva@sportsvideo.org
Rob Payne, Managing Director,
Worldwide Sponsor Development
rob@sportsvideo.org Tel: 212.481.8131
Andrew Gabel, Manager, Sponsor Development
agabel@sportsvideo.org Tel: 646.998.4554
Michael Sardone, Sponsorship Coordinator
msardone@sportsvideo.org Tel: 646.559.0435
Andrew Lippe, Membership &
Client Services Manager
andrew@sportsvideo.org Tel: 212.481.8133
Hayley Gordon, Marketing Coordinator
hayley@sportsvideo.org Tel: 646.524.7497
Cristina Ernst, Operations Manager
cris@sportsvideo.org Tel: 917.309.5174
Carrie Bowden, Photographer/
Hall of Fame Operations
carrie@sportsvideo.org
For SVG Europe information
visit SVGEurope.org
About SVG
The Sports Video Group was formed in 2006 to support
the professional community that relies on video, audio,
and broadband technologies to produce and distribute
sports content. Leagues, owners, teams, players,
broadcasters, Webcasters, and consumer-technology
providers have joined SVG to learn from each other,
turn vision into reality, and implement innovations,
while sharing experiences that will lead to advances
in sports production/distribution and the overall
consumer sports experience.
Mission
To advance the creation, production, and distribution
of sports content.
To provide a knowledge resource for the growing
community of sports video professionals working for
broadcast/broadband organizations, professional teams
and leagues, collegiate and secondary schools,
and facilities.
To facilitate a dialogue with manufacturers, suppliers,
and technology developers that will improve the quality
and profitability of sports programming.
PRINTED IN THE USA
146 Illumination Dynamics
11 T o IP or Not to IP?
When Is the Question
EXECUTIVE PERSPECTIVES
OAD WARRIORS
R
45 2 015 in Review
A look at some of the high-profile
events produced around the globe
EW TRUCK PROFILES &
81 N
REMOTE SERVICES PROVIDERS
82 Game Creek Video

94 LeSEA Productions
98 Mobile TV Group
106 NEP Broadcasting
114 Proshow Broadcast
118 Analysis: A Year of Consolidation
125 3g Wireless
AerNow
Aerial Video Systems
All Mobile Video
Alliance Productions
Alpha Video
AMST by Kentucky Trailer
130 ARCTEK
ARRIS
Azzurro Group
BeckTV
Bexel Global Broadcast Solutions
Broadcast Services International
134 BSI (Broadcast Sports International)
CAT Entertainment Services
CBT Systems
CEI
CineSys-Oceana
Clark Media
CP Communications
Crosscreek Television
Productions
138 CSP
CTG
Diversified Systems
DNA Studios
Dome Productions
DRS Technologies
Encompass Digital Media
142 F&F Productions
Filmwerks International
Fletcher Sports
Gearhouse Broadcast
Gensler
Gerling & Associates
IMS Productions
Inertia Unlimited
Integrated Media
Technologies (IMT)
Jones Mobile TV
Kaufman Broadcast
Kodiak Mobile Television
LH Computer Services
150 Little Bay Broadcast Services
Lyon Video
Markertek
MEDIA180
Metrovision
MPS
PACSAT
154 Program Productions
PRG
Proshow Broadcast
PSSI/Strategic TV
Reality Check Systems
Riedel Communications
RoboVision
158 Rock-It Cargo
Ross Mobile Productions
SDTV
SMT
sonoVTS
SOS Global Express
162 Sportvision
The Systems Group
Token Creek Mobile TV
Unity Systems Integration
VER
VISTA Worldlink
YES Productions
Table of Contents
PUBLISHED BY
SPORTS VIDEO GROUP
2016MOBILE SPORTS
PRODUCTION YEARBOOK
169 VENDOR SERVICES DIRECTORY

174 Crew Services
192 Generators
210 Mobile Production Units
228 Satellite Trucks
235 MOBILE SPORTS
PRODUCTION GEARBASE
Details of equipment found in nearly 200

HD and SD trucks
288 AD INDEX
Directory of SVG sponsors
MOBILE SPORTS PRODUCTION YEARBOOK 2016
Copyright 2015 NBAE (Photo by Bill Baptist/NBAE via Getty Images)
WHEN THE NBA WANTS TO DELIVER

THE EXCITEMENT OF THEIR GAMES TO
BASKETBALL FANS AROUND THE WORLD,
THEY CHOOSE EUROVISION.
OUR GLOBAL HD NETWORK PROVIDES

FLAWLESS DELIVERY OF CONTENT WITH
WORLD-CLASS CUSTOMER SERVICE...
MANAGED RIGHT HERE IN THE U.S.
For more information on what EUROVISION can do for you, contact

Jim Scott
E-mail: jim.scott@eurovision.net
Cell: (973) 650-9577
INTRODUCING
LEVEL 3 VYVX INTERNET ACCESS
Level 3 Vyvx Internet Access provides reliable

and secure transmission of broadcast quality
video over the internet.
Youre developing new channels. Expanding into new markets. And making
sure your content gets where it needs to go. You need a dependable,
low-cost alternative to satellite transmission.
Reliable. Cost effective. Secure.
Level 3 Vyvx has been delivering broadcast-quality video for more

than 25 years. Our Vyvx Internet Acess provides your business with
an innovative, cost competitive contribution and distribution solution
you can rely on.
2015 Level 3 Communications, LLC. All Rights Reserved. Level 3, Level 3 Communications, the Level 3 Communications Logo, the Level 3 logo and Connecting and
Protecting the Networked World are either registered service marks or service marks of Level 3 Communications, LLC and/or one of its Affiliates in the United States
and/or other countries. Level 3 services are provided by wholly owned subsidiaries of Level 3 Communications, Inc. Any other service names, product names, company
names or logos included herein are the trademarks or service marks of their respective owners. PN 15110042
Viz Trio
The Ultimate Sports Graphics

and Video Production Solution
Vizrt offers the ultimate sports solution for broadcasters in the OB Van. With dozens of systems
in the field today, Viz Trio, Vizrts character generator (CG), is the most powerful easy-to-use
application for displaying in-game graphics, vital stats and scores in real-time.
Combined in a one-box configuration with the powerful compositing engine, Viz Engine, the
system offers three full HD SDI outputs for real-time 3D graphics, multiple clip playback and six
available HD SDI live inputs. One output is used as an HD SDI preview and two outputs are on-air
program channels. The Viz Trio HD SDI one-box solution also allows for 4K output as well as IP
streaming in and out of the box.
Contact Vizrt to learn more. www.vizrt.com
Looking Ahead
The Sports Video Group Advisory Board comprises leading industry

figures who are committed to technical excellence in the sports
industry. Members help guide the direction of the organization,
consult on various group initiatives, and enable dialogue across
industry segments.
CHAIRMAN
Tom Sahara, Turner Sports, VP of Operations & Technology
ADVISORY BOARD MEMBERS
by Ken Kerschbaumer
Sports Video Group, Executive Director, Editorial
hen last years edition of the Remote Sports Production Yearbook was being
shipped off to the printer, any discussion of building an IP-based production
unit was purely theoretical. What a difference a year makes. As this years edition is being published, two IP-based production units are on the road (arguably the two most
capable production units on the planet): both Game Creek Video and NEP Broadcasting have embraced the use of IP-based routing infrastructures on new vehicles.
The move to IP-based routing was a gutsy one that took months of work, a leap of
faith, and solid relationships between clients and manufacturers. The benefits were
clear: a much more flexible signal infrastructure that would lay the groundwork for
bigger shows and even for future formats, such as UHD. But so were the risks: it had
never been done before, and the process of moving high-quality video signals using
IP packets can sometimes be fraught with packet loss, signal loss, and more.
But the gutsy call apparently paid off: all involved are happy with the increased
firepower an IP-based routing infrastructure provides. Game Creek Videos Encore
production unit, for example, allowed Fox Sports to do more than ever possible
within a regular three-production trailer configuration. And NEPs SSCBS unit is
on tap to handle what will arguably be the biggest single-event production next
year: Super Bowl 50.
The move to IP-based routing will take some practice for industry professionals, in particular the engineers at the helm in a mobile production unit. It requires
new ways to think about how signals and even the routing matrix itself are managed, and there is little doubt that, in the next year or two, EICs will have a better
understanding of what it takes to get the most out of an IP-based infrastructure.
Given that the move to IP-based routing is such a recent development, there is
some debate over just how commonplace it will become in the near future. Smaller
productions, for example, wont really benefit from the increased flexibility; a more
traditional HD-SDI router can handle the production needs. But the writing appears to be on the wall for production units built for larger sports events, and
productions will not only benefit most from the additional flexibility today but
also are most likely to be the first units to move to UHD tomorrow.
The question now is when will that tomorrow arrive? Major manufacturers of
cameras, production switchers, graphics, and other devices have already created
UHD-capable equipment, but the need to use four HD input or output channels
to handle one UHD signal greatly hampers the size and scope of a production.
The move to IP-based workflows will resolve those issues, but the challenge facing
manufacturers is the need for more-open workflows, which do not require a client
to be reliant on one manufacturer.
In the coming months and, arguably, years, making the transition from HD-SDI
to IP-based workflows will be a major focus of SVGs work, both editorially and at
events. And the transition will also, most likely, mean plenty of concurrent discussions and debates about the role an IP-based infrastructure will play in making
UHD productions attractive.
But until the equipment manufacturers and standards-setting bodies figure out
a way to ensure that fully IP-based workflows are as open to mixing and matching
equipment from different manufacturers as current HD-SDI workflows are, one
thing is certain: IP-based production tools will be left knocking at the door.
Ken Aagaard, CBS Sports, EVP, Operations and Production

Services
Adam Acone, NFL Network, Director, Media Operations and
Planning
Glenn Adamo, NFL, VP, Media Operations and Broadcasting
Peter Angell, Lagardre, SVP
Andrea Berry, Industry Consultant
Onnie Bose, NFL, VP of Broadcasting
Chris Calcinari, ESPN, VP, Event Operations
Jason Cohen, HBO Sports Production, VP
Joe Cohen, HTN Communications, Chairman and CEO
Michael Cohen, Industry Consultant
Don Colantonio, ESPN, Senior Director of Production
Enhancements
Michael Davies, Fox Sports, SVP, Technical and Field Operations
Scott Davis, CBS Sports, VP of Broadcast Operations
Jim DeFilippis, Industry Consultant
Ed Delaney, Fox Sports Media Group, EVP Operations
Jed Drake, ESPN, SVP and EP, Event Production
David Dukes, PGA Tour Entertainment, Senior Director,
Technical Operations
Russell Gabay, Major League Baseball International, VP and
Executive Producer
Jerry Gepner, L5 Media Services, Media and Technology
Executive
Scott Gillies, Red Bull Media House, Head of Technical
Production
Steve Gorsuch, USTA Billie Jean King Tennis Center, Director of
Broadcast Operations
Mark Haden, MLB Network, VP, Engineering and IT
Steve Hellmuth, NBA, EVP, Operations and Technology
Ed Holmes, Maple Leaf Sports + Entertainment, Director of
Engineering
Deb Honkus, NEP Broadcasting, Chairman of the Board
George Hoover, NEP Broadcasting, CTO
Jeff Jacobs, Viacom Music and Entertainment Group, SVP,
Production Planning, Strategic Initiatives and Business
Operations
Robert D. JordanCFE, Van Wagner Sports and Entertainment,
SVP
John Kvatek, University of Central Florida, Senior Associate
Athletics Director, External Operations
John Leland, PSL International LLC, Principal
Louis Libin, Broad Comm, President
Jodi Markley, ESPN, SVP, Operations
Michael Meehan, NBC Sports, VP
Ken Norris, UCLA, Director, Video Operations
Gary Olson, GHO Group, Managing Director
Del Parks, Sinclair Broadcast Group, VP, Engineering and
Operations
Patty Power, CBS Sports Network, SVP, Operations
Paul Puccio, Industry Consultant
Scott Rinehart, Fighting Irish Digital Media, Lead Technologist
Larry Rogers, FirstInTV, President
Mike Rokosa, Independent Consultant
Bob Ross, CBS, SVP, East Coast Operations
Bruce Shapiro, ESPN, Remote Operations Specialist
Jack Simmons, Fox Sports, SVP, Production
Don Sperling, New York Giants Entertainment, VP and Executive
Producer
Jerry Steinberg,Industry Consultant
Susan Stone, MLB Network, SVP, Operations and Engineering
Patrick Sullivan, Game Creek Video, President
Larry Tiscornia, Major League Soccer, VP, Broadcasting
Jacob Ullman, Fox Sports, VP, Production
John Ward, DirecTV Entertainment, SVP, Production and Traffic
Operations
Ernie Watts, Industry Consultant
Mike Webb, YES Network, VP, Broadcast Operations
Jeff Willis, Industry Consultant
Dave Zur, KSE Media Ventures, SVP of Broadcasting and
Engineering
Advisory Board
IP or Not IP? When

Is the Question
11
From Board Room to Stadium

we have the equipment you need...
When you need it... Where you need it.
YOUR BROADCAST RENTAL RESOURCE

Complete Inventory for your Production or Event Needs
CAMERAS All formats

Now offering Grass Valley camera systems including
LDK3000, LDK8000 and LDK8300 Super Slo Mo
FULL LINE OF VTRs and TAPELESS

RECORDERS Including the newest media server
from EVS: 8 Channel XT3
AUDIO and FIBER A vast inventory of fiber products

from Riedel, Studio Technologies and Bluebell
4K Camera Systems
MULTI-CAMERA SYSTEMS
LONG LENSES
LIGHTING AND CREATIVE LED DISPLAYS
24/7 ENGINEERING SUPPORT
For further information please contact rentals@verrents.com
LOCATED THROUGHOUT THE US, CANADA & EUROPE
800-794-1407 WWW.VER.COM for a complete equipment listing

is a registered
2015 Video Equipment Rentals. VER is a registered
trademark
Throttle
Films, Inc
trademark ofof
FullFull
Throttle
Films, Inc.
SCORE
MORE POINTS
WITH YOUR
AUDIENCE
HSC/HSD
PROFESSIONAL HEADSETS
Based on AKGs proven studio headphones, HSC/HSD
series headsets provide excellent comfort, optimal
ambient-noise attenuation and the highest quality
audio reproduction for broadcast engineers, sports
and news commentators, and VO and recording artists.
Theyre also equipped with AKG studio-grade condenser
or dynamic microphones, so every word you speak is
heard with pristine clarity.
TURN UP YOUR GAME AT AKG.COM/PRO
2015 HARMAN International Industries, Incorporated. All rights reserved. AKG is a

trademark of AKG Acoustics GmbH, registered in the United States and/or other countries.
Features, specifications and appearance are subject to change without notice.
Designed and engineered in Vienna, Austria | www.akg.com
When it comes to the serious processing power and bulletproof-reliabilty

required by todays broadcasters, the Studer Infinity Series sets a new
standard with massive performance and aviation-class redundancy levels.
Now with a choice of three processing Cores and two class-leading control
surfaces, Studer Infinity offers cost-effective broadcast mix solutions for any
application, from OB Trucks through to TV and radio production facilities, with
up to 800+ audio channels and over 5000 inputs and outputs via our D23m
modular I/O system of analogue, digital and video interfaces.
Compact control surface - up to 52 faders

and optional meter bridge
Game on.
From the football field to the basketball court, powerful and
intuitive audio mixing solutions from Studer help to create the
memorable events in sports broadcasting.
Expanded control surface - up to 72 faders

(more on custom configs.)
studer.ch
Infinity Core - now available in

200, 400 and 800+ channels
Automate Any Way You Want
News Studio MCR

In the Cloud, Rack & Box
ASTRA Studio 3
The only multi-studio production automation
News and Sports live production workflow

Integrates all manufacturers products
Redwood Studio-in-a-Box for smaller studios
News, Sports and MCR automation in one system
23 Years of Automation Innovation

www.aveco.com
Bez nazvu-6.indd 1
17.10.15 19:33
Remote-Production Leaders Sound Off

on Current State, Future of the Industry
By Jason Dachman
ven with the mobile-sports-production business booming, truck providers face a host of challenges both for today andfor tomorrow. Although more sports events than ever are being produced for television and
streaming, vendors are being asked to deliver more for less as networks look
to trim production costs. In addition, technology continues to evolve at a
breakneck pace, forcing mobile-production providers to address the needs
of today while preparing for the potential arrival of 4K and IP infrastructure. SVG sat down with 15 industry leaders to discuss the current state of
the business and, more important, where its headed in the coming years.
Here are the executives we spoke with:
Mary Ellen Carlyle

SVP/GM,
Dome Productions
Len Chase
President,
CSP Mobile
Craig Farrell
President, Alliance
Productions
Philip Garvin
GM/Founder,
MTVG
Robby Greene
President/COO,
IMS Productions
George Hoover
CTO, NEP
Mike Johnson
Director of
Engineering,
Dome Productions
Tim Lewis
President/Founder,
Proshow Broadcast
Bob Lyon
President/Founder,
Lyon Video
Kevin Moorhouse
Managing Director,
Gearhouse Broadcast
George Orgera,
President/CEO,
F&F Productions
Chad Snyder
Account Manager
& GM, Lyon Video
Pat Sullivan
President,
Game Creek Video
Jason Taubman
VP Design & New
Technology,
Game Creek Video
Mike Werteen
Co-President, U.S.
Mobile Units,
NEP Broadcasting
Executive Perspectives
continued on page 18

15
Our New Fall Lineup

AJA is keeping pace with the needs of industry professionals in A/V,
broadcast, on set, and post. Our new products leverage the latest
technologies, including high-quality conversion to 4K, moving video over
ethernet cable, and easily integrating computer content into video pipelines.
HD10MD4
HB-T-SDI/HB-R-SDI
ROI-HDMI
Improved HD-to-SD
down-conversion with
Mini-Config USB support
New Mini-Converters to
convert between 3G-SDI
and HDBaseT
HDMI to SDI with Region of

Interest scaling and intuitive
on-screen UI for live image selection
openGear Rack Cards
FS3
openGear-compatible rackframe solutions
Powerful 4K up-conversion
New openGear frame and cards for SDI/Fiber

conversions and 3G-SDI Distribution.
The new FS3 combines AJAs industry-proven frame synchronization

with high-quality 4K up-conversion technology to seamlessly integrate
SD and HD signals into your 4K workflows.
Find out more at www.aja.com
The new Blackmagic Studio Camera 4K includes 12G-SDI,

talkback, tally and a massive 10 viewfinder!
The Blackmagic Studio Camera 4K is the worlds most advanced
broadcast camera for live, multi camera production in both HD or
Ultra HD up to 2160p60! It features an incredibly tough, lightweight
machined magnesium design massive 10 viewfinder, 4 hour battery,
talkback, tally indicators, phantom powered microphoneports and
12G-SDI, as well as an optional optical fiber connection. You get
a fully self contained, broadcast grade, live camera solution!
Full Size HD VIewfinder

The Blackmagic Studio Camera 4K includes the worlds largest
viewfinder built in! The massive 10 full HD resolution screen
has a super wide viewing angle and extremely high brightness
so you can see your images with amazing detail even in
bright daylight! This professional grade viewfinder makes it
easy to frame, focus,change iris settings and make subtle
adjustments with full confidence even when youre live on air!
12G-SDI and Optional Fiber

Connect Blackmagic Studio Camera 4K to live production
switchers using SDI BNC cables or optional optical fiber. The
12G-SDI connections are multi-rate, so they work with all HD
and Ultra HD equipment up to 2160p60! You get bi-directional
video plus full talkback, tally, audio and camera color control.For
larger venues, theres a socket for installing a SMPTE SFP optical
fiber module for sending video over massive distances!
www.blackmagicdesign.com
Lens and accessories sold separately.
Talkback and Tally

The Blackmagic Studio Camera 4K features built in talkback using
general aviation headsets, so you get better noise canceling and
comfort all at a much lower cost! You also get built-in tally lights that
illuminate automatically when your camera is live so your cast and
crew can easily see which cameras are on air! Talkbackand tally
signals are embedded in the return video connection to the camera,
so you dont have to run separate cables!
Micro Four Thirds Lens Mount

The active Micro Four Thirds lens mount is compatible with
an incredibly wide range of lenses and adapters. You can
use your existing photo lenses for smaller setups and fixed
camera use, or connect incredible broadcast ENG lenses
via a B4 lens adapter.You can even use third party adapters
for high end feature film PLor B4 mount lenses, so its easy
to customize your camera to suit any sized production!
Blackmagic Studio Camera HD
1,695
Blackmagic Studio Camera 4K
2,495
Carlisle: I believe the current state of the remote-production business is very healthy. However, change is
inevitable, and we need to be ready to adapt and transition to meet the needs of our clients. Corporate integration, rapid technological change, fragmented audiences, decreasing advertising revenues, and increasing
content-rights costs are conditions leading to increased pressure on production budgets.
Chase: With the addition of more sports networks to the market, the need for content is growing.
I am concerned that prices are getting
lower each year, but I am hopeful that it
will bottom out soon.
Farrell: The addition of all these different

tiers of work help the industry. A 53-ft.
truck has more opportunities today than it
did a few years ago. It can do a 15-camera
show and then a REMI show to fill in some
white space on the calendar the next day. To
me, that is a very healthy business.
Garvin: Yes, the business is reasonably

healthy, and I expect current trends to be
consistent for at least the next two years.
However, those trends include tremendous
downward pressure on pricing and increased
demand for new technologies in trucks.
65
_______________________________________________________________________________________________________________________________________________________________________________________________________________________
60
______________________________________________________________________________________________________________________________________________________________________________________________________________________
50
______________________________________________________________________________________________________________________________________________________________________________________________________________________
45
______________________________________________________________________________________________________________________________________________________________________________________________________________________
40
______________________________________________________________________________________________________________________________________________________________________________________________________________________
35
______________________________________________________________________________________________________________________________________________________________________________________________________________________
30
______________________________________________________________________________________________________________________________________________________________________________________________________________________
25
______________________________________________________________________________________________________________________________________________________________________________________________________________________
20
______________________________________________________________________________________________________________________________________________________________________________________________________________________
15
______________________________________________________________________________________________________________________________________________________________________________________________________________________
10
______________________________________________________________________________________________________________________________________________________________________________________________________________________
______________________________________________________________________________________________________________________________________________________________________________________________________________________
______________________________________________________________________________________________________________________________________________________________________________________________________________________
63
TOTAL TRUCKS BY COMPANY
25
21
18
11 10
9
7 6 6
5 5 5
4 4 3
2 2 2 2
2 2 1
Greene: Yes, I do. If you offer superior technology and sincere client-based
creative solutions along
WHATS WHAT IN MOBILE PRODUCTION
page 5
with the hardest-working team in the business, the supply of events needing remote-production
facilities is healthy. As for the forecast, we are inherently in a business that continues to evolve and shift. The
future looks good. The exact nature of what were doing and how were delivering the products may look
different, but we are forecasting growth and lots of it.
Lyon: Remote production is healthy. We are seeing more event coverage from both traditional and
non-traditional sources.
Orgera: Yes, though we have some concerns. F&F was fortunate to experience company growth this year
with the acquisition of Crosscreek. The industry is thriving in many areas, mainly in the number of events
that are being covered for broadcast and the dramatic growth in large streaming events. The additional acquired inventory has allowed F&F to service the growing needs of our clients. However, in that vein, we have
great concerns about the technology companies/vendors that provide equipment to the remote production
companies that allow us to service our clients; their business models have changed significantly, and the proposed restructuring and how they will provide services and equipment to remote vendors will be so costly
that it will cripple the industry and stagnate the remote companies abilities to grow at the rate our clients
need and require. It is a huge concern and one that we believe the entire industry should address.
Sullivan: The business is healthy. Demand is increasing, and the requirements for the larger productions continue to grow. I do not see that changing over the next 24 months.
Werteen: It depends on how you define healthy. If your goal is as it is at NEP to focus on serving clients and keeping happy employees, then the state of NEP is healthy. The industry has changed
dramatically over the last five years. If you define healthy as getting the same return you did five years
ago, then the industry is not as healthy. I do scratch my head about some deals where organizations
try to make themselves believe that unsound business deals somehow make sense. I have never been a
believer in loss leader pricing strategies; that is how you become unhealthy.
18
1 1 1 1 1 1
1 1
Mob
NEP
il
Gam e TV Gr
oup
eC
Dom reek V
ideo
e Pr
odu
ctio
ns
Lyon
F&F
Vide
P
o
Live roductio
Mob
ns
il
e
Grou
All M
CSP
p
obil
Mob
e Vid
ile
eo
Pros Produc
tion
how
s
Gea
rhou Broadc
ast
se B
r
o
adc
IMS
Ros
a
s
Prod
t
sM
uctio
obil
e Pr
ns
odu
ctio
ns
TND
Met
V
rovis
ion
MPS
Vide
olin
Ray
es
com
Spo
rts
S
D
T
Bou Token C V
nce
r
Mult eek
Cox
ime
Crea
dia
tive
D2 P Studio
s
rod
Enc
omp uctions
as
LeS
EA P s Digita
l
rodu
c
YES
Prod tions
uctio
Adm
ns
CCI
Com iral Vid
eo
mun
icat
ion
CMG
Mob Clark M s
ile P
e
rodu dia
ct
HRS ions
Mob
ile
JAS
D
Jon
es M igital
obil
Kod
e
iak
Mob TV
ile T
V
PSS
I
Do you consider the current state of the remoteproduction business healthy? Why? What is your
forecast for the market over the next 12-24 months?
2015 numbers for total

trucks broken down
by company. Turn to
page 235 for full Truck
Gearbase Study.
Storage For The Big Leagues

Capacity, Density, Cost, Performance
at new benchmarks
Introducing the new MediaGrid.

More channels, more content, more ads, more promos, more
editing, more flexibility. All drive the need for more storage.
And for professional video thats high performance Storage
for minimum latency and maximum access. Enter the new
MediaGrid CSJ5840 with 360TB of usable storage per 5RU
chassis, dual redundant fabrics and hot-swappable drives.
The CSJ5840 delivers new levels of performance and reliability
at lowest possible TCO. Sports. 4K. Bring it on.
Learn more at harmonicinc.com
2015 Harmonic Inc. All rights reserved worldwide.
FUJIFILMS NEW 4K ULTRA HD LENSES
UA22x8
Ultra HD Premier SerieS
UA80x9
Ultra HD Premier SerieS
Experience The
Newest Fujinon
Lens Introduction
2/ 3"
F O R M AT
For over 40 years, Fujinon has pioneered video imagery

with revolutionary lenses that have solidified them as the
world leader in optical technology. Fujinon continues to
design innovative lenses to support the cine, ENG and
studio/ field industries enabling them to meet the diverse
needs of their customers.
fujinon.com
fujinon.com
fujinon.com
Is there a specific technology (or technologies)

that clients are demanding more these days?
Johnson: Specialty cameras, support for bulk audio, and alternative
supply of produced media, such as C-Cast, Burst, and other published
deliveries. Also, home-based production control with links to remote
cameras and audio as means to produce live events (REMI).
Hoover: Refining and improving file-based workflow connectivity with home
Sonys HDC-4300 8X
slo-mo/4K camera
base.
Snyder: Super-slow motion is still the most requested technology. A fiber kit
for announcers is a common technology we are frequently [deploying].
Farrell: 6X super-slow-mo is probably the biggest request right now.

Taubman: The Sony HDC-4300 is the killer app at the moment. Doing 8X slo-mo with 4300 is something that everyone wants to get their hands on. Also, acquisition is the key thing in anticipating the
move to 4K, and that will be a big tool to get there.
Have you seen increased interest in at-home

production, deploying minimal crew/facilities onsite?
If so, how are you adapting your facilities?
Taubman: As we put new big trucks on the road, we are not really changing our strategy. But we
have a bunch of clients who are approaching us about at-home production to get more of their content
on the air for cheaper. We are trying to help them explore that, and its definitely right in line with the
IP-production conversation. The transition to IP is the conversation for all of this from 4K at the top to
at-home production at the bottom.
Farrell: We get some requests, and we do some REMI events when it makes sense and there is open space
on the calendar. I think people are still figuring out the best way to do it and which events to do it on. Right
now, there isnt enough of it to grow a good business plan on. Also, the economics and ROI are so different
between those [smaller REMI] units and a 53-ft. truck.
Carlisle: Over the next 12-24 months, I believe, we are going to see a lot more at-home productions.
This format shift is becoming more attractive to broadcasters as it offers them the potential to cut
remote-production costs. We saw growth in REMI at-home
Proshow Broadcast has launched several atproduction. We supplied ESPN with a hybrid option: Horizon, a homeproduction trucks, including the Opus
full production mobile when needed and a REMI option when 27-footer shown here.
desired. We also supplied ESPN with Spring, a brand-new mobile with only audio, cameras, intercom, router, and distribution gear, which has been very busy every week.
Garvin: Yes, definitely. We welcome these and have assigned

several of our mobile units to serve them. Once the networks
have had enough experience with these to clearly define their
specifications long term, we will build mobile units specifically
for this purpose.
Lewis: This has been an explosive growth market for us.

It has grown from a single client to multiple clients and extended outside of college sports into professional leagues. To
facilitate it, we have launched four remote trucks specifically
designed and equipped to meet the needs of at-home produccontinued on page 26
22
0ver 275
Engaging
STADIUMS and ARENAS
in more than 40
COUNTRIES
100s of MILLIONS of fans with new experiences!
Staying ahead of trends
10 Billion
Keeping fans at the center of the action
handhelds by 2018
81%
want more immersive

live experiences
Driving profitable business results
97%
2.6 Billion
connected to social
media by 2017
Up to
Up to
100%
300%
400%
of fans
connecting
in new ways
incremental
sponsorship
revenue
new
promotional
sales
of fans bring mobile

devices to events
63%
70%
want replays and

unique perspectives
of mobile traffic will

be video by 2017
From your favorite local teams to the games on the worlds biggest stages, all places big and small, exists a
human phenomenon like no other - the fan.
At Cisco, weve made a science out of understanding fans and how technology trends impact their
expectations. Weve coupled these insights with inputs from industry leaders to create the most innovative
solutions that deliver more personalized and memorable experiences which fuel the growth of your business.
And the results speak for themselves.
Hundreds of millions of fans, in hundreds of stadiums around the world, connected and engaged like never
beforeand like no one else can do.
At Cisco, were doing what we do best connecting the unconnected - fans, teams, venues, leagues, and
cities, in new ways to more people, to more things.
Amazing things happen when you connect the unconnected!

April 2014
Follow us @CiscoSESG
Source: Cisco Visual Networking Index (VNI) Global Mobile Data Traffic Forecast, 20112016
Source: Cisco Fan Survey of over 1800 consumers across 3 continents
S
R
E
S
N
E
T
I
T
R
I
A CIL
P
T
A
A
F
E
T
R
G REA
G
nits he
u
t
le
obi ching ive
m
lity mat ce str to
a
u
r q rience Allian orts ions
o
f
rce expe rs in live sp oduct
u
o
r s years artne rom ce Pr
u
o
F
p
y
be ve 15 The ess. Allian
s
,
.
tion e ha eeds succ vents
c
u
n
W
g
d
e
Pro oast. client oundin news
e
c
s
o
r
nc
llia st to nits t a re ate o
A
a
t
Le m co bile u show orpor
fro ht mo every t to c
rig make nmen you.
to ertai er for
ent l deliv
wil
501.219.2653
www.allianceproductions.com
HYDRA2. CONTROL
YOUR ENVIRONMENT.
WERE BETTER TOGETHER.

Broadcast infrastructures designed around complex
communication networks offer unparalleled potential for
interoperability across all kinds of audio and video hardware.
These networks provide clear cost benefits as well as high levels
of resilience, contingency planning and control protocols across
parallel equipment.
calrec.com
Calrecs industry-leading Hydra2 offers a simple, intuitive solution

for managing this potential without unnecessary complications,
enabling full integration with the wider broadcast community.
Provided as standard on Apollo, Artemis and Summa consoles,
Hydra2 is yet another reason the worlds most successful
broadcasters rely on Calrec.
ARTEMIS
ARTEMIS
ARTEMIS
At-home Production continued from page 22

tions for a variety of clients. This coming year, we expect to undertake nearly 500 productions with
this methodology. Over the next 12-24 months, we expect to see a continued increase in demand for
at-homeproduction facilities and are focusing our expansion in this area.
Snyder: We have been quoting [at-homebased] jobs for the past year. From a volume perspective,
they are frequently quoted, but I can count on my hands the total true at-home productions that have
taken place from Lyon Video mobile units.
What impact do you believe recent industry

consolidation has had on the business? Do you think
this trend of consolidation will continue?
Carlisle: I do believe there will be another wave of consolidation. I believe there are still small mobile
companies one [unit] or two with owners who are ready to move on. The impact of consolidation
has been beneficial to Dome in that consolidation has led to opportunities as well as the ability to fulfill
capacity challenges with us buying CBC [Mobile Productions].
Chase: With the decrease in rates, it is hard for many companies to stay competitive. This has contributed to
the consolidation of many of the smaller mobile companies. I believe it has hurt the industry in the short run,
but I think it will make it stronger in the long run. I think we are getting close to the end of consolidation.
Farrell: Its inevitable that youre going to see consolidation, and some companies are going to acquire
others. It has the potential to hurt the client [since there arent] as many options, but the client still
has options at many different levels. I dont have a problem with [consolidation]. I think the smaller
companies give better customer service, but the larger companies may have more depth of trucks and
equipment to service a client. They both have their plusses and minuses.
Garvin: There might be a little more consolidation, but not much more. Its tough for smaller mobileunit companies to function in an environment where capital needs are so high and so recurrent.
Lyon: Consolidation of major mobile-unit companies at this point will be more difficult because of
the larger amounts of dollars involved.
Sullivan: Recent industry consolidation is not so recent. There has been consolidation since the
business started. I dont believe there has been a big impact here in the U.S.; Im not sure our European
friends feel the same way. There is not much more consolidation to be done here so we may be close to
the end of the trend.
Werteen: We, of course, have been the leader in consolidation, and I have seen the positive impact on
our organization. Injecting more smart people into a business can never be a bad thing. Its not always
easy: more people, more geographies demand greater understanding and communication. For NEP, the
benefits have far outweighed the risks: we have greater scale to service clients globally, we have more
resources to deploy intelligently, we have greater depth than any organization in our industry, keeping
us focused on our values. All benefits. Some say we have seen this type of consolidation previously. Not
from my seat. Not nearly the global reach or diversification the NEP Worldwide Network now has.
Outside of technological challenges, what are your

biggest concerns today?
Carlisle: Our biggest challenge lies in personnel, in maintaining good solid remote engineers who not
only have a wealth of experience but the willingness to have an open mind and embrace technological
change.
26
e
sinc
1986
TAILOR SIZED
TRANSPORT SOLUTIONS
AIR CARGO SEA FREIGHT TRUCKING SERVICES
AIR CHARTERS CUSTOMS CLEARANC
ATA CARNET SERVICE ONBOARD COURIER
USA
sos@sosglobal.com
1-800-628-6363
Germany
info@sosglobal.eu
+49 40 611 6407 11
www.sosglobal.com
Now providing the same

high quality service
in Russia.
UK
sos@sosglobal.co.uk
+44 170 729 1570
Russia
info@sosglobal.ru
+7 925 417 31 06
www.sosglobal.eu
The Future of Sport

Entertainment Is in Dolby
Dolby and the double-D symbol are registered trademarks of Dolby Laboratories. 2015 Dolby Laboratories, Inc. All rights reserved.
Biggest Challenges continued from page 26

Chase: Travel cost is the biggest thing for us, even if the client is reimbursing us. If the cost keeps going up, it cuts into their budgets, and they look to cut shows or truck and crew cost.
Greene: Personnel. Our people and the conduit for providing and then training the next generation
are what keeps me up at night.
Hoover: As we transition away from big-iron technologies with long life cycles to more IT- and
consumer-based technologies with short life cycles, end-of-life issues are becoming a concern. In fairness to broadcast-equipment suppliers, they are not the culprit; its the chip and drive makers who are
constantly making improvements (good thing) and discontinuing availability of older parts as replacements (bad thing). Feature improvements [that] we as an industry request often necessitate more-complex software that wont run on older systems, forcing upgrades not unlike what happens with our
personal electronics at a very rapid pace.
Lewis: The life cycle of equipment is getting shorter as the speed of technology change increases. We
are acutely aware of the need to achieve a return on investment at a more rapid rate than in the past.
Moorhouse: Global political instability and its possible effects on global sporting events.
Orgera: Obviously, technology is changing by the minute which poses one of our biggest concerns.
Attracting, acquiring, and retaining great engineering talent to operate all of the technology is critical
and has always been a huge focus for F&F. A top priority is to find the right blend of seasoned engineers and growing the younger engineering talent that is needed to take the broadcasting industry into
the future.
Sullivan: The recent explosion in rights fees puts a great deal of pressure on containing production
costs. Some of that cost cutting can ultimately affect efficiency and the product we deliver.
Large-scale events, such as tennis grand slams and

golf majors, are dedicating more resources
to live-streaming feeds. Do you see this expanding
to more sports and events?

Carlisle: We see this trend more and more. As we provide facilities to an event large-scale or small
there always seems to be a request for additional equipment for live streaming or second screen. Dome has a fullservice rate card: mobiles, uplinks, and Web trailers. This past
year, we did a skiing event where we added uplink, on-screen
productions, and Webcast. Rogers NHL added EVS C-Cast for
GameCentre Live on all Saturday-night broadcasts.
Snyder: We have seen small events understand streaming

for several years. In fall 2012, Lyon Video provided mobile
facilities for Red Bulls Stratos coverage, which was planned to
only be streamed initially. At the last minute, Discovery came
in and put coverage on their linear channel. At the time of the
event, Stratos held the record for the most live streams of one
event. Streaming has been part of our business for many years,
and we have embraced the need for streaming requirements.
Moorhouse: Yes, I do, and, if anything, the second- and third-tier

events will make use of this type of technology more and more as a
cheaper way to get their events out to consumers. This is where IP techcontinued on page 34
30
The Red Bull Stratos supersonic

free-fall highlights the increased
number of multilayer productions
both streamed online and produced
for linear television.
Get the look of big time sports

without paying the big time price.
NewTek TriCasterTM and 3PlayTM are the ultimate sports production team.
Complete, fully integrated multi-camera systems scaled for the arena,
the field, a production truckeven remote, hard to
cover locationsat a fraction of the price.
Learn more at newtek.com
2015 NewTek, Inc. All rights reserved. TriCaster, 3Play, LightWave, Broadcast Minds, ProTek and TalkShow are trademarks and/or service marks of NewTek, Inc. LightWave 3D is a registered trademark of NewTek.
Fan Engagement Courtesy of

Ross Live Production Technology
Large-Scale Events continued from page 30

nology will become a bigger player. It will allow us to deliver various flavors of signals to these different
platforms. As a company, we just need to ensure we are up to speed with these new technologies. To this
end, we have [dedicated] one of our top project engineers to investigating new technology.
How has the growth in the production of college

Olympic-sports events impacted your business? Have
you seen increased demand for trucks to service them?
Chase: Yes, this market is growing, but most of it is at the lower level of equipment. So there is a need
for small trucks in this market. This does help some because some of these sports are during football
and basketball season; there are only so many trucks [available] on any given day. With more shows at
any level, it creates a demand across the board.
Greene: What Im seeing is the need for even more content. Our partners are developing digital channels and pushing the content to as many outlets as technology and demand requires. Were being asked
to cover additional events that, maybe three to five years ago, we would not have had the opportunity
[to cover]. Some of the budgets and expectations for the final product may vary against an A-level primetime show, but [they are] no less important.
Lewis: Absolutely. In fact this is one of the staples of our business model. We will provide remote
facilities for literally hundreds of broadcasts of Olympic sports in this college season.
Sullivan: A lot of the Olympic college events are being streamed. It is the most efficient and costeffective way to do them, and demand will increase as the conference networks expand.
Are you planning for the potential rise of 4K? If so, how?
Can the current 3G infrastructure meet near-term 4K
needs? What about the long-term path for 4K?
Taubman: Yes, we are planning for 4K. A few years ago, we began installing a 3G infrastructure for 60p, which
may pay benefits for 4K. We are trying to understand how to best do a 4K show with quadlink 3G, and we are
prepared to do that now with a bunch of our trucks with [Grass Valley] K-Frame switchers, [EVS] XT3 replay,
and Sony HDC-4300 cameras. So we are starting to get all the pieces
in place. We built PeackcockOne for NBC with quadlink from all of
the camera sources a first for us. So that is a sign of things to come.
We are looking very carefully at IP and what is coming next. If 4K is
going to move forward, is it going to have to do so on a single link? It
appears that the path toward single-link will be IP.
Garvin: We are in the process of building our second 4K mobile
unit, 39 FLEX, which will expand on the technology in 38 FLEX and
be capable of a somewhat larger 4K production. The 3G [quadlink]
infrastructure is limited by the size of an SDI router you can
reasonably [install]. Long term, we would like to see the industry
agree on a compression standard for 4K using an IP router.
Mobile TV Groups 38 FLEX truck, launched in

2015, is among the first 4K capable mobile units
in the U.S.
Hoover: Currently, less than 3% of U.S. TVs have 4K capability. All our trucks built since 2011 are 4K-capable. The biggest limitation in 4K is creative restrictions imposed by the number of M/Es in switchers. Wireless, specialty cameras, and file size [are also limited]. The long-term path will depend on viewer demand.
Johnson: We have been working with 4K cameras and server technology to build on our knowledge.
34
HELPING FANS
CONNECT WITH THE TEAM
Real-Time Networks for Video, Audio, Data and Communications
MEDIORNET
Real-Time Media Network
ARTIST
Digital Matrix Intercom
DECA
Accreditation &
Access Control Systems
www.riedel.net
www.asperasoft.com
moving the worlds data at maximum speed
The Rise of 4K
continued from page 34
Over the next year, our owners [Rogers] are looking at producing over 150 4K sporting events, and I
believe this number will grow by the following year. The payload of 4K is imposing, and the delivery via
quadlink in a 3G infrastructure is serviceable. Over the longer term, many developing solutions based on
higher data links and infrastructure will enable a better transition to origination and distribution in 4K.
Snyder: 4K coverage with historic 3G infrastructure using current technology is not financially prudent
without recalibrating expectations of scale. Put simply, camera counts need to [be reduced] to bring
replay-server channels into a reasonable quantity. Until [production switchers] can deal with compressed
4K signals natively, networks are not going to give up the looks for more pixels. With the current mantra
being lower cost, 4K may or may not be around when technology catches up.
Moorhouse: I think the current 3G infrastructure meets the current 4K needs, but the future of 4K does lie
in some sort of IP solution. We cannot keep using quad 3G, [which] is simply too resource-hungry. 4K is coming,
but, at GHB, we are not going to spend a lot of money until we get past the first generation of 4K kit. We dont
want to be early adopters and get our fingers burnt when our investments become outdated too quickly.
How quickly are you moving away from baseband

infrastructure in favor of IP-based workflows? If you
were launching a truck today, would you build it around
an IP router or SDI router?
Taubman: The motivation for [installing an IP router] in Encore was never about IP for the sake of IP;
it was about capacity. IP turned out to be the way we could achieve the massive infrastructure that Fox
needed. We have been talking to clients about the next move in terms of our normal-size trucks. Today,
if we can do it with SDI, I think the answer is probably, yes, we would do SDI over IP. But Im not sure how
long I will be staying with that answer. The thing that is scary right now is, there are several versions of IP
that need to be settled in terms of standards and formats.
Hoover: The next two trucks we are building in the U.S. will have
IP routing in addition to IP file-based workflows. In Europe, we are
pioneering cloud-based live-production workflows. It is really a case
of what is best for the clients application. It is too early in the evolution of IP to say one size fits all, not until edge-device IP connectivity
is standardized and readily available on cameras, servers, graphics,
monitors, and test equipment.
Johnson: We have been on an IP infrastructure for our video
Game Creek Videos Encore mobile unit is among

the first to be built around an IP router.
services over managed fiber network for more than two years and
look forward to applying some of this technology in building the
next mobile unit around an IP router. The capabilities and features [of] an IP infrastructure make this choice
the preferred path, but some parts of the solution will benefit from a little more time to evolve.
Moorhouse: If we built a new truck now, we would consider an IP backbone. The problem is that this is
such a fast-changing technology that I would be worried that we would not get four to five years out of [it]
before it was surpassed by newer technology. The life cycle of the kit we buy has greatly reduced, and I think,
with IP-based kit, this will be even more evident. We need to get certain payback on our investments in technology to stay in business, and I think this is going to be a challenge in the near to medium term.
Werteen: We evaluate every maturing technology on multiple levels. We checked all the appropriate
boxes for IP workflow on the new unit we built for CBS in summer 2015, and it has been working as we
hoped. The mobile unit we built six months earlier for ESPN (EN2) has a baseband router primarily
because the technology was not robust enough at the time of design.
Brandon Costa, Karen Hogan, and Ken Kerschbaumer contributed to this report.
38
Perfecting the
Media Experience
CLOUD
HDR
4K
VOD
SDV
DASH
VM
HEVC
Software-defined video processing and delivery solutions from Elemental provide flexibility,
scalability and performance via turnkey, cloud-based and virtualized deployment models.
Pay TV operators, content programmers, broadcasters and enterprise customers around the
world rely on Elemental to bring live and on-demand video to any screen, anytime all at once.
www.elementaltechnologies.com
Make every screen a

front row seat.
Deliver broadcast quality
video to any device,
anywhere, every time.
Sports fans always want to see a great

performance. But when they are catching
the action online, its not just the athletes
who need to deliver.
Your viewers expect a fast, flawless digital
experience. No buffering. No stuttering.
No interruptions. Give them what they
want with the Limelight Orchestrate
platform, a powerful, cloud-based video
delivery solution that ensure a seamless,
broadcast quality experience on any
device, anywhere, every time.
www.limelight.com/broadcast
+1.866.200.5463
2015 Limelight Networks, Inc.
www.inertiaunlimited.com 802-368-2591
NABDaily_Half_FA505_150828.pdf 1 2015/09/02 16:59
Next-Gen Monitoring in Broadcast Control Rooms

2015 HARMAN INTERNATIONAL INDUSTRIES, INCORPORATED
The path between audio production and transmission has been

a difficult road to master. Until now. Were united to offer you
the right resources, reliable tools and efficient processes so your
audio is everything you and your viewers expect. Find your one
source for audio perfection here.
Where Audio Lives.

www.linearacoustic.com/whereaudiolives
2015 TLS Corp., All Rights Reserved. L15/18117
GET MORE OUT OF NOW

4K / UHD
12 Channels
10 Gbps
IP enabled
The demands are high to make the most out of

every moment. With EVS, your technology is
always up to speed.
Now the Multicam engine for your XT3 and XS servers delivers even more,
with increased SuperMotion 6X camera configurations; studio ingest and
playout options with the XS server; and added audio channel / MADI support.
Technology you can trust to make the most out of today, while anticipating the
demands of tomorrow.
www.evs.com/xt3
ROAD
2015 IN REVIEW
S
R
O
I
R
R
WA
2015 was an extremely busy year for remote sports production in North America,
highlighted by a summer that included major multinational events like the FIFA
Womens World Cup and the Pan Am Games. Meanwhile, new rights agreements changed
the landscape: Fox Sports assembled a massive production for its first U.S. Open golf
championship, and ESPN took over as sole domestic-rights holder and host broadcaster at
the US Open tennis championships. Throw in annual behemoths like the College Football
Playoff National Championship Game, Super Bowl, NBA All-Star Game, NCAA Final
Four, and the MLB All-Star Game, and it all added up to be quite a year for the live-sportsproduction community on the road. Heres a look at some of the highlights.
COLLEGE FOOTBALL PLAYOFF NATIONAL CHAMPIONSHIP GAME

AT&T STADIUM, ARLINGTON, TX
SPN brought back its ultra-robust Megacast this year at

the College Football Playoff National Championship Game,
a programming assault in which virtually every outlet of
the ESPN family offered a unique way of watching Ohio States
underdog victory over Oregon on Jan. 12.
I have been on Super Bowls, World Series, Olympics, said
ESPN Director of Remote Operations John LaChance during
preparations. This is by far the largest-magnitude event that Ive
had the privilege of overseeing.
ESPNs game-production crew working out of a loaded
compound housing eight Game Creek Video trucks (Spirit served
as the main game unit) deployed more than 40 cameras
and had approximately 60 camera sources at its disposal, given
all the shared resources used for Megacast and for in-stadium
entertainment at AT&T Stadium.
The traditional game coverage featured 11 hard Sony HDC2500 cameras, two cabled handheld 2500s, four RF 2500s,
three more 2500s serving as support cameras (jibs, clock/
score), six standard robotic units equipped with Sony P1
cameras, a Sony P1 Steadicam, and more. Aerially, viewers
saw angles from Spidercam, Flycam, and an airship above the
stadium.
ESPN also made a substantial 4K commitment to this years
coverage, with five hard Sony F55 cameras distributed around the
bowl and four I-MOVIX Phantom robotic units positioned at the
ESPN deployed more than 40 cameras at AT&T Stadium.
near and far sides on each goal line. On top of all of that, the main
game production had 10 camera sources in place to program the
Megacast, four AT&T Stadium in-house feeds for the venues
videoboard production, and inbound feeds from the Columbus,
OH, and Eugene, OR, campuses.
Brandon Costa & Ken Kerschbaumer
45
bexel.com
Global Broadcast Solutions
services@bexel.com
1.800.225.6185
YOUR GLOBAL PARTNER IN BROADCAST SOLUTIONS

Technical Support Available 24/7, Worldwide
4K, Specialty & Robotic Cameras

Lenses
Servers
Broadcast Lighting
Graphics and
Virtual Production
Custom Flypack Systems
RF Audio and
Frequency Coordination
bexel.com
services@bexel.com
800.225.6185
Road Warriors
SUPER BOWL XLIX

UNIVERSITY OF PHOENIX STADIUM, GLENDALE, AZ
t simply does not get any bigger than the Super Bowl, and,
this year, NBC Sports Group was tasked with producing what
would become the most-watched television program in U.S.
history. As is the case every year at the big game, Super Bowl XLIX
packed a technological wallop, with NBC, ESPN, NFL Network,
and others deploying massive operations and cutting-edge production tools at University of Phoenix Stadium and in downtown
Phoenix during Super Bowl Week.
Super Bowl XLIX marked the culmination of three years
of planning by the team at NBC Sports and its primary

production partner on the event, NEP. The game also
wrapped up a very busy week, during which NEPs ND6
production unit (along with SS16) was at the center of
operations from Super Bowl Central in downtown Phoenix.
Everything worked out because of the planning, said NEP
Technical Manager John Roch. The big issue was the field moving
in and out of the stadium, but, with a lot of preplanning, we were
able to build and get everything ready.
The operations team headed by Ken Goss, SVP,
remote operations and production planning, NBC
Sports; Tim DeKime, director of operations, NBC
Sports; and Roch showed its experience as well,
the game marking the teams third Super Bowl. NEPs
ND1, used all season for Sunday Night Football, served
as the main production unit. NBC also deployed Double
Eagle, NBCs golf truck; SS24 for the studio show and
tape release; and the ESU unit for transmission and to
tie all the trucks together. KK
NBC Sports stationed 45 cameras around University of
Phoenix Stadium.
NBA ALL-STAR GAME

MADISON SQUARE GARDEN AND BARCLAYS CENTER, NYC
he NBA All-Star Game took over New York for a weekend

in February with activities at both Madison Square Garden in Manhattan and the Barclays Center in Brooklyn.
There were plenty of new bells and whistles in the broadcast of
NBA All-Star Saturday from Brooklyn and the All-Star Game
Sunday night, but the two main events were only part of the
massive production puzzle that was NBA All-Star Weekend.
Operations in both Brooklyn and Manhattan covered more than
half a dozen events prior to the game itself.
Because of all the activities, we had to have dedicated crews for
both venues, said Tom Sahara, VP, operations and technology,
Turner Sports, during preparations. This is a great example of
cooperation and collaboration between Turner Sports and ESPN,
NBA TV, and NBA Entertainment just to make all the logistics work.
MSG was home to NEPs SS24 (A, B, and C units) for the game,
SS32 and ST32 for the studio show, ESU2 for transmission, and
TS1 (formerly Turner Studios truck) for entertainment/musicalacts operations at MSG. Bexels BBS1 was on hand with three
editing systems, and CP Communications truck handled RF
Turner Sports massive NBA All-Star operation was split between Madison
Square Garden in Manhattan and Barclays Center in Brooklyn.
48
audio. NBA Entertainments world feed used MTVGs HDX30,

and Lyon 14 was shared by ESPN for Fridays Celebrity Game
and NBA TVs studio operations on Saturday and Sunday.
Barclays Center, meanwhile, was home to NEPs NCPX (A and
B) for All-Star Saturday Night, NCPXI (A and B) for the studio
show, Super B for transmission, and SS22 (A and B) for NBA TV
studio operations and the Rising Stars game.
Jason Dachman & KK
Abekas Mira Video Servers Trusted

by Venues Across North America
INSTANT REPLAY
PRODUCTION
abekas.com
GE
XT ION
E
N AT
R
NE
1080P
CONTRIBUTION PLATFORM
* RD-71 supports S2 only
Email: sales@adtecinc.com | http://www.adtecdigital.com | +1 (615) 256-6619
>
Travel Less. Produce More.
THE SWITCH
TM
Unparalleled Quality. Unprecedented Control.
www.theswitch.tv
*Home Runs is The Switch solution for centralized production, allowing isolated camera feeds, audio channels and file-based
workflows to seamlessly integrate the remote operation with the broadcast center facility.
Road Warriors
,
NCAA MEN S BASKETBALL FINAL FOUR
AND CHAMPIONSHIP GAME
LUCAS OIL STADIUM, INDIANAPOLIS
BS and Turner Sports continued to operate under a

shared-rights deal for the NCAA Mens Basketball Tournament. Shared production resources, facilities, sets, and
programming helped enable the massive technical and operations undertaking.
This partnership just continues to grow, and, each year, it
just gets better and better, said Sahara. These shows continue
to grow, and the level of integration gets deeper and deeper. This
is all one family.
A large crew and gear arsenal was deployed at Lucas Oil
Stadium and the surrounding areas, with more than 350
production personnel, close to 40 cameras, 12 production trucks,
two sets, and more. Specialty cameras included a custom-built,
robotic Rail Cam, Skycam, massive jib, and three Grass Valley
6X slo-mo cameras.
There were two truck compounds inside the stadium
housing units from F&F Productions, NEP Broadcasting, and
Bexel to handle the main game production and the two
team-specific TeamStream shows that aired on TNT, TBS,

and/or truTV parallel to the main game. The main game truck
was F&Fs GTX-17, the suppliers latest. A tangible sign of the
broadcasters increased unity was the introduction of an F&F
unit that offered their production teams one place where they
could collaboratively monitor all incoming and outbound feeds
a first for the production. BC
One of two studio sets at Lucas Oil Stadium in Indianapolis

was located at floor level and featured a large TechnoJib.
,
FIFA WOMEN S WORLD CUP
CANADA
54
he day Fox Sports captured the rights to FIFAs World Cup

events, it was clear that the network was committed to
making a splash with coverage of the FIFA Womens World
Cup Canada 2015. And that is exactly what it did in Vancouver,
with a media headquarters featuring a stunning 5,400-sq.-ft. set
and a massive 7,500-sq.-ft. operations area.
The set built at Jack Poole Plaza provided a broadcast home
that not only gave the production team and talent plenty of room
but also offered a dramatic backdrop of Vancouver Harbour and
the mountains from one side and an equally dramatic view of the
Olympic flame and downtown Vancouver from the other.
The overall footprint of the studio was 84 x 44 ft. and included
two 84-in. touchscreen monitors; 12 cameras, including a Super
Techno 50-ft. crane-cam that could retract at 7 ft. per second; a
drone capturing aerial shots in and around the set; a 21- x 11-ft.
LED screen; a three-sided ticker; and a soccer demonstration field.
You cant appreciate the size of this until you get here and
see it in person, said Kevin Callahan, director of technical
operations, Fox Sports. Open at both the front and back, the set
provided a degree of flexibility, in terms of different looks and
options for shooting, never seen before.
Fox Sports epic studio in Vancouver provided the core

for its FIFA Womens World Cup operations.
Every great studio set needs a great technical facility and team.
More than 150 people were involved with the production, and
the set at Jack Poole Plaza was connected to a production facility
inside the nearby Vancouver Convention Centre packed with
equipment provided by VER. The facility housed production
offices, a central equipment room with EVS servers and a Grass
Valley Nvision router, an audio-playbackcontrol room based
on a Calrec audio console, video control to shade the Sony
cameras on set, and more. KK
digital media services
Meet the
heavyweight
in online video
streaming.
With Verizon Digital Media Services,
the action comes alive on every screen.
Our next-generation platform delivers live, linear and on demand
content for some of the largest sports broadcasters and leagues
today. We can help you change the way the world watches sports
online with the power of one.
One simple video encoding workflow

One worldwide, lightning-fast content
delivery network
One set of analytics to track and
improve performance
One robust engine for monetization
One trusted partner with the industrys one
and only end-to-end online video solution
To learn more, visit verizondigitalmedia.com/svg
2015 Verizon Digital Media Services
Quantel and Snell is now SAM a new company that has the vision
and technology to deliver businesstransforming solutions.
We understand that its not only
about the future; to get there, todays
needs are also paramount. Thats
why we deliver future-ready systems
now that will enable your business to
succeed in the consumer-driven era.
The SAM
Difference.
SAM_Launch_205x275mm_DigitalStudioME.indd 1
10/11/2015 17:32
Six Feeds
One Stream
Transport 6 channels of video over a single optical wavelength

Pair of compact 1RU chassis requiring no configuration or setup
Mix and match asynchronous SD-SDI, ASI, or HD-SDI services
Transport signals up to 80 km using 1310nm, 1550nm, CWDM,
and DWDM wavelengths
Compatible with managed optical networks
* 10km 1310nm
Call for details
978-263-5775
2015 Artel Video Systems, All rights reserved.
www.artel.com
MARKERTEK
SMPTE HYBRID
FIBER CABLES &
REPAIRS ARE BETTER.
WE CAN PROVE IT!
Polished & Tested to Specifications
Pins Properly Crimped & Inserted
Depicts a Perfectly Terminated

LEMO SMPTE End.
Crimped to Specification
Strain Relief & Adhesive is Proper & Present
Our Exclusive 9-Point Inspection of EVERY SMPTE Cable:

Verify Cables meet SMPTE spec for dB loss out-of-the-box
(supply customer written proof from our test equipment with EVERY cable)
Precision Cleaning of F2 contacts
Inspect for F2 contacts scratched by the scribe across the end face.
F2 Contacts precision polished properly
Inspect for Wires cut too short or too long
Inspect for Pins not fully inserted or locking into connector body.
Inspect for Pins not fully crimped causing opens
Inspect for Pinched wires in the shell causing shorts
Inspect for Wires crossed between connectors allowing the cable to pass
inspection on a basic tester, but not power a camera
The PROOF
Test & Performance

Results Supplied with
Every Fiber Cable
The Future of Broadcast Supply .

www.markertek.com
2016 Markertek Div. Tower Products, Inc.
Visit us in the
Central Hall
Booth C5646
we turn
sitting here
into being there
The best TV isnt about watching, its about experiencing. We make your
customers screens burst into life; immersing audiences in a new world
where every pixel pops with power to keep them coming back for more.
Deliver the next evolution in immersive TV and transport your delighted
customers to new heights.
Welcome to the Networked Society.
Networks IT
Media Industries
www.ericsson.com/media
Road Warriors
U.S. OPEN CHAMPIONSHIP

CHAMBERS BAY,
UNIVERSITY PLACE, WA
ox Sports coverage of the U.S. Open championship from

Chambers Bay Golf Course near Tacoma, WA, in July not only
was its debut at a major golf tournament but was also arguably the largest single-network golf production in history. Coverage
involved more than 500 technical-crew members, 100 production
staffers, 115 cameras on the course, and even more channels of
replay pumping through Game Creeks new Encore production unit.
Encore was key. Design innovations allow its three trailers

to expand to a larger size than previous vehicles. But, given the
number of camera sources (119) and replay channels (more
than 150) and the desire to have as many as possible on view in
the front bench, innovation in routing was needed. An Evertz
IP-based router is at the units core.
Noted Brad Cheney, director, technical operations, Fox Sports,
Nothing else comes close to the physical and technological size
of Encore.
Other Game Creek units were also on hand: Pride handled the
studio show, and Glory and Justice worked on the U.S. Open 360
stream as well as the featured-group and featured-hole streams.
The coverage deployed 118 cameras, including 20 RF cameras,
35 hard cameras, and a rail camera that provided a tracking shot
along a portion of the 18th fairway. Eleven audio mixers handled
signals from 202 microphones. And 29 EVS XT3 replay servers
provided more than 150 channels of recording. More than 61
miles of fiber cable with 24 strands each was laid.
The largest challenge, according to Cheney, was to add the
Protracer system to every hole: It added a substantial amount of
fiber to every green and tee, and CP Communications has been
great in providing that. KK
Fox Sports front bench inside Game Creek Encore
has access to 119 camera sources and 150-plus replay channels.
MLB ALL-STAR GAME

GREAT AMERICAN BALL PARK,
CINCINNATI
60
ox Sports busy summer of high-profile events continued

with the MLB All-Star Game. As it does every year for the
Midsummer Classic, Fox trotted out a few innovative production elements, headlined by a cinema-style MVI three-axis
gyro-stabilized handheld camera and a revamped version of Inertia Unlimiteds DirtCam at three infield positions. Game Creeks
FX trucks (A and B units) were on hand for the All-Star Game
production, with its Glory (A and B) handling the studio shows
throughout Monday and Tuesday. Game Creeks Edit 1 truck was
also on hand for Foxs features and postproduction team.
There are a lot of moving parts, but [MLB] Postseason
made us get to where we are, and now we know what to expect,
said Francisco Contreras, director, field operations, Fox Sports.
And, to be quite honest with you, its gotten kind of easier
because you have a great team in every department and weve
been building out a great operations team for baseball.
After torrential downpours and roaring thunder threatened
the Home Run Derby on Monday night, ESPNs production
went off without a hitch at Great American Ball Park in
Cincinnati. With a bit of cooperation from Mother Nature,
ESPN weathered torrential downpours earlier in the day to produce

its high-tech Home Run Derby telecast.
ESPN rolled out a massive show powered by its EN1 mobile

unit, featured 26 total cameras, the MLB debut of a 3g
Wireless CatcherCam, and three on-field sets for Baseball
Tonight and other on-air talent needs. MLB Network had
five mobile units and 31 cameras at Great American Ball
Park for its studio programming and to support MLBAM,
the world-feed production, and other MLB operations. Game
Creeks Pride A and B units handled studio shows and primary
transmission, its Apollo manned the red-carpet show, and
Dome Productions Atlantic and Unite produced the Futures
and world-feed shows. JD
PROFESSIONAL-GRADE
CLOUD STREAMING!
Any Device, Anywhere, Anytime.
From professional to college to high school, fans want to see their
teams in action, from wherever they happen to be. Now you can
build your fan basewithout breaking your budget.
WOWZA STREAMING CLOUD BENEFITS:

Flexible monthly pricing plans
Live stream scheduling
High-quality viewer experiences
Advanced options for customization
Full brand control
Record live streams in the Cloud
SEE FOR YOURSELF!

For more information or to start
your free trial, visit wowza.com/cloud
LOOKING FOR COMPLETE

AUDIO/VIDEO SOLUTIONS?
Anixter offers a wide range of products, deployed through
efficient supply chain solutions to:
Reduce risk
Offer consistent,
reliable deployments
Save time
and money
Learn more at anixter.com/proav
The Contribution Market Leader

Ultra Low Latency
HEVC
www.ateme.com
Professional
Solutions
THE STUDIO
Building on B&Hs long history of superior service, The Studio is a unique solution-based en-
SERVICES
vironment dedicated to all professional market
CONSULTATION
segments.
SYSTEM DESIGN
TECHNOLOGY CENTER
SYSTEM INTEGRATION
A revolutionary center created to provide a
PRE- & POST-SALES SUPPORT
hands-on experience to high-end profession-
TECHNOLOGY DEMOS
als. The Technology Center is a fully operational studio with an extensive display of high-end
420 9th Ave. New York, NY 10001
products and state of the art workflows.
212.502.6370
THE TEAM
A highly skilled team of applications specialists,
sales
engineers,
project
managers
and
BandH.com/thestudio
thestudio@BandH.com
account representatives, all assembled to

create a formidable group of individuals,
most of them active members of the
professional community.
Follow
The Studio on Linkedin
Become a fan of
The Studio on Facebook
Follow
The Studio on Twitter
NYC DCA Electronics Store Lic.#0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer General Lic. #0907906 2015 B & H Foto & Electronics Corp.
SVG Yearbook ad 10-15 JN151029.indd 1
10/30/15 11:33 AM
Road Warriors
PAN AM GAMES
TORONTO
ith 41 countries participating in 36 sports (more

than at the 2012 Summer Olympics), producing a
world feed for the quadrennial Pan Am Games is
no easy feat. Host broadcaster CBC tapped Broadcast Services
International (BSI) to design, engineer, and build the technical facilities for the International Broadcast Centre (IBC), the
heart of the Pan Am Games production. BSI began design work
in 2013, working alongside the TO2015 Organizing Committee
to ensure that the needs of both host and unilateral broadcast-
ers would be met. In addition to host broadcaster CBC, the

IBC provides facilities for CBCs domestic coverage, ESPN
and ESPN Deportes, Claro Sports Mexico, Rede Record Brazil,
SporTV Brazil, TYC Argentina, TVN Chile, and ICRT Cuba, as
well as for a pool of additional broadcasters under the Pan Am
Sports Organization umbrella.
Domestically, CBC broadcast nearly 750 hours of coverage in
English and French, with another 650 hours of live-streaming
coverage on desktops and mobile app. As the Games host
broadcaster, CBC had the ultimate home-court advantage: its
network headquarters, located less than 2 miles away. And,
although host-broadcaster CBC leveraged its at-home editing
facilities to create the host feed, domestic-broadcaster CBC an
entirely separate operation redlined on its at-home control
rooms, studios, and staff to create a Pan Am Games show
tailored specifically for a Canadian audience.
Meanwhile, ESPN and ESPN Deportes worked side by side to
deliver the Games to English- and Spanish-speaking audiences
in the U.S. and abroad. The two networks were headquartered
in Corus Quay, a commercial office building on the Toronto
waterfront roughly 2 miles from the IBC. The building housed
three studio areas, while the production-control room lived at
the IBC. Karen Hogan
ESPNs control room inside the IBC in Toronto
US OPEN
USTA BILLIE JEAN KING NATIONAL TENNIS CENTER, FLUSHING, NY
66
new era began at the US Open when ESPN took over as

host broadcaster and sole domestic-rights holder. The
broadcast compound, traditionally a carnival of interconnected trucks and trailers serving a variety of broadcasters,
became the embodiment of organization, thanks to ESPNs newly
built 13,500-sq-ft. two-story broadcast center and the streamlined
3,500-sq.-ft. administration-office trailer across the street.
The spick-and-span appearance was no accident. ESPN was
intent on building a flexible and scalable operation as it embarked
on its 11-year rights deal with the USTA, taking over as host
broadcaster and carrying every single point of the tournament on
ESPN, ESPN2, and ESPN3. The media giant tapped Gearhouse
Broadcast, which played a key role in its Australian Open buildout,
to serve as primary systems integrator.
You will hear this mantra from us a lot: expandable and
flexible, said ESPN Director of Remote Operations Terry Brady.
Instead of connecting multiple mobile units, we centralized the
operation under one roof. We looked at it as a great opportunity
for ESPN to step forward in this realm.
ESPN covered seven linear-TV courts with traditional manned
cameras and audio. Four other courts had Hawk-Eye SMART
coverage with automated cameras following the action. More
than 250 technicians, 32 engineers, and more than a dozen

operations staffers were on hand for ESPNs host, domestic, and
international operations.
The broadcast center had nine production-control rooms (seven
host, ESPN domestic, and ESPN International) on the second floor.
All EVS replay equip
ment, video, ingest, media management,
comms, transmission, social-media ops, and central equipment
room are on the first floor. JD & KK
ESPNs new two-story broadcast center at the USTA Billie Jean King National
Tennis Center
Harness the power of data

Digital Media
Cloud Services
On-Demand
Libraries
Digital
Archiving
Digital
Content Store
Highest Density
Cloud Storage
Industry-Leading
Data Durability
Breakthrough
Cloud Economics
Just Add Power

and Network
Active Archive System

Simplicity at ScaleTM
Visit our website to learn more: www.hgst.com/activearchive
Global Occasional Use
Delivering connectivity
anytime, anyplace
With our expanding fleet of over 50 satellites, SES provides
comprehensive coverage to enable you to reach your
customers wherever they are.
Our track record in delivering live coverage for major
sporting events coupled with our global network means you
can count on the SES team to provide reliable and flexible
connectivity solutions to suit your specific requirements.
Whether it is covering the global sporting events such as the
2016 Rio Olympics or the local football leagues, we can help
extend your reach to new audiences around the world.
Find out more at www.ses.com/ou
Road Warriors
MORE HIGHLIGHTS FROM THE ROAD

1
1. ESPNs Jed Drake, Amy Rosenfeld, and Rich Feinberg at the Winter X
Games in Aspen. 2. The NBAs Kevin Dobstaff on the NBA Draft stage at
Brooklyns Barclays Center. 3. Game Creek trucks played a major role
in the FIS World Championships in Vail/Beaver Creek, CO. 4. ESPNs
SportsCenter center at the X Games at the Circuit of the Americas in Austin,

TX. 5. Craig Bernstein of NBC Sports on the steps of PeacockOne, the new
home for NBCs NASCAR production team. 6. The truck compound at the
World Series at Kauffman Stadium in Kansas City.
6
72
YOU DESIGN. WE DELIVER.

PREMIUM STORAGE SOLUTIONS
FOR THE MEDIA PROFESSIONAL
LEARN MORE AT WWW.IMATION.COM/NEXSAN
Fiber First
BullDog
The most rugged fiber
transport system available.
SMPTE Hut
Extend SMPTE cameras over
standard fiber for miles.
SilverBack 4K5
Advanced camera-mountable fiber
links: now for quad-link 4K cameras.
LightCube
Field fiber systems move the whole
show onto lightweight, robust cable.
TM
TM
TM
TM
TM
www.MultiDyne.com
TM
TM
Your Complete
Resource For Broadcast
& Production Solutions
42 W 18TH ST NYC
800.223.2500
adorama.com/pro
For more information

& pricing visit us at
adorama.com
SGL has an established history

serving the archive needs of
sports facilities around the world.
Whether youre bringing in live sports
feeds, breaking news or managing
sensitive content, our flexible archiving
solutions can handle your requirements
with ease and ensure you can access
what you want, when you need it.
From ingest to post, version management
and disaster recovery, SGL solutions
protect your valuable content.
T: +1 513 618 6108 | E: sales@sglbroadcast.com | W: sglbroadcast.com
pantone 1795
pantone 355
pantone 307
The Future of Wireless Video
Ultra Long Range Wireless Video

RS422
serial
control
mile
range
3G-SDI
I/O
input
50Mbps
1080p60
transmit
Gold or
V-mount
power
Profiles
NEW
TRUCK
& REMOTE
SERVICES PROVIDERS
Game Creek Video

82
LeSEA Productions
94
Mobile TV Group
98
NEP Broadcasting
106
Proshow Broadcast
114
Analysis: A Year of Consolidation
118
3g Wireless
125
AerNow 125
125
All Mobile Video
125
125
Alpha Video
125
AMST by Kentucky Trailer
125
ARCTEK 130
ARRIS 130
Azzurro Group
130
BeckTV 130
Bexel Global Broadcast Solutions
130
Broadcast Services International
130
BSI (Broadcast Sports International) 134
CAT Entertainment Services 134
C
BT Systems 134
CEI 134
CineSys-Oceana 134
Clark Media
134
CP Communications
134
Crosscreek Television Productions
134
C
SP
138
CTG
138
Diversified Systems
138
DNA Studios
138
Dome Productions
138
DRS Technologies
138
138
F
&F Productions
142
Filmwerks International
142
Fletcher Sports
142
Gearhouse Broadcast
142
Gensler 142
Gerling & Associates
146
Illumination Dynamics
146
IMS Productions
146
Inertia Unlimited
146
Integrated Media
Technologies (IMT)
146
Jones Mobile TV
146
Kaufman Broadcast
146
146
LH Computer Services
150
Little Bay Broadcast Services
150
Lyon Video
150
Markertek 150
MEDIA180 150
Metrovision 150
MPS 150
PACSAT 150
Program Productions
154
PRG 154
Proshow Broadcast
154
PSSI/Strategic TV
154
154
Riedel Communications
154
RoboVision 154
Rock-It Cargo
158
158
SDTV 158
SMT 158
sonoVTS 158
SOS Global Express
158
Sportvision 162
The Systems Group
162
Token Creek Mobile TV
162
Unity Systems Integration
162
VER 162
VISTA Worldlink
162
YES Productions
162
79
BEYOND TALLY
TSI-4000 TALLY CONTROLLER
REAR MOUNTED AUTO CHANGE OVER

REDUNDANCY IN 2 RACK UNITS
TXI SERIES 16 / 48 / 80 GPIs PER FRAME
TXP-16
SOFT CONFIGURABLE IN / OUT - WET / DRY
IMAGE VIDEO
WWW.IMAGEVIDEO.COM
Profiles
GAME CREEK VIDEO

Encore Embraces IP; Peacock, Maverick Roll
By Ken Kerschbaumer
ame Creek Videos Encore ushered in a new era

of large-eventtruck design, offering not only a
massive physical footprint but also a massive bandwidth
infrastructure when it launched for Fox Sports in March.
However, that wasnt the only high-tech unit Game Creek
debuted in 2015: the two-trailer PeacockOne, which
debuted for NBCs NASCAR coverage, and Maverick,
which replaces Yankee Clipper in the companys fleet.
Equipped for large-scale productions, Encore is also
ready for next-generation production formats like 4K/
Ultra HD.
When we design a truck, we look to get eight years
out of it. We knew that a baseband-routing design would
not get us through the next eight years, even at 3 Gbps,
says Game Creek Video President Pat Sullivan. Also,
with monitoring demands for the U.S. Open topping
1,200 images, we knew we couldnt hit that number with
baseband routing. And we wanted a lot of headroom
[because] the shows grow; they dont contract.
The massive unit comprises three 53-ft. expando
trailers providing nearly 2,400 sq. ft. of production
space: 720 sq. ft. in the A unit, 905 sq. ft. in the B, and
675 sq. ft. in the C. The ceiling was built high so that the
expando pieces could nest together.
The thing I probably like the best is the ceiling
height, says Game Creek Video Engineering VP Paul
Bonar. But I also like that the graphics room or replay
areas in the B and C units can be back to back, front to
back, or even front to front and back to back at the same
time. Plus some of the benches have four different areas
that can be placed depending on the needs of the client.
Encores audio room is built around a Calrec Apollo
audio console.
The Encore front bench at the U.S. Open
The IP Infrastructure
lthough physical size is definitely newsworthy,

the real accomplishment is the move to an
uncompressed 10 Gigabit Ethernet infrastructure,
thanks to an Evertz EXE video-service router, Magnum
SDVN controller, 570IPG high-density IP gateways, and
the 3067VIP10G 10GbE multiviewer system, which can
drive 140 displays and route up to 23 Tbps of data, or as
many as 6,900 uncompressed HD-SDI signals as well as
4K/Ultra HD services.
[This] has been a development project between
Evertz and Game Creek, says Mike Davies, SVP,
technical and field operations, Fox Sports. [At the]
U.S. Open, this facility eliminates trucks and, in the end,
reduces costs.
According to Jason Taubman, VP, design and new
technology, Game Creek Video, the move to IP routing
was necessary given the large monitoring needs for the
U.S. Open, and it was Evertz that stepped up and had
the pieces in place to do uncompressed routing over IP.
There has been plenty of discussion on the role of IP
technologies in the traditional broadcast environment,
which typically makes use of baseband routing for
23 Executive Dr., Hudson, NH 03051

Tel: 603-882-5222 / Fax: 603-882-5444
www.gamecreekvideo.com
82
SD7B
SD9B
SD11B
SD5B
SD10B
DiGiCo Broadcast Series

Now including the New S21 Console and a complete range of DMI Cards for connecting the console, or the new Orange Box
to a variety of sources and destinations including MADI, AES, and Calrec Hydra2, which will enable the transfer of audio and
labelling between DiGiCo and Calrec.
S21
Orange Box
www.digico.biz
Exclusive US distribution: Group One Ltd Toll Free 877 292 1623 www.g1limited.com
Manufacturer of:
SMPTE Cable, Assemblies,

Panels, and Adapters
Neutrik OpticalCon Assemblies
and Adapters
Tactical Fiber Cables
and Reelers
HD/SDI Coaxial Cable
and Connectors
305-899-7900 | info@nemal.com
www.nemal.com
Microphone, Audio, and

Snake Cables
Hybrid/ENG Fiber-Copper-Power
All in One Cables
Got Fiber?
Route
Video and Audio Routers for small,

medium, and enterprise applications
Convert
Scalers and converters for SD, HD, SDI,

VGA, DVI, DVI-DL, and HDMI
Control
Programmable control panels and

software for monitoring your configuration
Stream
Award winning solutions for live

multi-channel streaming
www.pesa.com
Contact detailsU.S. Corporate Headquarters

PESA
103 Quality Circle, Suite 210
Huntsville, Alabama 35806
TEL: +1 (256) 726-9200
sales@pesa.com
Profiles

86
GAME CREEK VIDEO

remote production. One key issue is whether a move to
an IP infrastructure will change the way a production
team and its engineers work. Both Game Creek and
Evertz have worked to make sure the answer to that
question is no.
Our goal was to have the router operate exactly like the
baseband routers in our other trucks, Taubman explains.
The audio router is the same, and the presentation of the
video router is the same, but, in the middle, there is IP
switching. No one working in the truck is aware of it; the
baseband patch field looks like it always did.
He notes that another goal was to avoid latency; Fox
wanted to cap monitoring latency at 1.5 frames. That
means a move away from encoding and decoding in
JPEG2000 and toward uncompressed IP encapsulation
and decapsulation so that images get through the Evertz
multiviewers and onto the Boland monitors below that
1.5-frame threshold.
The IP infrastructure does more than just solve
bandwidth and latency issues. It also creates a new
philosophy when it comes to how physical spaces
within a truck are managed. For example, the A unit
has space for 25 EVS XT3 servers, each handling up
to 12 channels. But, thanks to the 320-port cascaded
IHSE KVM switch connecting the A, B, and C units, an
EVS operator can conceivably sit down at nearly any
keyboard and monitor workspace within the truck and
immediately connect not only to the EVS network but
also to graphics engines. And the B unit is set to accept
24 graphics devices.
A production unit is about more than a router
and replay devices, and Encore delivers on that as
well. The audio area features a Calrec Apollo and a
secondary Hydra router useful for handling incoming
audio signals from, say, across the golf course.
We added a lot more MADI and video monitoring
in the audio area, says Taubman. We used to have
three monitors, but now it has seven monitors with nine
images in each.
Other innovative audio engineering is from DirectOut
Technologies. Game Creek sought an audio-monitoring
device that provided an interface with a knob for each of
16 channels of embedded audio on an EVS channel and
enabled monitoring of any of them. DirectOut created
the MADI-based M16, and 64 of the devices are located
throughout the three units.
The front-bench production area also has enhanced
monitoring. Each Boland 32- or 24-in. monitor can
handle nine or 12 images. A Grass Valley K-Frame
production switcher provides 9M/E and has the
firepower for big-time productions because mix effects
can be split off for submix duties.
Encores massive replay area at the U.S. Open
Encore can also handle the massive camera

complement for a show like the U.S. Open. Two
identical, configurable video areas offer room for eight
camera shaders handling upwards of 40 Sony HDC2500 cameras with camera-control units wired to be
4K-ready. The trucks C unit has two edit rooms.
PeacockOne Follows NASCAR
eacockOne hit the road for NBCs NASCAR

coverage just two weeks after Encore rolled out.
NBCs decision to tap Game Creek was a departure: the
network historically has relied on NEP Broadcasting.
The opportunity presented itself, says Craig
Bernstein, director, technical remote operations, NBC
Sports. They have been great with the amount of
changes in the design we have done. Theyve been
exceptional in accommodating us.
For example, the original plan called for only one
Evertz router, but, with the choice of Sony HDC-4300
cameras units capable of high-frame rate or 4K all
the outputs from the cameras CCUs and BPUs (baseband
processing units) required the additional router.
We could do 4K tomorrow if we wanted to do it,
Bernstein adds.
According to Bonar, each router has 576x1,152
crosspoints, and the routers are linked via tie lines.
One of the Evertz VIP routers handles most of the
equipment; the second, all the monitoring needs.
The setup at our Encore unit for the U.S. Open was
the largest networked single production, but this is close
behind it, he says. And it could, conceivably, get bigger:
PeacockOne can accommodate 24 EVS XT3 servers.
Also on board is the EVS Xstore SAN storage device,
a first for a remote-production unit in the U.S., and
the entire facility is under the control of a Grass Valley
Kayenne production switcher.
PeacockOne comprises two units: PeacockOne
serves as the primary production, graphics, and
equipment area, and PeacockOneB handles replay and
audio.
NETWORK. AUDIO. VIDEO.

smart IP live production infrastructure.
o
aw
K
KIC
m
o
c
1
view
V__
ote4
rem
_
_
V
eo &
l Vid rface
a
n
io Inte ction
rect
Bidi io to IPe Produ
AudRemot
for
ct
mpa
o
c
e
phir
sap
ed
mat trol
ing
Autoing Con all Mix
B
x
i
e
M Clos
for
ce
erfa
I Int y
M
D tenc ng
i
o-H
IP-t Low-La onitor
r
fo ideo M
IP V
a 37
Nov
line
A__
DI
/ MAter
A
N
u
N
o
AVE io R
rid Rlay Aud
b
y
H g&P
Plu
g
ir
n-A
d O ole
e
c
s
an
Adv ing Con
Mix Radio
for
in
rfac
ality
-Qu -IP Inte
h
g
i
H io-to
Aud
.0
ool 5
T
s
i
V
ine
Eng
t
c
pa
Com
e
Nod
dio DSP
u
A
d
67
ar
AES Onbo
with
n
ce
erfa catio
r Intg Appli
e
s
U ldin
Bui
t
c
pa
C
E VS
JAD
S67
/ AE Card
A
N
nd
EN
RAVual Sou
Virt
5
1
0
ore
ro C
c
i
M
mc
2
ine
Eng
E
D
JA
7
ES6 r
A / A Route
N
N
o
i
E
RAVual Aud
Virt
al
vers
Uni worked ine
Net io Eng
Aud
r
you
t
e
G
ct
mpa
o
c
o
!
Law
here
e
t
a
upd
www.lawo.com
Always the Best.

Now Even Better.
The UTAH-400
T H 400 Digital Router is Better than Ever
TA
Ever.
long been established as the industrys best choice for any routing application.
including MADI routing, embedded audio processing, integrated multi-viewer options,
frame-sync inputs and clean-switch outputs.
ease of use with comprehensive management and monitoring features, including
SNMP, the UTAH-400 is even more clearly the best choice for your router requirements.
Contact us today for full details on how the UTAH-400 can solve your routing problems.
The Best in the Business
w w w. u t a h s c i e n t i f i c . c o m
Profiles
GAME CREEK VIDEO

PeacockOne has the same height treatment as
Encore. However, the expandos are different: one
side in each opens out 60 in.; Encores second side
expands out 57 in., and PeacockOnes opens 38 in.
But the shorter expansion also means shorter setup
PeacockOne debuted on July 4th weekend at the Coke Zero

400 in Daytona.
90
and teardown, vitally important to a production unit

constantly on the move.
This unit can be set up and torn down in less time
than it takes to set up the Encore B unit, Bonar notes.
Another feature with PeacockOne is that the distance
from the front bench in the main production area to the
main video wall is adjustable from 54 in. to 74 in.
This is one of my favorite control rooms because
of the high ceiling and it has lots of viewing angles,
explains Bonar. At the low point, the ceiling is higher
than in the original Fox trucks. There is also an air
chamber in front of the monitor wall that puts cold
air onto the monitor wall and then ducting behind the
monitor wall [takes] the exhaust out of the truck.
Other features in the main unit include tilting
monitors above the six camera-shading positions, a
move designed to make it easier for the operators to
properly shade and reduce neck strain. And the audio
room is larger than the one in Encore.
It has enough room to crawl under the console
and stand behind it, says Bonar. We could have put
the console further forward into the room, but then it
would have been like it was in a cave, and that would
cause problems with the sound in the room.
The PeacockOneB unit comprises two rooms and
has 11 modular replay-operator positions that allow
operators to slide left or right up to 18 in.
All the monitors are hinged, he adds, so that
they can swing out and we can easily get to the back of
the monitor. Weve never done the monitors that way
before, but we had limited space.
Tom Ginocchi, lead replay operator, NBC Sports,
says that, during NASCAR action, the replay-area team
covers everything on the track. This show is much
bigger than Football Night in America. Well be fullon with 10 replay operators handling the 51 cameras
covering the track as well as the in-car cameras.
RiverHawk Cloned
ame Creeks third remote-production unit,

Maverick, rolled out as a replacement for Yankee
Clipper, the venerable unit that debuted more than 10
years ago and is being given a refresh.
Maverick is a true clone of RiverHawk because we
needed another truck in the RiverHawk class, says
Taubman. The purpose is to have a double-expando
that does not need a B unit but is capable of having nine
EVS operators and 20 cameras. It is a workhorse truck,
and any of our engineers can run it.
The 53-ft. expandos working area measures 64 x 24
ft. Being a clone helped it hit the road quickly: it was
out the door in only eight weeks, two weeks less than a
usual integration.
Mavericks equipment includes a Grass Valley Kayenne
K-Frame production switcher with 4M/E and 96 inputs
and 48 outputs. An Evertz EQX router (396x684) and an
EMX audio router help tie the gear together, including
the EVS XT2 servers, the Calrec Artemis console, and a
ChyronHego Mosaic XL graphics system.
Ten Sony HDC-1500 cameras are aboard, with 11
Canon lenses (six are 75X) and camera support gear
Game Creek integrated Maverick in just eight weeks.
from Vinten, Miller, and Matthews. Mics include

Sennheiser headsets and stick mics, EV stick mics,
Beyerdynamic shotgun mics, and Sony lavalieres. An
RTS ADAM intercom system and Motorola radios
ensure that everyone can keep in touch.
Besides Encore, PeacockOne, and Maverick, over the
past 18 months, the company rolled out Discovery, Robo
1 (for NASCARs robotic-camera ops), B3 (a flexible B
unit), Edit 1 (which replaced FXs C unit for Fox), and
Edit 2 (which debuted at the World Series for MLB).
Were going to take a little bit of a breather, says
Taubman. But we have lots lined up in the next couple
of years.
THREE HITACHI TOP SPORTS PERFORMERS:
SK-UHD4000
SK-UHD1200
SK-UHD1300
Capture 4K with four 2.4K sensors

Hitachi uses proven technology to
deliver full 4K at a price slightly
higher than 2K broadcast cameras.
Outputs 4K [2160p]/1080p/1080i/
720p simultaneously.
Capture 2K with three UAIT

(Ultra-Advanced) CCD sensors
Extremely low noise HDTV image,
using 2.3 million pixel, micro-lens
array, native 1080p CCDs.
Superior picture quality, horizontal
and vertical resolution, dynamic
range response, sensitivity and
ultra-low vertical smear characteristics.
Outputs 1080p/1080i/720p
simultaneously.
Capture 2K with three MOS sensors

Three 2.3 million pixel 1080-line
progressive MOS Imagers, and
advanced digital processing
technology assures low-noise, and
high dynamic range pictures.
Outputs 1080p/1080i/720p
simultaneously.
Hitachi cameras: capture the best images at the best value!

Visit our Sports Video Group landing page at www.sportsvideogroup.com
Hitachi Kokusai Electric Inc.
Akihabara UDX Bld. 11th Flr.

4-14-1 Soto-Kanda Chiyoda-Ku, Tokyo 101-8980 Japan
Tel (81)3 6734 9432, Fax (81)3 5209-5942
URL: http://www.hitachi-kokusai.co.jp/global/index.html
Hitachi Kokusai Electric America, Ltd.
150 Crossways Park Drive, Woodbury, New York 11797 USA

Tel (516) 921-7200, Fax (516) 682-4464
General Information Email: HKA.info@hitachikokusai.us
URL: http://www.hitachikokusai.us
FIS BLUE
Your Premier Broadcast Fiber Optic

Manufacturer and Supplier!
With over 25 years of experience in fiber optics,

FIS Blue has the ability to offer products and services
for the stringent demands that broadcasters require.

Full Fiber Optic Cable Offering
Everything from bulk cable to SMPTE cable assemblies

and SMPTE test equipment to SMPTE tool and
cleaning kits, FIS Blue has your solution.

Large Inventory of Products
for Immediate Shipment

SMPTE-Ready Cabling
and Test Equipment

Fastest Lead Time on
Cable Assemblies in the Industry

Custom Manufacturing

Great Selection of
Fiber Optic Cleaning Kits

Technical Support

Repair Service
Tel: 3157688179 | Toll-free: 8773470091

www.fisblue.com | info@fisblue.com
Uncompressed
KVM and Video Signal Extension and

Switching for Remote Production Trucks
Modular
Flexible Reliable Space Saving
Redundant Hot Swappable Resilient
Supports All Signal Formats
HD UHD 2K 4K SDI DVI VGA Audio RS232/422
Seamless Integration
EVS Instant Replay Other Production Systems
High Bandwidth
Up to 10Gbps No Compression No Latency No Loss of Quality
Made in USA
The Worldwide Leader for Secure,
High-Performance KVM and
Video Extension and Switching Solutions
www.thinklogical.com
info@thinklogical.com
800.291.3211
Profiles
LeSEA PRODUCTIONS
HD S2 Targets
Sports Business
By Karen Hogan
eSEA Productions S2 truck fulfills the companys

need for an HD mobile production unit to attract
more sports clients. With its SD truck facing fewer
sports opportunities, the time was right for the
company to make the leap into high definition.
We have had, and still do have, a standard-definition
truck, and our business with that truck especially in
the world of sports has been declining, says Dave
Musser, video production sales, LeSEA Productions.
In fact, in most of 2014, the only sports network that
[took] our SD truck was ESPN3 for streaming purposes.
Essentially, it seemed that the demand [for HD] is
only getting stronger with more Olympic sports being
covered, and thats the reason we went for it.
The 40-ft. expando, designed and integrated by
Gerling & Associates, is particularly suited to sports
events where space is at a premium.
This truck is perfect for studio remote mainly because
its got a smaller footprint than a 53-ft. truck, explains
Dennis Dozier, engineer in charge for S2. You can get it
in a lot of places that a large expando wouldnt fit.
S2 features a 4.5M/E Grass Valley Kayenne switcher,
Kaleido-X multiviewer 142x134, and NVision router
with integrated AES audio; EVS LSM XT sevenchannel and four-channel replay servers, four-channel
SpotBox with Lance TDC 100 controller, and XFile
3; ChyronHego Mosaic; and Calrec Artemis Light 40
mixing console with full 5.1-surround capabilities.
The on-board gear, provided by AVI Systems, is all
interconnected via IP.
For the South Bend, IN-based LeSEA Productions
S2s Calrec Artemis Light 40 mixing console
S2 is LeSEA Productions first HD mobile unit.
team (a division of LeSEA Broadcasting), the

sophistication of the router in S2 particularly stands out.
Because its [integrated with] AES, you get a lot of
strength out of one cable, Dozier explains. You can
get 16 channels of audio down four wires embedded
inside that signal. You take the audio and marry
it to the video source, so you have one cable that
has everything:your high-definition video, your four
channels of audio. It makes for an easy installation:
less cables, less weight, and greater flexibility.
In addition, the truck also housesa 64-port ADAM
digital-matrix intercom, 12 powered RTS two-wire
intercom channels and eight-channel IFB system,
five AJA FS2 dual-frame sync/crossconverters, and an
80-display monitor wall. S2 can seat up to 15 people.
And, with wiring for up to eight cameras, S2 comes
equipped with six Grass Valley LDX WorldCam
cameras that can be configured for 1080i, 720p, or
1080p production. The company has three Fujinon
77X lenses with stabilizer and three 22X lenses.
LeSEA began the process of building S2 by meeting
with technology vendors at NAB 2014; construction
commenced in late December 2014. Having completed
the commissioning process in July 2015, LeSEA
traveled S2 to Indianapolis and Chicago for show
and tells prior to bringing the truck online in August
2015.
Said Dozier before S2 hit the road, We just want to
run it through all of its paces again, and were doing
that several times before we release the truck.
61300 Ironwood Rd
South Bend, IN 46614
+1 (574) 291-8200 www.lesea.com
94
MULTIVIEWER CONTROL made smart

The smart way to configure
our multiviewer timesaving,
efficient, easy + setup and
configure your walls in a breath
+ assign source signals via
drag & drop + match any layout
to any monitor output + swap
single monitors or walls +
change layout via drag &
drop + re-label easily + store
and recall user presets + use
with any mobile device +
The world leading Broadcast

Control and Monitoring System
Tom Cam
Jeff Cam
Cam 3
Cam 4
Cam 5
CCU 1
CCU 2
CCU 3
CCU 4
CCU 5
CCU 6
EVS 1
EVS 2
EVS 3
EVS 4
EVS 5
EVS 6
Cam 6
SPORTS FROM A DIFFERENT PERSPECTIVE
For more information, please contact Dan Grainge at 800.635.3824, or dan@fletch.com.
Profiles
MOBILE TV GROUP
38 FLEX Unleashes the Power of 6X Slo-Mo
By Jason Dachman
ox Sports Southwest has entered the age of largescale 6X slo-mo replay with the launch of its Mobile
TV Group 38 FLEX mobile unit. The two-trailer dualfeed production unit is the first of MTVGs new fleet
of FLEX mobile units, which deploy up to six 6X
slow-motion camera systems and can also serve full-4K
productions. Fox Sports Southwest has rolled out 38
FLEX in the Dallas-San Antonio market in 6X slo-mo
mode, with six Grass Valley LDX 86 cameras, the most
ever for an RSN production.
After beingpreviewed at NAB 2015 in April, 38 FLEX
launched in August for Texas Rangers baseball and
had an immediate impact on telecast and MLB replayreview operations.
The very first night that we had the truck, we had
three replays overturned in the game, and I can tell
you it was the direct result of having super-slo-mo
capability, says Fox Sports Southwest Senior Executive
Producer Mike Anastassiou. The clarity of the replays
is so definitive that there is really no question, which
simply wasnt the case with an HD camera. So it was
transformational for us the very first night out.
With the Rangers regular season over, 38 FLEX will
serve as home truck for NBA Mavericks and NHL Stars
games and will alsowork NBA Oklahoma City Thunder
and San Antonio Spurs dates until returning to baseball
in the spring.
Everyone gets to use all six super-slo-mo cameras
for every game; you dont usually have that many
super-slo-mos even on a national A game, says Mobile
TV Group President/founder Philip Garvin. They are
38 FLEX is MTVGs first 4K-capable mobile unit.
38 FLEX features a 105-display monitor wall.
getting upwards of three super-slo-mo angles on any

critical play, so it ends up really being a game-changer.
In addition to the six LDX 86 6X slo-mo cameras, 38
FLEX carries five LDX Premier HD cameras all with
Canon lenses (one 95X long lens, eight 72X long lenses,
one 10 x 4.5 wide-angle lens, and three 17 x 7.6 HH ENG
lenses). For Rangers baseball, the LDX 86s are located at
tight center field, low first, low third, shooting down the
first-base line, right field, and high third.
Though originally set to launch with Grass Valley K2
Dyno replay systems, 38 FLEX has four of EVSs new
12-channel XT3 replay servers (16-channel embedded
audio). Debuting over the summer, these servers
provided an optimal server for the LDX 6X slo-mo
cameras, which require three replay channels apiece.
EVSs new 12-channel replay units made it possible
to put two 6X cameras and two regular cameras on one
system, which basically gave you four-in and two-out,
says Garvin. That is just like a six-channel EVS, which
is the industry standard, but two are super-slo-mo.
We went with EVS [replay systems], he continues,
not because there is anything wrong with K2 [Dynos];
8269 E. 23rd Ave.

Denver, CO 80238
303-388-8500
www.MobileTVGroup.com
98
Flawless
Intercom
Performance
FreeSpeak II Wireless Intercom

Point-to-point and group communications in multiple
coverage zones.
Indoors. Outdoors. Or take it out on tours. FreeSpeak II
works even in the most RF-challenged productions.
Enjoy 18 hours of continuous talk time on the 7KHz wideband
audio system. The digitally-crisp sound experience relieves
ear fatigue and mitigates user frustration after extended
use. It sounds so good that users even forget theyre on a
wireless system.
Ensure full wireless coverage with 1.9GHz and/or 2.4GHz
five-channel, full-duplex beltpacks and active antennas. These
system components can be intelligently mixed to expand your
wireless coverage.
Be amazed by FreeSpeak II. Contact Clear-Com today:
www.clearcom.com
NEW!
1.9GHz
Copyright 2015. Clear-Com, LLC. All rights reserved. Clear-Com is a registered trademark of HM Electronics, Inc.
2.4GHz
Profiles

102
MOBILE TV GROUP
we were very pleased with how that was developing.
But, in terms of workflow for a regional sports network,
where they do only half their games on this truck and
half the games on road, they [had]a workflow problem.
If the truck was all K2 Dyno, they would need to modify
the files to work on EVS when they went to a non-Dyno
truck, which is almost all other trucks, and then they
would have had to modify [them] to come back. Once
it became apparent that this truck would focus more on
super-slo-mo than on 4K, we decided to go with EVS.
With up to six replay-operator positions (and one
tech-manager slot), 38 FLEX also features a fourchannel EVS XT3 replay-only server, a four-channel
EVS XS server for SpotBox (two channels per show on
duals), and XFile3 software.
Anastassiou adds, The XT3s and the XFile3 with
their new version of software make beautiful music
together. Its a marriage made in heaven in that its
flexible, its powerful, its transparent, and you can
easily record files in any format that you choose.
Built around a Grass Valley Kayenne K-Frame
switcher (7M/E, 96 inputs/48 outputs in HD, 40
inputs/12 outputs in 4K), 38 FLEX features a Calrec
Artemis Beam audio mixer with 56 faders (256 routable
inputs via MADI, 64 analog inputs), ChyronHego
HyperX2 graphics, a Grass Valley NVision 3G/4K router
(77x862), a Grass Valley NVision audio router
(9,216x18,432), a 105-displaymonitor wall, and an RTS
ADAM 96-port matrix system and Studio Technologies
IFB system for comms.
38 VMU, the companion trailer housing the visitor
show, has full access to all six super-slo-mo cameras
via its three EVS-operator positions. In addition, the
visiting show has directorial control over at least one
(and sometimes two) 6X slo-mo camera on every show.
Three switcher M/Es are assigned to 38 VMU, which also
features a Studer Vista 1 audio console (50 mono channels,
38 stereo channels), a seven-rack monitor wall with 58
displays, and ChyronHego HyperX3 HD graphics.
Garvin believes 38 FLEX sets a new standard: I dont
see us launching trucks in the future that dont have
at least six super-slo-mos. I truly think a substantial
complement of super-slo-mo cameras should be
absolutely standard for a pro sports event.
Anastassiou seconds that notion: I do think that
this truck is probably going to be a prototype for
regional trucks.
38 FLEX remains a 4K-capable truck (as demonstrated
at NAB 2015), with the ability to deploy eight 4K
cameras with eight records. According to Garvin, 39
FLEX, set to launch next year, will be capable of
handling 12 4K cameras. However, 38 FLEX will focus
MTVGs 38FLEX is built around a Grass Valley Kayenne

K-Frame switcher.
on HD 6X slo-mo production until the market for live

4K production heats up.
38 FLEX continues MTVGs migration from a singletruck, dual-feed production model to a two-trailer
model that provides enough space and technological
firepower for both the home and visitor production
teams. Last spring, MTVG launched 37HDX and 37VM,
its fifth two-trailer dual-feed system in three years.
Serving Fox Sports Detroit primarily, 37HDX and
VMU carry core gear similar to MTVGs first four twotrailer, dual-feed units: notably, a Grass Valley Kayenne
K-Frame HD switcher, which provides the home show
with 4M/E and a four-stripe control panel and the
visitor show with 3M/E and a three-stripe panel (a total
96 inputs and 48 outputs). 37VMU is fully networked to
the A unit with extensive fiber connectivity, making all
cameras and record trains and the RTS intercom system
available to both trailers.
37HDX carries nine Grass Valley LDX digital triax
cameras with Canon lenses and Vinten Vector P/T
heads, an LDK 6000 booth camera, and two LDX
ExtremeSpeed 6X super-slo-mo systems.
On the replay side, it has three six-channel EVS XT3
full-editing replay servers (4 in, 2 out) and two fourchannel EVS XT3 RO units (2 in, 2 out), and a fourchannel EVS SpotBox with lance control (two channels per
show on duals). 37VMU has two EVS-operator positions.
In addition, an eight-channel Grass Valley K2 Dyno replay
system handles the 6X super-slo-mo cameras.
Other key gear aboard 37HDX includes a 105-monitor
wall with Grass Valleys Kaleido-X multiviewer system,
Evertz video router (216x538) and Evertz EMR audio
router (96 analog, 48 AES pairs, 18 64-channel MADI
inputs and 244 analog, and 16-channel embedded
audio), ChyronHego HyperX2 graphics (VMU features
HyperX3) and two SketchHD+ touchscreen telestrators,
an RTS Adam 96-port matrix intercom system and Studio
Technologies IFB system, and RTS beltpacks and headset
boxes. 37HDX features a Calrec Artemis Beam audio mixer
(56 fader, 64 inputs, 265 routable inputs via MADI), and
37VMU is equipped with a Studer Vista 1 console.
For Critical MOBILE Applications
Gepco has the SOLUTIONS
CAB
LES
DISTRIBU
TION SYSTEMS
PANELS
BLIES
M
E
S
S
CABLE A
S
RIE
O
S
ES
ACC
A leading innovator of interconnect technology for the past 30 years, Gepco Brand delivers a full line of mobile broadcast solutions
for high-denition audio and video applications. Engineered and manufactured to industry-leading standards, Gepco Brand
products bring the clarity and reliability required for high-bandwidth data transmission in television, video production, staging,
outdoor broadcast and professional audio applications. With a complete range of cables, cable assemblies, breakout racks,
boxes and panels manufactured for any application and any conguration, Gepcos product line provides a turn-key solution.
Let Gepco deliver your broadcast solutions today!
P. 800.966.0069 P. 847.795.9555 F. 847.795.8770 www.gepco.com
NAVIGATING TECHNOLOGY IN THE

COLLEGE SPORTS LANDSCAPE
College sports-video production is booming, with campus
crews investing in live event production, videoboard shows, and
on-demand programming. The SVG College Initiative provides
a forum for colleges, conferences, and broadcasters to address
technology issues pertaining to future production technologies,
facility infrastructures, and distribution strategies, while offering
vendors an environment for showcasing thought leadership and
technology-workflow solutions.
Sponsored By:
Pantone + Solid Coated 2623 Process Match

C 70 M 100 Y 28 K 16
Process Black
C 0 M 0 Y 0 K 100
TO GET INVOLVED, CONTACT:

Brandon Costa, Director
SVG College Initiative
brandon@sportsvideo.org
TO BECOME AN SVG COLLEGE INITIATIVE SPONSOR, CONTACT:

Rob Payne, Managing Director,
Worldwide Sponsorship Development
rob@sportsvideo.org
Andrew Gabel, Manager,

Sponsor Development
agabel@sportsvideo.org
Profile
NEP BROADCASTING
SSCBS, EN2 Offer Next-Gen Tech
By Ken Kerschbaumer
EP Broadcasting rolled out two of the industrys largest

and most technologically robust production units this
year: SSCBS and EN2.
CBS Sports and NEP officially entered the era of IP-based
routing with the four-trailer SSCBS, which debuted in August
at the Wyndham Championship. It is serving as CBSs
production unit for golf coverage and for Thursday Night
Football and Super Bowl 50.
There are a lot of cool things about the unit, says Joe
Signorino, VP, systems integration, NEP. But it is the Evertz
IP routing system that brings an interesting amount of
flexibility and scalability. Its a pretty serious routing system.
The use of IP routing future-proofs the unit in a number of
ways. The unit is capable of handling 4K signals. In addition,
over the next year or two, a wide variety of production tools
are expected to make the move to IP.
The unit comprises three double-expanding 53-ft. trailers.
The A unit has a 15- x 21-ft. production area and a 15- x 18-ft.
graphics area (each with 12 positions). At its core is a Grass Valley
Kayenne Elite production switcher with 192 inputs and 9M/E.
The A unit has an NFL configuration and a golf
configuration, notes Signorino, but CBS can do whatever they
want, as the consoles and components can [be moved] around.
Besides the engineering and video area, the B unit houses
the main audio room (15 x 8 ft.) and the audio-submix
room (10 x 10 ft.), each with three operator positions. Key
equipment in the main audio room is a Calrec Apollo console
with 72 facers and Bluefin2 signal processing to provide 1,020
channels; in the submix room is a Calrec Artemis console
with Bluefin and 64 faders. DaySequerra upmix, downmix,
loudness-meter, and stereo-synthesizer gear is also in place
alongside B&W surround-sound speakers and an RTW digital
audio scope. A mix of Shure, Sennheiser, Sony, and AudioTechnica mics are also aboard.
Sound isolation was a major concern with the two audio
areas next to each other and also near the central equipment
room. NEP hired an acoustic-engineering group to eliminate
chassis-born vibrations from the audio room, with the use of
floating floors and acoustically tuned isolators. Dense rubber
absorbs additional noise, and the air-conditioning duct was
modified to tailor airflow.
The B unit posed another major challenge: how to handle
heat load from systems that are increasingly the equivalent
of massive computer-server rooms. And then there was
the 80,000-lb. legal weight limit. Adding air-conditioning
106
SSCBS serves as CBSs production unit for golf coverage and for
Thursday Night Football and Super Bowl 50.
to deal with the heat meant more AC weight, requiring

some of the heat-generating gear to be removed to meet the
weight restriction, which, in turn, lowered the need for airconditioning.
We have 45 kW of tech power in the B unit so it needs some
serious air-conditioning, Signorino points out. We modified
DENALI
16200 Stagg St.
Van Nuys, CA 91406
Tel: 818-841-7821
GLOBAL HEADQUARTERS AND
US MOBILE UNITS
2 Beta Dr.
Pittsburgh, PA 15238
Tel: 800-444-0054
Sales
Tel: 855-735-4310
U.S. MOBILE UNITS CHICAGO
915 Sherwood Dr.
Lake Bluff, IL 60044
CORPLEX
Tel: 847-582-8800
TRIO VIDEO
Tel: 312-421-7060
U.S. MOBILE UNITS
ALLENTOWN
1501 Lehigh St.
Suite 101
Allentown, PA 18103
Tel: 888-887-3627
NEP STUDIOS
112 W. 34th St.
21st Floor, Suite 2110
New York, NY 10120
Tel: 212-548-7727
SCREENWORKS CORONA
1580 Magnolia Ave,
Corona, CA 92879
Tel: 800-373-0450
SCREENWORKS NEWBURY
PARK
3641 Old Conejo Rd.
Newbury Park, CA 91320
Tel: 805-499-5555
SWEETWATER & AMERICAN
HI DEFINITION
7635 Airport Business Park Way
Van Nuys, CA 91406
Sweetwater: Tel: 818-902-9500
American Hi Definition
Tel: 818-222-0022
PR O .U SA.CAN O N .CO M
@CanonUSApro
UHD READY.
As global activity in 4K origination increases, we introduce our technologically-advanced family
of 2/3-inch 4K UHD Broadcast Lenses with optical performance that exceeds 4K resolution. These
highly-sophisticated box and portable lenses, developed for long-zoom and EFP television production,
and compatible with our HD lens controller systems, include the flagship UJ86x9.3B, the long-zoom
UJ90x9B, and the first-ever 4K wide-angle CJ12ex4.3B. Designed in collaboration with leading 4K camera
manufacturers, these lenses are critically-engineered to achieve more efficient light transmission,
maximize MTF at the center and outer edges of the image (even with the 2X extender), and provide
superb high dynamic range. In addition, these UHD lenses deliver even higher HD image performance
when used on standard HDTV cameras. Be UHD Ready.
2015 Canon U.S.A. Inc. All rights reserved. Canon is a registered trademark of Canon Inc. in the United States and
may also be a registered trademark or trademark in other countries.
Profile
NEP
the design so the high heat load is in the front of the truck.
According to Glen Levine, president, U.S. Mobile Units,
NEP, that modification was first used three years ago in the
EN1 unit. Putting much of the heat-generation equipment in
one trailer not only helped keep the other units cooler but also
reduced the number and length of interconnects.
The EN1, ND1, and SSCBS trailers have all been collaborations
with the networks, he points out. Our design teams were
pushed by those individual clients so each trailer gets a little bit
different. Were very open-minded on new ideas.
The C unit also reflects design changes. Housing a 15- x
27-ft. replay area and as many as 18 EVS operators, it has
two 12-channel XT3 units, four eight-channel XT3 units, a
six-channel XT3 SpotBox, and five XHub3 sharing networks.
Flex space within the trailer allows personnel to handle
transmission, editing, or virtual-graphics and other systems.
[SSCBS] also has IP and Cisco connectivity to the B unit
[home to the EVS XT3 servers], says Signorino. There is also
a Thinklogical KVM [keyboard, video, mouse] system with 320
ports and support for 6.5 Gbps.
The non-expanding D trailer can be used for overflow EVS
operators (as many as 25 operators can work on a production)
as well as additional edit and voiceover facilities.
Another important innovation is that the facility is IP all
the way out to remote locations. Dante audio combining
software, hardware, and network protocols to deliver
uncompressed, multichannel, low-latency audio over a standard
Ethernet network and the Thinklogical KVM system provide
flexibility, delivering uncompressed, high-resolution video,
audio, and peripheral data on a single stream over a single
duplex fiber or single Cat x cable. SSCBS is also the first mobile
unit to use the RTS Omneo intercom, allowing the entire
intercom system to be networked even from remote towers,
booths, or other trailers without the need for DT12 cabling.
Clients can expect IP to be a part of future production units.
Without coaxing, we probably [would have] waited for the
technology to get a little more mature before we jumped off
the cliff, says Signorino. But it is working well, and we feel
comfortable with it.
Adds Levine, No one knows what the future brings, but we
do know that IP-based production is down the road and that
other equipment will show up with IP connectivity.
In addition to SSCBS, NEP launched EN2 in April for
ESPNs Sunday Night Baseball coverage. It marked the first
time in a decade that the program had new facilities, and it
was the result of collaborative work between NEP and ESPN.
Its a massive leap forward in terms of technology,
and it has all the latest tools, like a Grass Valley Kayenne
Elite production switcher, says Chris Calcinari, VP, remote
operations, ESPN. Its really a pretty substantial leap.
110
NEPs EN2 served as home to ESPNs Sunday Night

Baseball this season.
The truck can handle up to 20 cameras and has eight eightchannel EVS XT3 replay servers and a 10-Gbps backbone,
making it ready for 1080p.
According to NEP Co-President Mike Werteen, the ESPN
Sunday Night Baseball truck was arguably one of the toughest
to design: MLB scheduling pretty much guarantees that, on
the day before Sunday Night Baseball, a Saturday game is
broadcast from the stadium by at least one regional network
and, possibly, Fox Sports. We are in the compound with
other trucks that are doing the regional broadcast on our set
day. So we need to stay in a smaller footprint.
That small footprint doesnt mean tight quarters. Brady
says the audio room in the A unit has plenty of space for a
large Calrec Apollo audio console. And the main production
area is laid out sideways, providing plenty of bench space. The
front wall features 32-in. monitors and eight 20-in. monitors,
giving the team the ability to pipe nearly 180 images into the
main wall. And the video area, which features room for four
operators, is also spacious.
In the B unit, the large replay area has an open floor with
operators sitting back to back, a layout that Werteen says
improves communication. There is also an edit room and an
audio-submix room.
There is perhaps no better sign of just how well EN2 has
been designed than that the ESPN Deportes production team
is able to operate out of the B unit, thanks to a small Grass
Valley 110 production switcher.
The EN2 unit, like many of NEPs recent projects, reflects
a transitional point in remote production: software-based
equipment and fiber connections are playing a much larger
role than even a few years ago. Coaxial cable still has
a presence, but the amount of fiber and KVM routing
has increased significantly and allows operators to move
to different positions in the unit and work from nearly
anywhere.
SHOOT
BEYOND
BROADCAST
As technology has evolved, so has the demand for a new perspective. With more content delivery options
than ever before, viewers want to see every momentboth on and off the field. RED combines the
ability to shoot professional quality imagespowered by the 19 MP RED DRAGON sensorwith the
durable, lightweight construction of the RED camera system to ensure that shooters will never miss the
big moment. Follow the action on a gimbal, shoot high-quality images for archiving and stills, broadcast
live images in HD or 4K, zoom in on the critical call for a replay, record your next highlight reel for the
stadium displaywhatever your needs are, REDs got you covered.
ITS NEVER BEEN A BETTER TIME

TO START SHOOTING ON RED.
FOR MORE INFORMATION ON RED PRODUCTS, VISIT WWW.RED.COM.
A New & Even Lighter

Frame for 2016
Highest Ceilings in the
Industry
By far the Lightest Weigh in the

Industry
Fast Setup & Strike
Opulent Interiors
The Only Automotive Look Exterior
Fred Gerling in sales at 740-965-2888

www.gerlinggroup.com
Profile
PROSHOW BROADCAST
New Opus Truck Targets At-Home Production
By Jason Dachman
ith at-home production skyrocketing, Proshow Broad

cast has been leading the way, catering to the likes of
Pac-12 Networks and ESPN in their efforts to deploy minimal
resources onsite and integrate the telecast in a control room at
the broadcast center back home. After rolling out a trio of
24-ft. HD Mercedes Sprinter vans (Solo, Trouper, and Busker)
over the past couple of years, Proshow has launched a 27-ft.
truck that increases both the equipment complement and the
footprint for at-home production.
This was really about the at-homeproduction market
and where we see it going, says Proshow Broadcast President
Tim Lewis. We have found ourselves at the forefront of
[at-home production] with our Sprinters, but we always knew
we would have to be prepared to take it to the next level. We
have clients that are pushing the boundaries of at-home and
want more cameras, lensing, and cable. So we set out to create
the next-generation [at-home mobile unit] with the same
operational concept and layout of our Sprinter and just put
it on steroids.
Dubbed Opus, the 27-footer builds on the knowledge taken
from the companys previous three Sprinter vans but scales
up the footprint (24-ft. to 27-ft. body), weight capacity (from
11,000 lb. to 26,000 lb.), and equipment offerings (standard
complement up from four to six cameras and six hard lenses).
The Gerling Nomad Series trailer (on a Peterbilt chassis)
rolls with six Sony HSC-300R HD triax cameras (wired
for eight) with Canon lenses, a Blackmagic ATEM 2M/E
16-input switcher, a Blackmagic 72x72 HD-SDI/fiber router,
Yamaha QL-5 32-fader digital console with Dante, and an RTS
ADAM-M intercom system with RVON and Dante/Omnio.
There is no replay or graphics infrastructure because these
operations take place at the central control room at home.
There are more accessories and equipment to make for
a potent package on the road, says Lewis. It does have an
audio board and small switcher, so it has enough versatility to
do a very small standalone production for entertainment or
news, but that is a secondary usage. It is designed specifically
as a truck to support at-home production.
Opus also boasts a more robust audio component than
the Sprinter vans, including a much larger audio board and
increased use of Dante audio-over-IP infrastructure for field
audio, booth kits, and intercoms.
We are using this truck as a test bed over the next year for
newer technologies on the audio side, says Lewis, so we have
built a fiber kit and are looking to roll a lot more of the booth
and field audio connectivity away from DT12 and onto fiber.
114
ProShows 27-foot Opus was built specifically for at-home

production shows.
Although capable of serving as a traditional mobile unit for

smaller shows, the unit was specifically designed and built to
serve at-home production for sports. Upon launch, it began
serving Los Angeles RSNs Time Warner Cable SportsNet
and Deportes on MLS Galaxy and WNBA Sparks away
shows. TWC deployed Proshow Sprinter vans throughout the
summer to produce Galaxy road games, using a production
model in which camera/audio feeds were sent to a control
room at TWCs broadcast center in El Segundo, CA. However,
with the Sprinter vans committed to Pac-12 and ESPN college
productions in the fall, TWC turned to Opus for its Galaxy and
Sparks road productions.
We have been doing Galaxy [games for TWC] out of our
Sprinters, which worked well, says Lewis, but it maxed out
every single input and output. We have now moved them onto
this new truck very successfully.
Proshow plans to roll out another two trucks based on
the Opus design in the next calendar year to accommodate
increasing use of at-home production.
We certainly see this [at-homeproduction market] is
growing, Lewis says. Clients have had great success in that
they have been pleased with the quality of production they
can deliver while reducing some of their costs especially
around travel. That is proving to be a winning formula, so it
seems inevitable to me that it will continue to expand.
b r o a d c a s t
12734 Branford Street, Unit 5

Pacoima, CA 91331
telephone: 604-293-1771
toll free: 1-888-776-7469
Its all in here to make a living or a movie.

The worlds first 4/3" large format, 4K handheld camcorder.
Introducing the AG-DVX200PJ. It takes creativity to a new level. Ready to go
with its integrated 13X Leica DICOMAR 4K lens that provides shallow depth-offield/selective focus. This rugged new camcorder captures 4096 X 2160 4K at
24p, 3840 X 2160 UHD and 1080p at 23.98p, 29.97p and 59.94p. Its 12 stops of
latitude from a V-Log Lite gamma curve and future-proof dual codec mode
for simultaneous UHD and HD recording ensures that you are equipped with
everything you need for success. Learn more at us.panasonic.com/dvx200.
2015 Panasonic Corporation of North America. All rights reserved.
The New AG-DVX200PJ
Analysis
2015: A Year of Consolidation
By Jason Dachman, Editor
ith the launch of massive next-generation trucks like

Game Creek Videos Encore and PeacockOne, MTVGs
38 FLEX, and NEPs SSCBS and EN2, 2015 marked a year of
transition for the industry. It isnt just new trucks, however,
that changed the face of the market over the past year.
The mobile-production business finds itself in a period
of consolidation, with a flurry of mergers and acquisitions
taking the industry by storm over the past year. Although this
is nothing new NEP Broadcasting and others have been
buying up smaller mobile-unit providers for several years
2015 seemed to take the trend a step further.
In June, F&F Productions finalized its acquisition of
Crosscreek Televisions HD Mobile Unit assets, including
four HD mobile production units and the engineering and
support staff. The move made F&F Productions the largest
facilities provider based in the Southeast and boosted its
GTX fleet to a total of 10 trucks.
Also in June, Dome Productions bought CBC/RadioCanadas mobile assets: three HD production units, three
support units, and all associated assets. The deal made Dome
the sole rental supplier of mobile TV-production facilities for
both CBC and Radio-Canada in the future. The announcement
came less than two years after Dome acquired CAMERON
PACE Groups quartet of 3D mobile units and converted them
to 2D HD production trucks following the live-3D-production
118
bust. Domes fleet is now the fourth-largest in North America,

trailing only NEP, Mobile TV Group, and Game Creek Video.
With an eye on the growing market beyond sports
entertainment shows, concerts, music festivals Live Media
Group Holdings launched Live Mobile Group in August with
the acquisition of Sure Shot Teleproductions and TL Mobile
Television. With the goal of becoming the largest resource
for midsize trucks in the U.S., Live Mobile Group now
operates Sure Shots 10 vehicles (notably, six HD combination
production/transmission units) and TL Mobiles 51-ft. HD
expando unit.
These deals follow NEP Broadcastings acquisition of
more than 10 companies in the past three years, including
European-based Outside Broadcast, RecordLab, and The
Screen Scene Group in 2015.
And then there is the growth of Alliance Productions,
which has added four companies this year alone Kodiak
Mobile, TL Mobile, CMG Mobile Productions, and Raycom
Sports with more growth expected.
Add in a handful of smaller deals, such as Mobile Production
Studios (MPS) acquisition of a pair of trucks from Token Creek
Mobile Television, and its not hard to see how consolidation in
the mobile-production industry has marked 2015.
With the mobile-production business booming as 2016
approaches, this trend isnt likely to end anytime soon, as the
industrys biggest players look to grow and smaller outfits
look to safeguard themselves by joining forces.
For nearly 60 years Dale Pro Audio has served the Broadcast, Post Production,
Studio Recording, and Live Sound/Installation markets with distinction.
Dale carries the industry's top brands, stocks thousands of products in two New
York City locations, and is staed by sales professionals second to none.
Our Broadcast Sales experts will guide you before, during and after the purchase,
oering real-world solutions that are customized for your needs.
B ecause relationships matter.

Flatiron District, NYC
22 West 19th Street
www.daleproaudio.com | 888-462-7828
Jamaica, New York

148-04 95th Ave
Azure
Media Services
Premium video workflows in the cloud

Live and VOD media delivery at scale
Highly available encoding and streaming
Support for Flash, iOS, Android, HTML5,
and Xbox
DRM support
Rich content monetization
Broad ecosystem of fully integrated partners
Integrated end-to-end media workflow

No more integrating multiple technologies
and products. With Azure Media Services,
you can build end-to-end media workflows
and reduce the costs associated with
integrating multiple products and providers.
Choose services from either Microsoft or its
partners that are integrated and
ready-to-use.
Azure.com/media
FLEXIBLE,
SCALABLE &
IMMERSIVE
AUDIO
SVG_2014_a.indd 1
10/3/14 2:49 PM
Never miss a single detail.
Help Deliver the Highest Quality Imaginable

Complete, comprehensive 4K Workflow Solutions
from camera to transmission to File Validation
Straight to your Customer
WFM83000 High Performance

Waveform Monitor
Quad link timing display &
measurement for 4K input signal
Video session display for
4K content
Upgrade existing units for under
$10,000!
www.tek.com/wfm8300
MPEG Analyzers
Aurora File Validation Suite
Next Generation Video Content

Suite of tools for creation and
analysis of Transport Streams
Fastest, Most Scalable

Automated QC on the Market
Diagnose of complex timing

problems in video over IP
and IPTV network equipment
Best in Class Frame Accurate File

Playback for Review and Approval
Innovative Program-Centric
User Interface
www.tek.com/file-validation-suite
For more information, contact Video Sales

at tekvideo@tektronix.com or (503) 627-1300
Proven 4K and ABR Capability
www.tek.com/file-validation-suite
San Francisco-based AerNow is a digital-media company with

embedded-video and data technology offering a diversified portfolio of software and hardware assets. Looking beyond the current consumer nature of real-time video capture and sharing,
the company envisioned integrating professional-quality video
with IoT and adtech innovation. With a full-stack solution for
digital content, distribution, and data management, the company
creates new value across and beyond the entire digital experience.
AerNow recognized the importance of incorporating real-time
data processing and chose SAPs SQL Anywhere as the technology to embed into its proprietary video servers (aka cameras).
These servers act as synchronous hubs for video, time, and frame
synchronized with other IoT devices and a center for communications transactions.
Alliance
PRODUCTIONS
Now in its 17th year of business, Alliance Productions continues

to provide customers and clients with quality HD trucks and
superb customer service. Comprising 11 partner companies,
Alliance is a strategic collaboration of the largest group of mobileproduction companies covering North America.
In August, Alliance Productions held its ninth-annual
Technology Expo in Indianapolis. Its partners, as well as selected
invited guests from within the mobile-television industry, were
able to spend high-quality one-on-one time with the vendors and
learn more about their product lines, as well as make requests for
future purchases. This event, along with the Alliance Productions
NAB Party, helps distinguish Alliance from its competition and
reinforces the company dedication to a total production experience that exceeds expectations by excellence of service, facilities,
and staff.
Alliance Productions has experience in live sports coverage, entertainment, corporate events, news events, religious
broadcasting, and Webcasting on local, regional, national, and
worldwide telecasts.
AVS, a leading provider of HD RF cameras and aerial production, inventories more than 60 Link Research HD RF systems,
including the compact and innovative Link 1700, which transmits
1080p. The company also has three gyro-stabilized Cineflex cameras for aerial coverage of major sports events and reality shows.
The company was the first to integrate Sonys new compact
P-1R into the RF Steadicam configuration. It is the preferred
Steadicam package of Dancing With the Stars, The Voice,
American Idol, Americas Got Talent, So You Think You Can
Dance, CBSs Thursday Night Football, and Foxs Womens
World Cup coverage from Vancouver, as well as a host of awards
shows, including the Academy Awards.
AVS also provided HD RF cameras and aerial coverage of
NBCs Sunday Night Football, ESPNs Monday Night Football,
MLB Playoffs, World Series, CrossFit Championships, The British
Open, and reality shows Deadliest Catch and Bering Sea Gold.
Staying true to its mission to help clients engage fans and enhance
teams, Alpha Video provides the technologies that cover all its
primary solution segments. In the Live segment, the company
completed HDcontrol-room upgrades at PNC Park and Paul
Brown Stadium, added a second HD control room at Oklahoma
State University, and rolled out ESPN3 production systems to all the
Missouri Valley Conference member institutions. It is also working
closely with the Minnesota Vikings on the control room for US Bank
Stadium, which will be the teams new home in 2016. In the Team
segment, Alpha Video completed the A/V systems at Kansas State
Universitys new Vanier Football Complex and is working with
several other clients on new team facilities. In the View segment,
Alpha Video launched its CastNET SportsView digital signage and
IPTV solutions and completed their first large implementation in the
University of Kentuckys Commonwealth Stadium. Regardless of the
facility or need, the Sports Group has a technology solution that will
help clients engage fans and enhance teams.
As one of the countrys premier providers of end-to-end video

and audio solutions, AMV offers a full spectrum of production
services, including mobile production units, sound stages, post-
Headquartered in Chicago, AMST by Kentucky Trailer is a

leading, world-class manufacturing company with nearly
three decades of experience designing and building custom
MOBILESERVICESPROVIDERS
3g Wireless teamed with Red Bull Media to develop a wearable

ultra-small POV helmet-camera system that allows viewers to
see first-hand what its like to speed down a Red Bull Crashed
Ice Series course. The second-generation 3g NGP system, which
debuted during Red Bull Crashed Ice World Championships in St.
Paul, MN (broadcast on Fox Sports 1 in the U.S. and live to rest
of world on RedBull.tv), is a single-unit self-contained system. It
does not require two pieces to be mounted to the helmet or any
backpack apparatus. Weighing just 9 oz., it contains a fully functional COFDM Tx transmitter, standard battery, and imager. The
key differentiator is that the second-generation unit is paintable,
and RF functions can be controlled remotely from the mobile
unit. The system also has minimal impact on the athlete, since it
is small and lightweight, and boasts a long battery life (1.5 hours
in ideal temperatures).
production, streaming services, equipment sales and rentals, and

centralized master control. The AMV team commits to serving
clients and building relationships, catering to the individual
needs of each production with unparalleled attention to detail.
From video and audio engineers, camera operators, editors,
graphics specialists, and sound designers to production support,
AMV boasts an experience level to rival anyone in the broadcast
industry with a solid team of smart, strategically driven and
highly trained thinkers. By integrating new technologies and
existing capabilities, the company continues to push the envelope
and meet the needs of any production.
125
Undefeated.
When our infrastructure goes up against
7.1 TB of data, the fans always win.
At the biggest football game of the year, fans dont want to just watch the game.
They want to experience it. This year, that meant consuming an unprecedented
7 terabytes of wireless data in and around the stadium. Luckily, our infrastructure
was in place to make sure carriers could handle the spike in data flawlessly,
which was a huge win for the fans.
The Foundation for a Wireless World.
CrownCastle.com
2015 Crown Castle
Try it now
imagenevp.com
SPORTS
VIDEO PLATFORM
Protect your sporting legacy

Imagen Sports Video Platform helps federations, clubs and rights
holders to preserve and protect their greatest sporting moments
Fans are on
all screens.
Are you?
The biggest brands in sports entertainment rely on Aventus

the industrys first cloud-based, live OTT video service
for streaming events and live linear channels.
Learn more at www.iStreamPlanet.com.
1.702.492.5900
info@iStreamPlanet.com
Mobile Services Providers
television/broadcast-production trailers. As an ISO 9001:2008

certified company, AMST is focused mainly on being the
best in the world at design, build, and service solutions for
specialty trailer, custom transport, and mobilized business
markets. To date, AMST has worked with such customers as
Game Creek, Mobile TV Group, NCP, NEP, Token Creek, and
Trio Video. It continues to explore new technologies, materials, and knowledge to bring the most advanced product and
services to the industry. Parent company Kentucky Trailer,
founded in 1879 and a leader in specialty-truck and -trailer
markets, builds custom units designed around customers specific needs, resulting in a faster customer response and moredurable and highly reliable television-production trailers.
ARCTEKs travels continued in 2015, starting with Big Ten

basketball. The company transmitted nearly 100 Big Ten games
in the first three months of the year, just a part of more than
200 games it transmitted when other conference match-ups
are factored in. This winter, ARCTEK was involved in nearly 20
multicamera multiplexed games transmitted via satellite as an
alternative to conventional remote sports productions.
Since May, ARCTEK has been transmitting AMA Motocross
races, following the circuit from coast to coast, as well as World
Cup soccer coverage for 35 days for a Japanese network. For the
AMA Motocross circuit, the company transmitted a six-HD-multiplexed signal out of its C-band uplink truck on a single 36-MHz
satellite transponder. In July, it transmitted the MLB Home Run
Derby at the All-Star Game in Cincinnati. In the fall, with football
in full swing, its five Sprinter satellite trucks were running coast
to coast since late August.
ARRIS is a global provider of entertainment and communications solutions that enable media programmers and MVPD
service providers to deliver video, voice, and IP data services. The
company is a leader in video-processing, digital-video, and IPTVdistribution systems, content-protection technologies, consumer-premises equipment, broadband-access infrastructure, and
data-management products. ARRIS solutions are complemented
by a broad array of services, including technical support, system
design, and system integration.
The company has a 60-year legacy of advancing industry progress in TV, Internet, telephony, and the connected home, including firsts in digital TV and wireless broadband. The acquisition of
the Motorola Home business in 2013 positioned ARRIS to deliver
technological innovation across the entire content-delivery chain,
from creation to consumption.
The companys solutions span the cloud, network, and home
providing a holistic approach to solving the fundamental
industry challenges of broad content delivery, network scalability, and service monetization.
AzzurroCam is an intuitive, all-in-one production system capable of

remotely managing cameras, audio, lighting, and production switchers. The turnkey solution includes a robotic PTZ HD/SD camera,
lighting, microphones, IFB, HD-SDI monitor, and touchscreen con-
130
troller. The system allows users to remotely control camera pan/tilt/

zoom/focus as well as painting functions. AzzurroCam also enables
control of multiple microphones, DMX lighting instruments, and
remote IFB dialing. Multiple locations may be controlled from a
single remote controller. Users can also control multiple cameras
and production switcher for a complete remote TV multicam studio.
Integrating Media Solutions
BeckTV not only provides solutions for fixed facilities but also
serves as a one-stop shop for mobile-production-unit design
and integration. Services offered range from space planning and
design to engineering, purchasing, integration, and even fabrication of specialized metal work, fixtures, and custom consoles.
BeckTV delivers these services within its clients budgetary and
timeline constraints.
Over the past 30 years, the company has accrued experience
in building video-acquisition, production, postproduction, and
broadcast facilities designed for the fast-paced world of collegiate
and professional sports. Recent projects in the sports arena include
installations for the NFLs Denver Broncos and Cleveland Browns,
University of Florida Gators, University of Missouri Tigers, KSE
at Dicks Sporting Goods Park Stadium, San Antonio Spurs at the
AT&T Center, and Frisco Rough Riders at Dr. Pepper Ballpark.
Bexel Global Broadcast Solutions expertly delivers unparalleled

production services and the latest in broadcast technologies for
a comprehensive range of rental equipment, leading systems
integration, and new- and used-product sales. For more than 30
years, it has supported major broadcasters in bringing the most
important events to a global audience.
Early in 2015, Bexel Global was introduced as the umbrella
entity for Vitec Groups portfolio of top-tier production-services
companies. With presence in five countries across three continents, the company can service an array of customer needs, with
technical support available 24/7.
Bexel Globals continued support for multiple professional-sports
leagues spans the NFL, MLB, and the NBA. The company brought its
technologies and engineering excellence to provide some of the most
advanced scalable production environments.
BSI completed a very successful three-year technical-engineering contract for the 2015 Pan American Games in Toronto as
the technology-solutions partner for the host broadcaster. And
it is showing no signs of slowing down. With the facilities and
personnel provided for the World Track & Field Championships
in Beijing in August and its technical-services contracts for the
Rio Summer Olympics starting in September, its technical-consulting services are expanding rapidly. BSI has grown its rental
inventory with increases in fiber, terminal gear, POV cameras,
Q3 cameras, EVS XT3 servers, and a complete 18-position commentary system including multiple IP codecs. This system,
along with the companys existing facilities, can accommodate
up to 40 positions and is complemented by its Q-Ball commentary camera systems. These two systems will be used as a package
at upcoming events, such as World Cycling and World Series.
Field Proven
- Olympics, FIFA World Cup
- Academy Awards
Reliable
- Hardware based
- Designed for 24x7 ops
Proven in the Market
- 1,000+ Deployed
- Operates with all major
vendors
Manufactured in the USA
ImmediaTV
2005 De la Cruz Blvd, #150
Santa Clara, CA 95050
www.immediatv.com
(408) 496-1256
16
0
2
n
gi
ro
p
C
HEV
in
m
o
c
s
duct
DELIVERING THE
MOMENT
With virtually every major sporting event
in the world using Nevion equipment to
deliver sports defining moments, making
the switch to a true, standards-based IP
infrastructure could not be in safer hands.
Nevions proven IP solutions for contribution
and for studio infrastructure deliver the
features and performance to enable a
smooth and cost-effective transition to
IP media production.
Technology available now.

Talk to the experts today:
Phone: +1 212 380 0550
Email: ussales@nevion.com
nevion.com
415.256.2800 | sales@jbanda.com
Easily nd and
reuse media assets
Workkow deened
shared storage solutions
Protect media assets

with LTO archive
As a dominant provider of wireless (RF)

technology and communications systems
for television broadcasting, BSI (Broadcast
Sports International) has led the industry
with cutting-edge technologies and exclusive turnkey solutions for more than 30 years. From concept through
design and manufacturing to turnkey service and product sales, the
company provides wireless broadcast solutions for TV sports and
media events that captivate, educate, and entertain the world.
BSI provides microwave transmission and custom remote-controlled miniature camera systems to the broadcast industry, delivering point-of-view coverage across a range of applications. The
company takes its expertise to a higher level with the state-of-the-art
Real Freedom camera-link system, providing maximum flexibility
for a variety of ENG, EFP, and studio applications. Highly skilled
teams of design engineers, manufacturing technicians, and operations personnel are empowered to meet the unique audio, video, and
communications needs of every customer.
CAT Entertainment Services (CES) is in its 10th year of providing

clean redundant power for ESPN and ABC college-football broadcasts, kicking off the season in September at SMU.
The arrival of the college football season marked the end of a
busy summer for CES. In June, it traveled to Vancouver for Fox
Sports broadcast of the FIFA Womens World Cup powering
the broadcast path at the main studio and set for coverage of the
2015 FIFA Womens World Cup.
Finishing up at Olympia Fields Country Club outside Chicago,
CESs 2015 USGA broadcast season included Fox Sports firstever broadcast of the USGA U.S. Open, at Chambers Bay.
Committed to broadcast-television and videoproduction design, engineering, and integration and know for knowledge, experience, and
confidence, CBT Systems has built a reputation
for providing systems of the finest quality and
performance. The company has completed projects demanding
imagination, innovation, and precision. Its combination of skills
allows it to provide clients with event and live-production facilities
unparalleled in the industry.
The hallmark of the companys success is due to the emphasis
placed on understanding clients programming and operational
demands coupled with development of a first-class system and facility in a timely, efficient, cost-effective manner. CBT Systems is a team
of dynamic and dedicated professionals with a common set of goals:
quality work, personable relationships, and client satisfaction.
CEI is an award-winning consulting, design, systems integration, and equipment-sales and -service
company in Newington, VA. It represents more
than 500 of the media industrys most valued
equipment manufacturers for project integration
and direct equipment sales. CEI also operates a large service and support organization, available to the sports-media industry nationwide,
from its Service Depot in Virginia and with onsite field repair and
maintenance services. CEI Service Engineers receive regular industry
training and authorized certification to keep pace with new products
and technologies. Sports-media professionals need the latest digital
equipment and expert services they can rely on, and that starts with
a proven and affordable service provider. CEIs energetic, highly
motivated team is focused on the success of our customers projects
134
In todays media landscape where content is king,

Chesapeake Systems provides the storage capabilities and collaborative video-workflow solutions
that sports and media organizations need.
Chesapeake Systems sees the big picture. The
company knows that scores of individuals are involved in shooting, editing, sharing, and archiving tremendous amounts of footage, which needs to be immediately accessible. As an IT-centric
media systems integrator, Chesapeake Systems is prepared to
provide the right workflow solution. Its experience runs the
gamut from collegiate sports to the NFL, and the company has
built strong relationships with many leading hardware and software vendors to help meet all client needs.
With offices in Atlanta; Chicago; Dallas; Houston; New York; Miami;

Baton Rouge, LA; Chicago; Toronto; and Vancouver, CineSysOceana provides exceptional hardware and software sales and support, as well as specialized services, to the media and entertainment
industry in most production centers across North America.
New this year, Clark Media is rolling out a 40-ft. 10-camera

expando that is HD- and 4K-capable. The truck will travel standard with a Grass Valley 4M/E Kayenne switcher, Sony HDC2500 SMPTE fiber cameras, and a Calrec Artemis Light audio
console and will comfortably seat 16 production positions.
With a vast inventory, the company can configure the truck to
meet exact production needs. Different record options include 12,
either AJA KiPro racks or Sound Devices PIX270i digital recorders.
Lens options available include Canon 14X wide-angle lenses, 22X,
40X, and 95X with heavy-duty Vinten Vector heads and legs.
CP has been providing solutions for audio
and video communications for more than
30 years. Since opening in 1985, the company has been supplying leading-edge
CP Communications technology rentals and custom engineering solutions while providing top-quality service. CP has the most
comprehensive, up-to-date digital-equipment rental inventory in
the industry. Its equipment and services include aerial video, custom engineering design/build, custom fiber-optic networks, HD
wireless-camera systems, HD RF mobile productions, frequency
coordination, mobile or fixed microwave systems, and wired and
wireless audio, video, and communications.
CP can provide a turnkey production solution or a box rental,
each custom-designed according to client needs and production
requirements, and CP approaches them with the professionalism
that has become synonymous with the CP Communications name.
Crosscreek HD Mobile Unit assets were acquired by F&F

Productions on June 15. The deal covered four HD mobile
production units and three B-unit support trucks. Integration
of the Crosscreek trucks into the F&F Signature GTX series
of trucks began immediately and has brought the F&Fs fleet
GO LIVE WORLDWIDE
Multicast cloud-redundant infrastructure enabling new
distribution models for broadcasting applications
Take a closer look at Masergy
Our purpose-built network platform delivers smooth, consistent, high quality HD video for remote
talk-backs, live shots and backhaul. That means live-interactive transmissions without compromising
video resolution, frame rate or lip-sync quality.
Thats why the worlds largest sports league networks use Masergy.
And why you should too.
WHEN IT HAS TO WORK, MAKE IT MASERGY.
. Guaranteed 100% packet delivery globally

. Ultra-low latency from anywhere in the world
. Ideally suited for HD-SDI in/out support with embedded in-band audio
. On demand bandwidth with real-time allocation, visibility and control.
. Affordable fixed monthly costs and unlimited usage
1 (866) 627-3749
www.masergy.com
info@masergy.com
Get More Value From Your Media

Sports organizations content libraries are among the deepest and richest in the media and entertainment world.
Masstechs comprehensive asset management, archiving and transformation solutions let you move your content
easily between your archive and production tools, freeing it to be used and re-used to its maximum potential.
Automated archiving and media movement effortlessly preserve and protect your content
Easier finding, sharing and re-use of content lets users create better productions more efficiently
Native transcoding and integration with hundreds of third-party systems eliminate workflow barriers
Lower, predictable costs no escalating, capacity-based license or support fees as your archive grows
Solutions for any scale, from stadiums and teams to leagues and sports networks
Trusted by leading sports enterprises for their critical workflows
Transform your content into assets
TM
Learn More: www.masstech.com sales@masstech.com +1 905-946-5723
to its largest size since its inception in 1980, allowing greater

capability to service new and existing clients throughout the
Americas. These acquired units have been officially rebranded
as the GTX-7 through GTX-10, yet they will maintain the
technological integrity that made them a leading choice for
mobile broadcast. Besides the assets acquired in this deal, key
members of the Crosscreek engineering and support staff
most notably, Crosscreek President Spruce McRee have
joined F&F.
In 2013, CSP developed an aggressive business model with

three objectives. First, was to continue to expand its mobileunit fleet with HD4, a 53-ft. unit with a 47- x 5-ft. expando.
The company surpassed this objective by not only building
HD4 but also building HD-B1, a 51-ft. straight trailer fully
integrated with HD4 via fiber. When HD4 and HD-B1 operate
together, the end result is remarkable. The second objective
was to offer mobile units at an affordable price. CSP achieved
this by focusing its energy on clients needs and understanding the industry. The third and most important objective is
customer service. Counting 335 years of industry experience
within its staff, the company provides a level of customer service that cannot be matched. CSPs fleet of five mobile units
are always ready to roll to provide an unbeatable broadcasting experience.
Founded in 1991, CTG is a recognized leader that brings

extensive experience, resources, and know-how to each client. Its quality approach has been consistent: to provide the
very best audio/visual and broadcast solutions available in the
marketplace.
CTG designs, integrates, installs, and maintains individually tailored systems. Regional and national in scope, it offers
a complete suite of products and services to businesses large
and small. The companys abilities in providing project and
integration services across the U.S. are further strengthened by
its affiliation with Professional Systems Network International
(PSNI), an international alliance of premier audio/visual-systems
integrators.
CTGs audio/visual- and broadcast-system experts earn client
trust with each project. Whats more, the company backs it all up
with outstanding and reliable service.
Diversified Systems has a proud history of success in design and

installation of advanced A/V solutions for sports venues. Since
its first arenacontrol-room project, the company has completed more than 50 large-scale A/V integration projects from
event control rooms to large venue sound and A/V solutions.
Diversified Systems has also designed and built more than a
dozen sports networks and more than 30 large-scale mobile units
in the past 20 years. Among its recently completed sports-venue
projects are Levis Stadium in Santa Clara, CA; Honda Center
in Anaheim; and Petco Park in San Diego. The company also
138
worked on a variety of network build-outs, including NBC Sports

Network, Time Warner Lakers Network, and Pac-12 Networks.
DNA Studios announced the opening of its 3,000-sq.-ft. broadcast studio. In addition to its six mobile units, including a new
HD expando, DNA Studios launched a live weekly football show
broadcast on Fox Sports Southwest in August. The studio is available for live media hits, interviews, and much more.
Dome Productions is Canadas largest
mobile-production-unit vendor, the fourth
largest in North America. Dome works with
all major broadcasters, leagues, production
companies, and other content creators, with
a major emphasis on sports and entertainment.
Dome owns and operates a fleet of 20 HD production trucks,
including the Unite purpose-built double-expando production
facility. This truck allows unilateral broadcasters the ability to customize the world feed for specific international markets. Dome also
owns a digital-media HD production vehicle, a Ku/C-band combo
production/uplink unit, and three Ku uplink tractors.
Dome offers turnkey international transmission services over
a number of platforms, including a state-of-the-art Canada-wide
GigE fiber network that also extends into New York. The companys established Network Control Center in Toronto houses
multiple carriers for interconnection and delivery worldwide.
Dome continues to provide host-broadcast services in design,
production, engineering, and operations for many international
sports events and world government projects.
An experienced, proven designer and manufacturer of trailers,

DRS delivers innovative solutions to integrate power, lighting,
communications, and sensitive electronic systems.
With the continuing drive to implement more technology and
capabilities in every mobile-broadcast trailer, DRS focuses the
companys engineering skills to provide more customer benefits
out of every new trailer it delivers.
DRSs RunLite Trailer is engineered specifically to provide
broadcasters more value with the highest reliability, lightest
weight, highest fuel efficiency, most safety, and accident avoidance in the most convenient design for integrating equipment
and space for broadcast technicians. RunLite Trailers provide
several modern trailer and Smartway technologies super single
tires, disk brakes, hub-temperature sensing, dual-direction auto
inflation, rollover sensing and prevention, and passive steer axles
in an all-aluminum, engineered lightweight chassis providing
substantial under-floor, any-way wiring.
Encompass is a leader in content capture, process, and delivery services. The company provides the worlds premier sports
leagues, broadcasters, and media companies with reliability,
efficiency, and simplicity and serves as a gateway for moving its clients assets across the globe. Encompass broadcasts
VISUAL SEARCH.
INSANELY FAST.
Do you know the ROI for your sports
sponsorship? Are you missing out on
new revenue opportunities? With the
ability to search massive amounts of
video in seconds, Nervves cutting edge
analytics provides industry leading
insights within sports & entertainment.
Get immediate answers to the pressing
issues that sponsorship & marketing
executives struggle with
each day.
www.nervve.com | info@nervve.com
Reseller Specializing in Video Storage Solutions
PROVIDING
Media Entertainment Sports

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

Purpose Built to
Handle the Demanding
Performance of HD, 4K,
8K and Beyond
Scalable Solutions to
handle all Workflows
from Ingest to Edit to
Streaming to Archive
LH COMPUTER SERVICES
Doug Cole DCOLE@LHCOMP.COM www.LHcomp.com 954.648.0171
Get closer.
Be remote.
High-quality local content holds the key to a loyal
local audience. But you cant be everywhere.
Remote production means you dont need to.
Send your cameras where the action is, and the
feed where your production is.
netinsight.net
Read more
900+ channels delivering content in a variety of languages

and a multitude of platforms. In addition to linear networks,
the companys digital services provide non-linear solutions,
including content aggregation, VOD, CVOD (C3), 24/7 streaming, event streaming, linear transport, and stream origination.
Through its Global Interconnect Fiber Network, clients have
the ability to manage, transport, archive, and restore digital
files to numerous platforms in various formats that can move
from facility-to-facility or any destination worldwide within a
seamless workflow. Primary services include channel playout,
digital services, disaster recovery, centralcasting, transmission (fiber, satellite, IP, satellite trucks), and studio/remote
production.
F&F began 2015 with its sights set on making big changes, and that
it did. In addition to many upgrades to its existing fleet, the company
also acquired the HD assets of Crosscreek Television Productions in
June. This purchase added four HD mobile units to its signature GTX
series, bringing its inventory to 10 A units and nine B units. With the
successful launch and popularity of the B-7s layout and technology,
F&F did a complete rebuild of its B-5 and B-6 to also feature 70-in. 4K
monitors with multiviewers, making these units suitable work spaces
for graphics overflow, streaming, robotic cameras, and editing. With
upgrades across its fleet to monitor walls and EVS replay servers, as
well as its large inventory of lenses and cameras, F&F engineering has
had a very busy summer.
Filmwerks returned for its 17th consecutive year at the US Open,

providing power and set-design support for the final tennis major
of the year, and this might have been the companys largestimpact performance to date. There are two pillars to Filmwerks
presence: power and climate control for ESPN in the broadcast
compound and the design and installation of sets throughout the
USTAs Billie Jean King National Tennis Center.
On the power front, Filmwerks deployed 27 uninterruptible
power supply (UPS) systems, with the result that the new broadcast
compound didnt use a single ounce of diesel fuel for the entire event,
including the two-month run-up. Filmwerks power grid is essentially a triple-redundant system with automatic transfer switches,
using in-venue power, the UPSs, and two large generators.
In addition, Filmwerks spent the past year working with the
USTA to completely redesign all eight of the sets scattered around
the Tennis Center.
Fall 2015 saw Fletcher kicking into high gear again in many areas,
especially with the start of both the college and the pro football
seasons. New Sony HDC-4300 cameras were out with EVS slo-mo
systems for CBS NFL coverage. NBCs Sunday Night Football
broadcast used Fletchers I-MOVIX, Grass Valley, and Evertz
DreamCatcher systems, as well as its goalpost cameras. SEC
Network deployed an nac system on its broadcasts, and ESPN had
several booth camera systems in rotation on its college-football
coverage.
142
Fox Sports regional coverage of the NBA uses Fletchers

new Pico camera systems, and NBC Sports is once again using
Fletchers robo-cams and in-net systems for its NHL broadcasts
this season.
The technical facilities for the 2015 US Open tennis tournament

were the culmination of a solid year of work on the part of both
ESPN and Gearhouse Broadcast, the internationally renowned
provider of production services that is no stranger to tennis
majors, given its role at the Australian Open. For more than a
decade, it has provided the technical backbone for that event.
Using the Australian Open as a template for the project,
Gearhouse Broadcast changed the very nature of the technical
facilities behind Arthur Ashe Stadium. For the 2015 tournament,
the facility was enclosed within a two-story structure whose lower
floor featured a massive Central Apparatus Room that housed
camera-control units, 32 EVS XT3 replay servers, two large Snell
Sirius 850 routers, and more.
Gearhouse also expanded the RF presence on the grounds with
the installation of diversity antennas across the grounds (and
within the tunnels of Arthur Ashe Stadium).
Gensler is a global design firm comprising architects, designers, planners, and consultants completing nearly 3,000 projects
yearly. More than 4,500 professionals networked across 46 cities
combine localized experience with global perspective.
Gensler Media has a notable history of developing broadcast
facilities within the sports world. Recent project successes include
Time Warner RSN in Los Angeles. Additionally, the firm has
recently completed work with NBC Sports, managing design and
construction of its 300,000-sq.-ft sports-production/broadcast
facility in Stamford, CT.
Gensler Sports is committed to creating unparalleled experiences through collaborative venue design and construction globally at the collegiate and professional level. It counts the NFL,
MLS, NHL, MLB, NBA, and the Olympics community among its
long-time clients. Current projects include design of the new stadium for MLS expansion team LAFC and the new Dallas Cowboys
World Headquarters in Frisco, TX.
With more than 20 years of experience in mobile design, Gerling

& Associates provides workmanship for domestic and commercial markets. Broadcasters trust the companys systems integrity
to produce the Super Bowl and a wide variety of sports events.
The companys services include all interior and exterior
design, custom mobile solutions, complete refurbishment warranty and maintenance, custom finish carpentry, and much
more.
Gerling builds 90% of all remote-television-production trucks
and trailers fielded in North America. An independent, familyowned and -operated corporation, Gerling is located in Sunbury,
OH, and its plant houses more than 140,000 sq.-ft. of production
space for the custom design, manufacture, and integration of its
vehicles. The companys engineers and craftsmen complete all
aspects of construction at its facility.
LTN FLYPACK: 13 x 9 x 22 / 29 lbs
Images: Boeing, Dreamstime, Alamy. The models are used only for illustrative purposes.
SATELLITE TRUCK: 13 x 8 x 30 / 29,950 lbs
The LTN Flypack

Twice the performance for 1/1000th the weight
and 1/2000th the volume of an uplink truck!
Contact LTNs Sports Group to learn more:
Tom Buffolano
Regional Vice President Sales
Phone: 917.359.0787
Missy Gralish
Senior Manager Marketing
and Communications
Phone: 412.996.9350
Email: ltnsports@ltnglobal.com
8600 Foundry Street I Suite G1E I Savage, MD 20763 I
www.ltnglobal.com
Contribute
Manage
Process Distribute
Consume
Extend Your Reach
Improve Economics
Simplify Deployment
Zixi End to End Software Platform

Deliver SD, HD, UHD over IP Error Free
Contribute
Manage
Process
Distribute
MPEG-TS, RTMP,
MPEG-DASH, HLS
Zixi Broadcaster
Consume

146
ID opened in 2001 with borrowed equipment and a pickup truck.

Today, it is a well-established company with Broadcast, Film,
Television, Automated Lighting, and Special Events Divisions. As a
member of the ARRI Rental Group, ID provides service to customers across the nation and around the world from locations in Los
Angeles and Charlotte, NC. A significant contributor to the growth
of the company, IDs Broadcast Division provides redundant power
as well as lighting and crew to multiple televised and live events
throughout the year. With another season of football under way,
ID is sending its redundant generator systems and freight haulers
to college and professional venues across the country to provide
broadcast power and additional support. A few of the other highprofile events that return to Illumination Dynamics year after
year are Sunday Night Baseball, Summer and Winter X Games,
Supercross, Boxing, MMA Fighting, and PGA Golf.
IMTs experts have worked with a variety of sports-broadcasting networks and teams to design and build out their mediaassetmanagement and postproduction systems.
IMT addresses the following major market sectors: Media
& Entertainment, Information Technologies (IT), Education,
Telecommunications, and Commercial Real Estate and
Hospitality Sectors. Through an active engagement process,
IMTs consultants and engineers collect, interpret, refine, design,
build, and maintain technology systems that deliver optimum
results for clients.
JMTV is a proud partner in Alliance Productions and currently

operates its HD mobile unit, Visions HD, from its field shop in
North Little Rock, AR. Visions is a 53-ft. HD expando unit, featuring a GV Kayenne switcher, multiple EVS replay servers, and
Sony cameras. JMTV is available for local, regional, and national
events and recently provided facilities for ESPN and CBSSN in
Alaska and Puerto Rico.
IMSP is a one-stop shop for all production needs. In 2015, the

company completed two successful end-to-end 4K live productions for TWC on the West Coast. The company is prepared to
lead clients 4K production needs. Now with five mobile units,
IMSP just completed its most successful year ever. With HD5, a
dual-side expando with user-friendly footprint, IMSP provided
broadcast production for the 2015 Verizon IndyCar Series from
the season start in St. Petersburg, FL, to its finale in Sonoma, CA.
The company also provides system management and technical
facilities for the new 2015 Verizon IndyCar Series app. As a top
provider of mobile TV production, IMSP also continues to provide mobile-production services for the Professional Bull Riding
Association, the Los Angeles Lakers, Barrett Jackson, the Indiana
Pacers, the Big Ten Network, Mecum Auto auctions, and more.
Kaufman Broadcast transportable uplinks are now equipped for

REMI (REMote Integration) broadcasts. This burgeoning technology for the backhaul of multiple live individual camera and
audio feeds to a fixed studio where the producer, director, commentators, and replay personnel are located. Currently on the
schedule are ACC, Big Ten, and American Athletic Conference
games. Moving production elements to the studio lowers the
overall cost of each live event allowing broadcasters to offer additional content to viewers through traditional linear and online
platforms. Kaufman Broadcast has more than 30 years of experience in sports transmission and remote broadcast production.
As a leading supplier of professional HD/4K specialty and highspeed camera systems for sports broadcasting, Inertia Unlimited
had a very busy and exciting 2015. Highlights include working on
the NFL Playoffs in January and continuing with with year-round
work on numerous NASCAR and UFC events.
During the spring, in addition to beginning the always
busy MLB season, Inertia helped kick off the Premier Boxing
Championships, which kept them busy all year, working with
Fox, NBC, CBS, ABC/ESPN, and Spike. The company was also
on location with multiple camera systems at the MayweatherPacquiao fight, collaborating with the Showtime team.
This summer brought the fun and excitement of Fox Sports
inaugural U.S. Open golf coverage, Wimbledon, the MLB All-Star
game, and the Open Championship at St. Andrews.
Kodiak continues to be very busy in 2015 with the addition of

several new clients as well as serving its returning customers. The
companys client-pleasing team worked numerous basketball and
gymnastics events for ESPN in the winter and spring and continues to supply facilities for CBS Sports Network cheer competitions and numerous corporate events. In addition, Kodiak was
proud to become part of Alliance Productions.
Between events, Kodiak has managed to upgrade Grizz HDs
intercom/IFB with Studio Technologies hardware and plans an
upgrade with new monitors and layout for the production monitor
wall. To keep up with client requests, Kodiak is also looking to add
another EVS server/SpotBox and an upgraded XFile3 system this fall.
Based in Broken Arrow, OK, Grizz HD is a 45-ft. mobile unit
with the same production tools that crews have grown accustomed to but in a smaller, more efficient package.
IMT provides scalable technology systems for business operations in the sports industries, including a specifically designed
Sports Digital Asset Management Service. For sports-content
owners and producers, having a digital-assetmanagement strategy has become an essential part of the business and affects
virtually every aspect of an organizations operations and future
multimedia ROI opportunities.
LH, a reseller specializing in video-storage solutions for media

and entertainment applications, offers solutions that provide
next-generation storage platforms providing content production,
distribution, and archive with the performance and reliability
needed to meet extreme production and delivery deadlines. The
company offers solutions with proven file systems, optimized
SVGEUROPE
SPONSORS
PLATINUM
EUROPE
GOLD
Aerial Camera Systems
Adobe
AJA Video Systems
Arqiva
Aspera
Avid
Axon
Bexel
Blackmagic Design
Broadcast Solutions
BroaMan
Calrec Audio
Canon Europe
ChyronHego
Clear-Com
Elemental Technologies
Ericsson
Eurovision
Evertz
Forscene
Globecast
Grass Valley
Harmonic
Hitachi
I-MOVIX
Lawo
Linear Acoustic
LiveU
Netco Sports
NeuLion
NewTek
Quantum
Riedel
Ross Video
RT Software
RT
SAM (Snell Advanced Media)
SIS LIVE
Sixty
Sony
Tata Communications
TSL Products
Viaccess-Orca
Vislink
Vizrt
OB/SI
ADI UK
Alston Elliot
Broadcast RF
CTV Outside Broadcasts
deltatre
ES Broadcast
Gearhouse Broadcast
NEP Visions
Presteigne
sonoVTS
Trimaran
WTS Media Group
Leading sports television executives from across Europe are at the vanguard of Sports Video Group
Europe. An independent affiliate organisation formed by the successful Sports Video Group in the
USA, its mission is to advance the creation, production, and distribution of sport content on all
screens via information, events, and industry initiatives.
Make sure your company and your industry are represented in this vital collaborative initiative.
Join SVGE today

www.svgeurope.org
ACCESS
THAT
MOMENTS
MATTER
TO
Spectra Logics solutions help you cost effectively and reliably archive your sports
content with unmatched scalability helping you maximize the value of your assets.
Our solutions help protect and archive content, ensuring its availability and accessibility
without the costs and complexities associated with traditional archives.
Improved Workflow Archive for Sports Broadcasters

Constant access: Extensive component redundancy and proactive monitoring
Maximize uptime: Customer replaceable parts, redundancy and custom support
options that maximize library uptime
Easily managed: Color touch screen interface & accessible anywhere using
Remote Library Controller (RLC) in standard web-browser
Never lose content: Data Integrity Verification, media health monitoring,
TeraPack cases for environmental protection and custom barcodes for
organization and efficiency
To improve your game with digital archive visit spectralogic.com/m&e
for video, in an end-to-end solution from ingest to archive that

are designed from the ground up on the foundation of providing
high-performance collaboration to leading post and broadcast
organizations. LH has a variety of manufacturers to draw from,
providing direct attached storage, Fibre Channel SANs, and traditional NAS to meet demanding workflow needs. LH Computer
Services has a proven history of providing solutions to clients in
the NBA, NCAA, and more.
Little Bay has had another stellar year of projects finishing on

time and on budget, including Congress Square Productions first
B unit, adding another mobile truck to Thistle Communications
lineage, upgrading Plymouth County Sheriffs mobile command
post to HD, helping launch a news bureau in Concord named
NH-1, and upgrading NEPs NCP XIV and B14, NCP X and ST-5,
NCP VIII and B8, and NCP VII. Plus, continued service contracts
for Boston College, Fenway Park, Massachusetts State Police, and
Putnam Investments have made for a busy year.
Little Bay is owned by the father-son team of Brian and David
Raynes. Their combined 60 years in this business lends itself well
to working closely with their customer base. Located in Dover,
NH, the building is large enough to accommodate many different
projects at the same time.
With fall turning to winter, Lyon Videos drivers have been busy
moving Lyon Video mobile units across North America, stopping
for frequently remotes. Client demand for high-speed cameras
and playback systems continues to grow, and the company has
recently added inventory of 4K UHD camera systems and DDRs.
Several people joined Lyon Video, including drivers, engineers,
and operations staff. It upgraded its business operating system
to version four of its cloud-based custom schedule and operations system, which is more user-informative and user-friendly
for clients and staff, allowing access to up-to-date information
any time.
Lyon Videos Special Projects Group completed integration
and installation of a new IP-routing Imagine Communicationsbased facility master-control room that has interoperability on
Level 3s Video IP service. The group provides technical-support
services and technical management for company clients.
Markerteks VPTR-1 is a rack-ready, 20- x 8.5-ft. deluxe professional video- and audio-production trailer with a generous ceiling
height of 6 ft. 6 in. Its a modern, fully equipped OB vehicle fully
air-conditioned and outfitted with heavy-duty electrical wiring.
Wired for AC shore power, a full-size 50-A 120/240-VAC service panel is pre-installed for your immediate and future electrical requirements.
Featuring a professional all-white exterior, the production
trailer looks great parked outside or inside an arena, corporate meetings, media tours, sports-video production, Webcasts,
downstreaming, religious programming, or news events. Also
provides a low-cost portable inside control room for professionals who need a quick and economical solution for broadcast and
cable productions close to the TV/shooting set. Cut/directing
150
can be done in real time during live transmissions to minimize

postproduction costs.
With 200 years of accumulated experience, the MEDIA180 professional trainers/partners team includes experienced broadcast
and video professionals with outstanding teaching skills. The
trainers team supports courses across every domain in broadcast
and video, as well as IT technology applied to the media industry.
The team also offers development of organizations around project management, RFP support, and vendor management.
The team delivers efficient and dedicated training focused on
skills development based on MEDIA180 approach and philosophy. The learning techniques allow existing personnel to acquire
new capabilities that support media companies transformation
with tangible and measurable return on investment.
HD
METROVISION
Production Group
From the runways of New York Fashion Week to the hardwood

floor of the Pac-12 Conference, with stops in between for Alpine
World Ski Championship Coverage in Colorado and MLB Spring
Training coverage for the Arizona Cactus and Florida Grapefruit
Leagues, Metrovision provides a full slate of production and
transmission services for a diverse group of clients nationwide.
The company offers a full spectrum of media and production
services, including mobile and live event production as well as
Ku- and C-Band satellite transmission services.
MPS is a proud partner in Alliance Productions
and currently operates three mobile units
from its home base in Columbus, OH. MPS
Hiawatha is a 53-ft. HD straight truck, fully
equipped with a GV Kalypso switcher, multiple
EVS replay servers, and Thompson cameras.
MPS Sterling is an SDI expando, capable of 16:9 and an excellent
solution for Internet and Webcasting, as well as legacy SD shows.
MPS is available for bookings on sports, entertainment, corporate, or religious events.
I N T E R N AT I O N A L
PACSATs production/satellite combo truck rules the West Coast.

The 28-ft. truck houses up to six cameras with CCUs and
features Ross Carbonite HD switcher (2M/E, 16 input), Ross
XPression graphics, Mackie 24-channel, RTS (12 discrete channels on 20 outputs), IFB (three discrete channels), sportscaster
headsets, embedders/de-embedders, crossconverter, Blackmagic
HyperDecks, 46-in. single- to multi-view monitor, TAC-6 fiber,
and Ku HD uplink. PACSAT continues to service the Western and
Southern states with its fully redundant Ku uplink trucks. Three
C/Ku dual-antenna uplink trucks are specifically designed for
high-profile sports backhauls with redundancy, monitoring, and
scoping in place. PACSAT has provided 28 years of outstanding
service and thousands of flawless events. An ideal compact production uplink truck that doesnt bust your budget but meets all
your needs for that small-scale event. The truck can also connect
to a fiber line. The attention to detail and a stellar performance
are paramount at PACSAT.
DELIVER DATA
The Way Your Fans Want to See It
9:41 AM
100%
@phizzle - Visualizations
made with Producer iX can
now be downloaded to any
device. Anywhere. Anytime.
Producer iX
Introducing Phizzle's newest, fastest
and most flexible data visualization
tool for broadcast.
www.phizzle.com
PHIZZLE IS A PROUD
SPONSOR OF SVG.
PRESERVE.
MANAGE.
PROTECT.
Creating and Recreating Unforgettable
Experiences
Oracle DIVA is the GLOBAL LEADER in CONTENT STORAGE MANAGEMENT

SOLUTIONS that ensure smart storage and easy access to your assets.
Oracle has created the FIRST ENTERPRISE-GRADE PRIVATE-CLOUD
content storage management solution.
Oracle DIVA is the TRUSTED PARTNER for 3 of the 4 LARGEST SPORTS
LEAGUES in the United States.
FIND OUT MORE
Copyright 2015, Oracle and/or its affiliates. All rights reserved. Oracle and Java are registered
trademarks of Oracle and/or its affiliates. Other names may be trademarks of their respective owners.
NAC Image Technology The most experienced manufacturer of

ULTRA SLOW MOTION CAMERA SYSTEMS
Highest Quality Image from a 3-chip CMOS

Ultramotion Camera
Real Time Flicker Suppression
Instant Playback
Full HD images at more than 10X high speed
Simple & Effective Workflow
The best live camera Continuous Live o/p
Handheld or Build-Up Operation
Providing quality and reliability since 1958
RF Camera from B.S.I. & Broadcast RF

Used extensively at the major International
Sporting Events of 2015
Highest Quality & Reliability available
anywhere! . . . Period.
www.nacinc.com
www.hi-motion.net
Lombard, IL-based Program Productions provides live event-production support and labormanagement services to major broadcast networks, sports, entertainment, concerts, conventions, corporate, and digital media.
The company recently partnered with the Green Bay Packers
and Journal Broadcast Group to provide crews, facilities, and
transmission of their preseason games. All games went well, and
the client was pleased with Program Productions efforts. The
company has also provided the production crew and transmission services for the Chicago Bears since 2008.
Additionally, Program Productions added new business and
worked with NEP and Univision to provide crewing services for
MLS games and Gold Cup events throughout 2015.
The company recently began operations in Canada, providing
crewing services for all provinces. Program Productions looks
forward to expanding its reach and providing expertise in the
country.
PRG serves a broad range of markets: concert touring, corporate events, trade shows,
special events, theater, television, and film.
The company provides the resources and
services that customers need at any and all
sites, efficiently and cost-effectively. Its staff offers years of experience serving the specialized needs of each market. For a given
market, PRG can provide a single discipline lighting, audio,
video or can bundle disciplines for an integrated solution that
meets the needs of the entire project.
The worlds leading supplier of entertainment and event
technology, PRG provides integrated services and equipment
including audio, video, lighting, rigging, staging, and scenery
and automation systems for these markets from more than 40
offices in North America, South America, Europe, Africa, Asia,
and Australia.
control room, standup location, and Ku-band satellite uplink

and has been on the road delivering live onsite studio shows and
reports throughout the season. The main front area of the bus can
serve as either a greenroom for talent and staff or a multicamera
studio. The single expando section features leather sofas and
pop-up tables, as well as seven LG LCD TVs equipped with a pair
of advanced digital-satellite-service-distribution systems that
allow up to seven channels to be simultaneously routed to the
monitors. Two robotic PTZ cameras and an LCD lighting strip
across the ceiling enable a show to be produced from the same
location. Behind the main front area is a small room capable of
serving as both control room and standup location (equipped
with another Panasonic robotic camera) for a single on-air talent
with a backdrop.
Premier Boxing Champions (PBC) restored
fight night to its primetime glory this year.
With elaborate productions that harness
innovative graphics and technology from
Burbank, CA-based broadcast-solutions provider Reality Check Systems (RCS), the entity is redefining how
fans watch boxing on TV and in-arena.
RCSs technology travels to fights in two portable systems that
simplify graphics operation for the world-broadcast feed of each
match, which is distributed to international channels. The systems allow PBC to easily deploy graphics and transition between
them to craft more-compelling stories for fans throughout the
broadcasts; RCS also designed the systems so that the host broadcasters can use the world-feed graphics workflow as needed, with
a smaller footprint. To develop the setup, RCS wrote proprietary
software that allows PBCs production hardware to communicate
with that of each host broadcaster.
RCS developed a solution for PBC-approved broadcasters airing graphics built by RCS and compatible with a custom timecode
server and round/clock application also created by the RCS team.
b r o a d c a s t
154
Summer 2015 saw the launch of Proshows newest truck, Opus.

Specifically built to service the growing at-home production
market, Opus travels with up to eight triax HD cameras and six
long lenses, as well as an extensive inventory of audio, intercom,
monitors, lighting, etc.
Opus has been on the road covering the MLSs L.A. Galaxy and
the WNBAs L.A. Sparks for Time Warner SportsNet/Deportes,
feeding multiple discrete camera, audio, and intercom paths to
dual control rooms in the TWCS Los Angeles Facility.
Proshow operates a fleet of six HD trucks from facilities in
Vancouver and Los Angeles. Four units are specifically designed
for at-home production; two are traditional 40-ft. production
units.
Proshows client list includes Pac-12 Networks, ESPN, Time
Warner, and more.
Events, TV productions, or theater performances: without the

appropriate wired and wireless intercom systems, crucial behindthe-scenes communications would not be possible. Riedel supplies both the right equipment combined with extensive projectmanagement experience.
Riedels outstanding reputation is supported by more than 20
years of professional communications experience and more than
2,000 successful projects per year. Whether for annual meetings, exhibitions, sports, or cultural events, wireless, partyline
or matrix intercom systems are required, Riedel Rental Services
always offers the most appropriate communications solution.
Riedel calls its approach Full-Service Rental: a flexible portfolio
of services that surpasses simple dry-hire to include project planning, logistics, setup, and operation. Specialized departments for
Motorsports and International Games ensure optimal service for
large-scale events, such as the Olympic Games or Formula 1 Racing.
A tour bus that PSSI rolled out for a major college-football package this fall not only increases brand awareness onsite but also
serves as a mobile live-production studio with full satellite-uplink
capability. Integrated by Frontline Communications, the mobileproduction bus is equipped with greenroom/live studio, small
RoboVision celebrated its 25th Daytona 500 this year, providing

20 specialty robotic camera systems for Fox Sports. Powered by
20 new Sony P-1 HD cameras and specially engineered track-side
high-speed pan heads, RoboVision has been instrumental in the
transformation of network racing coverage.
Well tackle your most challenging remote broadcast locations.

PRG. Your production services partner for remote sports production.
When it comes to remote sports broadcasting, you cant afford fumbles. Thats why you need
PRG on your team. Well handle every detail of your remote sports production, seamlessly and flawlessly.
Regardless of location or difficulty, count on PRG as your full-service production partner.
PRODUCTION RESOURCE GROUP
prg.com
Copyright 2015 Production Resource Group, LLC. Production Resource Group and the PRG logo are trademarks of Production Resource Group, LLC. All other brands or names may be trademarks of their respective owners.
4k
tOG
ista
SPORTS GRAPHICS TECHNOLOGY

Weve been delivering HD and even UHD
overlays and automated text to screen for a
while now.
Probably you know we support touchscreens,

tablets, oer a le based workkow and can even
live record on multiple channels.
Our tied to pitch analysis graphics have

been enhancing soccer, football, rugby and
many other sports for years.
Now we can deliver a camera agnostic 4k stitch

solution. Introducing tOG-Vista.
Be part of our game
www.rtsw.co.uk
In 1990, RoboVision pioneered racing by providing, for the first

time, two robotic systems for CBS Sports coverage of Daytona.
Back then, panning with a race car going 200 mph down the back
stretch was impossible; therefore, coverage was mostly from the
up-top cameras. Now, with robotic technology, a majority of the
race is covered by RoboVisions track-side, high-speed robotics.
RoboVision provides robotic camera systems for all 38
NASCAR Sprint Cup races. In addition to NASCAR racing,
the companys 2015 calendar includes specialty robotics for
the NCAA basketball tournament, PGA golf, and SEC college
football.
Rock-It Cargo is a world-class company in
the specialty-freight-forwarding and logistics
industry. With more than 200 employees
in 17 offices across the U.S. and around the
world, Rock-It can handle all international,
time-sensitive, fragile, and complicated freight moves.
Originally specializing in entertainment and live events, RockIt has expanded its business into many industries that need the
same special care and personal attention that the music industry
has depended on for 35 years.
Rock-It Cargo has served many international, high-profile sports events: the Olympic Games in Sochi, London, and
Vancouver; 2014 FIFA World Cup; Dakar Rally; FEI World
Equestrian Games; Formula 1; IBU Biathlon Junior World
Championships; IPC Alpine Skiing World Cup; Ironman Kona;
ISAF Sailing World Championships; ITU World Triathlon
Series; NFL International Series; Pan Am Games; PGA Tour
International; UCI BMX Supercross; USA Swimming Nationals;
U.S. Figure Skating Skate America; World Golf Championships;
and World Baseball Classic.
Ross Mobile Productions is a national mobile-production company that offers full-service production packages and rental
services. Designed around a tightly integrated Carbonite production switcher and XPression graphics core, each RMP FIN vehicle
delivers fiber and triax camera capabilities, an advanced communication system, and a dual-user eight-channel replay system.
This production power enables RMPs Mercedes Sprinter-size
vehicles to deliver high-quality, network-level productions at
affordable prices and meet consumer demand for coverage of
more local sports and other events.
Currently, RMPs trucks do productions in more than 30 states
and, this year alone, have served four major U.S. cable networks
and in more than 100 countries.
Satellite Digital Teleproductions provides remote satellite uplink

and downlink with multicamera television production. The
San Diego-based company features three trucks in its fleet,
including two HD units: the 40-ft. HD ExpandoLink HDLA and
HD Link. The company has made some recent technological
improvements, including upgrading its transmission capabilities
to MPEG-4.
SDTV finished 2014 with a bang, assisting ESPN on production of frenzied MLB Winter Meetings. The SDTV team put
in busy days at the December event, powering up the truck
158
as early as 6 a.m. and shutting down as late as 10:30 p.m. HD

ExpandoLink HDLA supported ESPNs onsite studio production.
The company also supported Fox Sports Wests production of
two state high school football-championship games at Angels
Stadium in Anaheim, CA.
SDTV has kept busy in 2015, working college basketball games
and entertainment programming.
Over the past 25 years, SMT has built a reputation in the U.S. as
a pioneer in the field of live-sports-graphics enhancements and
onsite messaging and is now at the forefront of the real-time presentation of object-tracking technology in live sports coverage.
SMT has developed and introduced its tracking-presentation
solution using its proprietary DMX 2.0 and Intelligence Engine,
which enable real-time content and positional data to be organized, collated, and synchronized into SMTs databases for presentation and delivery in a variety of ways.
SMT has designed and developed and continues to support
the official timing and scoring systems for the NBA, the NHL,
the PGA Tour, NASCAR, the CrossFit Games, and tennis and
golf majors.
Founded in 1985, sonoVTS has gathered
more than 30 years of experience in all areas
of broadcasting. A leader in system design
and integration, equipment rental and operations, service, and consulting, it distributes
professional broadcast products and also
manufactures hd2Line and Q-Line displays, its successful broadcast display-product lines. sonoVTS is headquartered in Munich,
with offices in Frankfurt, Cologne, and Hohenkammer that
offer production facilities of more than 100 employees to meet
client needs and projects. With international offices in the U.S.
and Austria, the company has become a leader in the broadcast
industry. Its departments include in-house product manufacturing and project manufacturing electrics, mechanics, carpentry,
cable technology which work together to successfully realize
customer projects to the highest-quality standards. sonoVTS
provides complete application-specific broadcast, video, audio,
intercom, and IT packages to customers.
SOS had the privilege to work on many high-profile events: the

FIS Alpine Ski Championship in Denver; Womens World Cup
in Canada; Pan American Games in Toronto; the Inaugural
European Games held in Baku, Azerbaijan; and many annual
events, such as X Games, NFL, NBA, and MLB.
The events planned and organized by teams in the U.S., UK,
Germany, and Russia moved efficiently and as planned. The
offices are simultaneously updated on new regulations and procedures to handle the 2016 Rio Olympics, because changes have
occurred since the FIFA World Cup in 2014. Current plans for Rio
2016 include onsite teams, air-charter flights, and the same doorto-door service offered to customers for the World Cup.
SOS is a diverse company that not only handles domestic needs
but also has an increasing international presence through wholly
owned offices and long-term partners worldwide, most recently
adding SOS Global in Moscow.
Sportvision is a global leader in next-generation sports insight

and entertainment. Using proprietary tracking technology to
collect a digital record of events, it transforms the data into
products delivered across multiple platforms to teams, leagues,
and media companies. The company recently partnered with
Fox Sports for the U.S. Open at Chambers Bay in Washington,
where it provided a number of telecast enhancements, including a range finder to help viewers see precise distances for key
features of a hole while helping talent describe challenges of a
players shot. Sportvision is also powering a number of new features that promise to upend the way sports are played, including a recent partnership with the Pacific Association where
the companys technology determined balls and strikes as an
automatic umpire in a minor-league game. And, earlier this
year, the NHL tested Sportvisions tracking technology during
its skills competition at the All-Star Game.
The Systems Group provides strategic, technical, and operational

analysis to global sports broadcasters focused on the design and
installation of advanced systems solutions. Services include consultation, architectural planning, system design, project management, vendor management, and advanced systems integration.
Consulting services include operational analysis, conceptual
design, architectural and HVAC planning, budget development,
and technical specifications. Recent design-and-build engagements include the NBA Network instant-replay systems rollout,
NBA arena-systems expansion, Comcast Sports mobile-unit and
studio expansion, MLB Network venue replay-systems rollout,
Madison Square Garden Network GardenVision, Turner Sports
arena cam deployment, and Star Sports Network operations in
Mumbai.
Token Creek provides mobile broadcast-production solutions for

networks, regional sports, local affiliates, corporate, and entertainment broadcasting. Featuring a fleet of three state-of-the-art
mobile television-production units with premiere technology,
a record of high-quality services, a team with years of remoteproduction television experience and a prime Midwest location,
Token Creek provides mobile units to sports clients like Alliance
Productions, Pac-12 Conference, Missouri Valley Conference,
ESPN, CBS Sports Network, NBC Sports Network, Fox Sports Net,
NFL Network, and NBA Entertainment, as well as NBA, MLB,
and NHL teams. Additionally, Token Creek has provided facilities
for CNN and CBS News.
Unity offers clients a strong portfolio of media-systems expertise

in high-growth and emerging markets. These offerings include
project management, systems design, equipment procurement,
logistics support, installation, testing, and commissioning services. The company has expertise in traditional and multiplatform
162
television origination, production, master-control and video

replay systems, IP-based video systems, network-operations
centers, networking and IT technology, mobile production units,
studios, remote-operations centers, and more.
In the past year, Unity has been involved in the following
sports-related design-and-build projects: Rogers Sportsnet NHL
studio and control room; ESPN DC2 audio-, production-, and
media-control rooms, video-edit suites, and two state-of-the-art
video-test and -validation labs; two HD production mobiles for
Dome Productions; and studio and control-room upgrades for
the University of Tennessee.
Sports-related build-only projects included Rogers TV mobileproduction truck; HD-equipment and control-room upgrades
for Monumental Sports & Entertainment; and NHL War Room
upgrades.
VER has one of the largest inventories of
broadcast equipment for live event coverage,
postproduction project, and studio or episodic
shoot. The companys inventory encompasses
an extensive line of products and formats,
including HD, high-speed, 3D and 4K camera systems, custom
flypacks, tape- or file-based players and recorders, fiber optics,
monitors (all sizes), switchers, signal processing, and terminal
equipment. VER is an equipment-rental resource to assure
success of corporate or television programs, sports events, and
reality productions.
VER also carries a broad range of creative solutions in indoor/
outdoor LED display; automated, LED digital lighting, along with
a full line of professional audio equipment. With 27 offices across
the U.S., Canada, and Europe, the company can provide equipment to anywhere in the world.
VISTA opened its doors in 1988 and pioneers value-added services to the media industry, always maximizing a clients reach
while effectively offering competitive prices. VISTA Worldlink
measures its success from the success of its clients.
Today, VISTA continues to thrive under the leadership of
founder Roy Liemer and his family, making VISTA one of the
last independently owned and operated companies in the media
industry. VISTAs independence offers the highly experienced
sales team the flexibility to offer creative solutions. The companys diverse relationships with carriers and service providers
worldwide distinguishes VISTA from the competition.
Throughout the years, VISTA continues to bring commitment,
expertise, creativity, and a spirit to each project, giving the corporation the highest client-retention rate in the industry.
YES Productions has been providing mobileproduction services since 1982. With quality
engineering design and great engineering
support, the company has built a reputation
on service and satisfaction for its clients. No
matter the size or complexity of the production, the companys
technical staff is there to ensure that clients receive complete
attention to every detail and dont have to worry about technical issues. For a smooth production, the answer is YES. Recent
updates to HD 1 include the GV K-Frame switcher and upgrades
to the monitor wall.
Q5X
Wireless Audio Solutions
Put an audio spotlight

on your stars
PlayerMic
AquaMic
RefMic
Used by professional sports teams worldwide

www.Q5X.com
We Provide
We Support
Air, Ocean and Road Transportation Services
National and International Sports Events
Air and Ocean Charter Services
Event and Ceremony Organizers
Multi-Vendor Project Management
Olympic Committees and Governing Bodies
Load-In/Load-Out Scheduling and Supervision
Production Companies
Project Warehousing
Broadcast Suppliers
Ocean Container Leasing
Sponsor Marketing and Promotion Teams
Global Customs Clearance
Events We Have Served:

Sochi Winter Olympics 2014 London Summer Olympic 2012 Vancouver Winter Olympic 2010
Dakar Rally FEI World Equestrian Games FIFA World Cup Brazil 2014 Formula 1 Brazil Formula
Drift Formula E IBU Biathlon Junior World Championships IPC Alpine Skiing World Cup Ironman
Kona ISAF Sailing World Championships ITU World Triathlon Series NFL International Series Pan
Am Games 2011 The PGA Tour International UCI BMX Supercross USA Swimming Nationals US
Figure Skating Skate America World Golf Championships World Baseball Classic
Damian Schantz
E: globalsports@rockitcargo.com
T: +1 310-351-7657
rockitcargo.com
ATL DEN EWR JFK LAX MIA ORD PHL SFO YVR | BUE MEX SAO SCL
JNB LHR MUC | SHA SYD TYO & more than 100 agents worldwide
ADVANCING TODAYS
CONNECTED SPORTS VENUE
Todays sports venues continue to enhance the live sports experience through
video, mobile connectivity, and much more. The SVG Venue Initiative provides a
forum for stadium, team, league, and broadcast professionals to interact, target
technical hurdles, identify trends, determine best practices,
and advance the fan experience.
Sponsored By:

C 70 M 100 Y 28 K 16
Process Black
C 0 M 0 Y 0 K 100
TO GET INVOLVED, CONTACT:

Rick Price

SVG Venue Initiative
rick@sportsvideo.org
Karen Hogan, Editor

SVG Venue Production Journal
karen@sportsvideo.org
TO BECOME AN SVG VENUE INITIATIVE SPONSOR, CONTACT:

Rob Payne, Managing Director
Worldwide, Sponsorship Development
rob@sportsvideo.org
Andrew Gabel, Manager

Sponsor Development
agabel@sportsvideo.org
Introducing Esfera
Sennheisers innovative 5.1
surround microphone system
elegantly creates immersive
surround audio from a single
pair of X/Y microphones.
Esfera simplifies workflows
for broadcast professionals by
efficiently capturing authentic
ambience using just two audio
channels, and converting this
audio information to 5.1 at any
point in the workflow - live or in
post-production.
Learn More:
www.Sennheiser.com/esfera
VENDOR
SERVICES
Courtesy of
Directory
The SVG Mobile Sports Production Yearbook
has again partnered with ProductionHUB to
offer a comprehensive directory for those in
search of crewing services, generators, satellite
trucks, and remote-production units.
ProductionHUB.com, a respected online resource, lists not only the vendors covered here
but also a wealth of other production-services
companies as well. The site also boasts one of the
top job boards in the industry, a valuable tool for

freelancers seeking work and for todays growing
number of sports networks and content creators.
Feel free to use the state-by-state U.S. services
directory here as a starting point for finding the
providers that best meet your needs, but also be
sure to visit ProductionHUB.com for the most
up-to-date information on potential suppliers
and service providers.
169
Congratulations to the
SPORTS
BROADCASTING
HALL FAME
OF
MARV
ALBERT
FRED
ALDOUS
DICK
BUTTON
SANDY
GROSSMAN
MIKE
PEARL
JERRY
STEINBERG
PAT
SULLIVAN
TED
TURNER
InductionCeremony
DECEMBER 15, 2015 New York Hilton
For table reservations, contact Carrie Bowden: carrie@sportsvideo.org
To learn more about their stories and contributions, please visit:

sportsvideo.org/halloffame
Crew Services
STATE
ALABAMA
ALASKA
Vendor Services Directory
Courtesy of
ARIZONA
ARKANSAS
CALIFORNIA
CITY
Crewsouth
Alaska Locations
Alaska Productions
Jeff London Productions
Burke Brothers Productions
High End Labor Pool
K-2 Production Services
No Jip Lighting
Reel Men
Film Gear Rentals
Computer Tradeshow Rentals
LocalCrew.tv
TCB Event Medical Services
M & M Video Production Services
All Crew Agency
Cast & Crew Entertainment Services
NABET CWA 53
Craterlion Productions
Creative Presentations
Eastword Motion Productions
800 Kamerman
Mac House Productions
DONCER ENTERTAINMENT
Surreel
The Camera Corps
Kwokman Productions
California Cart Builder
Lake Elsinore
Second Hand Souls Animal Rescue & Animal Actors
Los Angeles
Los Angeles
Oceanside
Sacramento
San Diego
San Diego
San Diego
Dialect Coaches Worldwide

Production Reference Services
Available Light/JT Services
The Studio Center
Crystal Pyramid Productions/Crystal Pyramid
Imageworks
Wire Wizards
Tom Piozet Home Planet Productions/Home Planet
Post.
Film Budget
ManaMedia
Wintech Video
Renee Garcia Casting/RG Casting
MMN Productions
Fortunas Catering
FastLights
Santa Barbara
COLORADO
CONNECTICUT
DISTRICT OF
COLUMBIA
FLORIDA
GEORGIA
HAWAII
174
COMPANY NAME
Birmingham
Anchorage
Kenai
Lake Havasu City
Phoenix
Phoenix
Phoenix
Phoenix
Phoenix
Little Rock
Alhambra
Alta Loma
Apple Valley
Auburn
Burbank
Burbank
Burbank
El Dorado
Fairfax
Fontana
Foothill Ranch
Fremont
Glendale
Hollywood
Huntington Beach
Irvine
Lake Elsinore
Santa Monica
Santa Monica
Van Nuys
West Hollywood
Denver
Fairfield
Hartford
WEBSITE
www.crewsouth.com
www.filmalaskalocations.com
www.guardianpictures.com
www. BBPTV.com
www.highendlaborpool.com
www.reelmen.com
www.filmgearrentals.com
www.localcrew.tv
www.tcbeventmed.com
www.allcrewagency.com
www.castandcrew.com
www.nabet53.org
www.craterlionproductions.com
www.cpresents.com
www.800kamerman.com
www. machouseproductions.com
www.youtube.comuser/doncer
www.surreel.com
www.cameracorps.com
www.kwokmanproductions.com
www.californiacartbuilder.com
www.facebook.com/Second-HandSouls-Animal-Rescue-and-AnimalActors-195629423840509/timeline/
www.dialectcoaches.com
www.prodrefservice.com
www.JTServices.com
www.thestudiocenter.com
www.crystalpyramid.com
www.imageworks.tv/
www.WireWizards.TV
PHONE
(205) 862-4271
(907) 783-2143
(907) 398-4440
(928) 566-1366
(602) 321-0398
(602) 225-2454
(602) 318-9845
(602) 225-2454
(602) 286-6800
(501) 920-3392
(386) 481-8783
(909) 980-4033
(877) 526-7306
(530) 823-7564
(818) 206-0144
(818) 848-6022
(818) 846-0490
(916) 293-1791
(415) 785-3897
(909) 519-1274
(949) 215-5888
(408) 837-3777
(212) 280 5149
(323) 464-3975
(714) 846-2461
(949) 468-0188
(866) 347-1010
(951) 529-7766
(323) 251-1944
(310) 275-8002
(800) 439-1605
(916) 564-9333
(619) 644-3000
(619) 512-3348
(619) 992-0549
www.homeplanetproductions.com
(805) 965-9848
www. filmbudget.com
www.manamediagroup.com
www.wintechvideo.com
www.reneegarciacasting.com
www.mmnproductions.com
www.fortunascatering.com
www.FastLights.com
(310) 899-1522
(310) 957-2733
(818) 501-6565
(323) 532-7264
(720) 335-5691
(203) 371-6177
(855) 922-5600
Washington
Broadcast Management Group
www.broadcastmgmt.com
(202) 609-7757
Washington
Washington
Washington
Washington
Bradenton
Brandon
Davenport
Davie
Hollywood
Lake Mary
Longwood
Melbourne
Miami
Miami
Miami
Miami
Miami
Miami Beach
Orlando
Sunrise
Tampa
Tampa
Winter Garden
Winter Park
Atlanta
Atlanta
Honolulu
GPI.tv
I.A.T.S.E. Local 22
The Camera 1 Group
Vidrios Imaging & Sound
Affect Films
Chance Entertainment Services
KPS
Reel Time Production Catering
Jolly Roger Images
Skystorm Productions
Complete Production Resources
David Waters Productions
3rd Degree Burns Films
Alcamay Entertainment
K-Tel Media
Neon Flair
Stonehenge Circle
Fa-Pi Productions
Crew Call
Mighty Grip and Lighting
Cameras International
Ren Scott Creative Marketing
Show Support Group
Hooah Studios
Lighting & Production Equipment
Hawaii Camera Rental
www.gpi.tv
www.iatselocal22.com
www.thecamera1group.com
www.vidriosis.wordpress.com
www.filmvideo.com
www.Chanceentserv.com
www. shoots.com/crew/2/Bill_Kavis.html
www. reeltimecatering.com
www.jollyrogerimages.com
www.skystorm.com
www.completeproductionresources.com
www. davidwatersproductions.com
www.3rddegreeburns.net
www.alcamayentertainment.com
(301) 461-7233
(202) 269-0212
(301) 252-1010
(301) 233-6594
(818) 253-1247
(407) 276-5749
(863) 424-3472
(954) 605-1655
(954) 658-3332
(407) 328-4747
(407) 767-5776
(321) 525-1290
(305) 747-5492
(786) 280-2116
(866) 525-1475
(305) 467-6556
(786) 333-3571
(786) 271-1523
(407) 363-9055
(954) 914-4164
(813) 831-1553
(813) 872-8350
(407) 654-3138
(407) 362-7715
(678) 421-6600
(800) 275-3721
(808) 735-3838
www.neonflair.com
www.stonehengecircle.com
www.fapiproductions.com
www.crewcallinc.com
www.vimeo.com/jayshropshire
www.camerasinternational.com
www.renscottcreativemarketing.com
www.HooahStudios.com
www.encompass.tv
www.lpe.com
www.hawaiicamera.com
*All information is subject to change. For the most current contact information,
please visit www.productionhub.com
Your Media + Our Solutions

Creating the Excitement
INGEST
All the steps of the way, arvato provides you with the best
possible solutions turning your viewers into excited fans.
PRODUCE
ARCHIVE
ITS SHOWTIME!
EDIT
QUALITY
CONTROL
DISTRIBUTE
Connecting Content & People
MEDIA ASSET MANAGEMENT
INGEST AUTOMATION
COLLABORATIVE EDITING
STUDIO PRODUCTION
Contact Us: +1 866 314-3622 /// s4m.arvato-systems.com
ARSY_SVG Anzeige_7x10in.indd 1
02.11.15 13:26
Courtesy of
Crew Services
STATE
CITY
COMPANY NAME
WEBSITE
PHONE
IDAHO
ILLINOIS
Nampa
Chicago
Chicago
Chicago
Grayslake
Rolling Meadows
Indianapolis
Ankeny
Hiawatha
Ottawa
Topeka
Chris Wade Media

Complete Crewing
KMP Video
Production Craft
Clarion Production Services
Evolve Chicago
Efroymson Services
Production Support Services
Metro Studios
Video Concepts
NewsTV Crews
www.chriswademedia.com
www.completecrewing.com
(208) 850-0400
(773) 645-2000
(773) 489-0300
(312) 829-0272
(847) 543-1188
(312) 985-7771
(317) 727-9860
(515) 965-3761
(319) 363-2002
(785) 273-9003
(800) 463-9788
Wichita
High Fidelity Productions
Louisville
New Orleans
New Orleans
New Orleans
New Orleans
Annapolis
Duckworks
Cajun Craft Service
Holub Film
Nola Medic
Tommy Staub Casting
Saltworks Creek Company
Annapolis
World Class Video
Baltimore
Bel Air
Fulton
Hyattsville
North Potomac
Potomac
Silver Spring
Sand Dollar Productions

OFerrell Productions
Crews Control
Crewits
Media Central
Asia Broadcast
Alacer Video Production Services
Ashland
MJN Productions
Boston
Boston
Boston
Boston
Brookline
Canton
Dedham
Gardner
Hudson
Watertown
Woburn
Clawson
Minneapolis
St. Paul
Kansas City
Lincoln
Las Vegas
Las Vegas
Las Vegas
Las Vegas
Las Vegas
Las Vegas
Las Vegas
Las Vegas
Las Vegas
Cranford
Gloucester City
Montclair
Woodbridge
Woodbridge
Albany
Buffalo
Hauppauge
Kings Park
New York
New York
New York
New York
New York
New York
New York
New York
New York
New York
New York
New York
FastLights
Heavy Digital
Lifestyle Furnished Apartments
Team, The Agency
The New England Institute of Art
Central Booking Service
Green Line Group
RJ Cleaning Service
StoneMedia Productions
PixMix Video Services
At Kaye Lites
Mezzanine
mnfilm-video.info
Crewlink
Sportstaff
Behlen Video Productions
Access Event Staffing
Avenger Productions
Brooks Vision Entertainment
Carafelli Productions
FiveSix Productions
JCS Broadcast Video Productions
Premiere Production Services
Production Central Group
Sin City Productions
On Camera Productions
Axis Video
Broadcast Operations & Engineering Services
The Creative Group
Valiant Video Production
FastLights
Odessa Pictures
Thaler Films
Jammin Design Productions
Roadhouse Catering
The Peoples DP
Cinesets Studios
Crew 1 TV
DailyHires.com
Film Friends
Filmwerk Media
Jeff Turick | 422 Films
Manhattan Place Entertainment
Max Curious Productions
Media Services Payroll
NBTV Studios
INDIANA
IOWA
KANSAS
KENTUCKY
LOUISIANA
MARYLAND
MASSACHUSETTS
MICHIGAN
MINNESOTA
MISSOURI
NEBRASKA
NEVADA
NEW JERSEY
NEW YORK
180
www.productioncraft.com
www.evolveimg.com
www.efroymsonservices.com
www.productionsupport.com
www.metro-studios.com
www. myavconcepts.com
www. Newstvcrews.com
www.facebook.com/pages/High-FidelityProductions/1630682023858132
www.morganatkinson.com
www.cajuncraftservice.com
www.holubfilm.com
www.saltworkscreek.com
www.netvibes.com/worldclassvideo#World_
Class_Video
www.oferrellproductions.com
www. CrewsControl.com
www.crewits.com
www.mediacentral.net
www.absatellite.net/services/index.html
www.alacervideo.com
www.facebook.com/pages/M-J-NProductions/104158439650284
www.FastLights.com
www.heavydigital.net
www.shorttermhousingboston.com
www.teamartistrep.com
www.artinstitutes.edu/boston
www.centralbookingservice.com
www.glgtv.com
www.rjcleaning.com
www.stonemediapros.com
www. pixmix.net
www.kayelites.com
www.mnfilm-video.info
www.sportstaffcrews.com
www.behlen.com
www.accesseventstaffing.com
www.avengerproductions.com
www.brooksvision.com
www.carafelliproductions.com
www.fivesix.com
www. jcsvideo.com
www.premierepro.com
www. sincity.productions
www. myspace.com/axis_video
www.marktowey.com
www.creativegroup.com
www.valiantvideo.com
www.fastlights.com
www.odessapictures.com
www.thalerfilms.com
www.jammindesignproductions.com
www.roadhousecatering.com
www.thepeoplesdp.com
www.youtube.com/cinesets
www.crew1tv.com
www.dailyhires.com
www.film-friends.com
www.filmwerk.tv
www. NewYorkDirectorofPhotography.com
www.manhattanplace.tv
www. maxcurious.com
www.media-services.com
www.NBTVstudios.com
(316) 262-6456
(502) 637-7840
(504) 881-6697
(504) 338-4567
(504) 715-6003
(504) 866-2175
(410) 280-5393
(410) 224-0204
(410) 344-1700
(410) 803-8967
(800) 545-2739
(888) 843 0060
(301) 217-0049
(301) 605-7629
(301) 754-0093
(508) 881-4211
(855) 922-5600
(617) 419-0043
(617) 221-3600
(617) 268-3600
(617) 739-1700
(781) 364-1880
(617) 229-6202
(978) 340-0930
(978) 568-1200
(617) 923-0102
(781) 932-0005
(248) 709-6560
(612) 339-7803
(651) 730-0478
(816) 505-5533
(402) 476-1100
(702) 485-1434
(702) 655-3339
(888) 446-2692
(702) 525-1129
(702) 749-5456
(800) 791-8671
(702) 248-2580
(702) 395-7216
(702) 389-5444
(908) 512-2643
(856) 379-0873
(973) 707-6362
(855) 900-5940
(732) 742-5548
(855) 922-5600
(716) 316-6710
(631) 851-2000
(631) 292-9632
(201) 981-0253
(646) 415-7782
(917) 544-5017
(212) 665-8277
(888) 696-1800
(212) 620-0084
(212) 645-6668
(917) 817-8721
(212) 682-2000
(212) 706-8200
(212) 366-9390
(646) 277-4900
The Metadata Experts
www.avpreserve.com
AIR SHOW
Cue the Replay
We know you dont get a second chance to capture a
game highlight. Thats why for over 40 years, weve
designed and integrated video and audio systems
that meet the unique challenges of our sports
clients. No matter what the application, our
mission critical solutions stand ready,
for anything.
SPORTS & ENTERTAINMENT GROUP
Solutions we offer:
HD Production Control Rooms
ESPN 3 Production Systems
HD Production Studios
Recent projects include:
Shared Storage Solutions
Asset Management & Archiving
US Bank Stadium HD Control Room

PNC Park HD Control Room
Paul Brown Stadium HD Control Room
University of Kentucky Commonwealth Stadium IPTV Systems
Kansas State University Vanier Football Complex A/V Systems
IPTV & Digital Signage

Broadcast Infrastructure
Team Facility A/V Solutions
800.388.0008 | info@alphavideosports.com | www.alphavideosports.com
At T2 Computing we know the solutions and industry standards required

to manage a companys critical media assets. We have managed
broadcast and film post-production for global media companies and are
known for experience, talent, and creativity in the media workflow space.
From production to archive, our highly experienced client and professional
services teams pinpoints and installs the most efficient and reliable tools
to develop end-to-end digital media solutions for broadcast, journalism,
marketing, sports, music, film, and post-production clients.
At T2 Computing, your experience and our experience matters.

Contact us and let us explain how our expertise can help you gain
greater business value.
www.t2computing.com
119 West 23rd Street, Suite 206, New York, NY 10011

212.220.9600 www.t2computing.com
Make Live Simpler

Based on LiveUs eld-proven patented bonding
technology, LiveU Solo oers the most robust and
high-quality bonded encoder at market price.
Li
LiveU Solo oers the best-in-class cloud streaming
solution based on LiveUs eld-proven bonding
technology, 10 industry patents, and integral LRT
(LiveU Reliable Transport) protocol. Optimized
for video performance, Solo delivers the rock-solid
video streams LiveU is known for by using LRTs
integral adaptive bit rate and forward error
cor
correction technology.
http://www.liveu.tv/lp-solo
Courtesy of
Crew Services
STATE
CITY
COMPANY NAME
WEBSITE
PHONE
NORTH CAROLINA
New York
Rochester
Rome
Saratoga Springs
Cary
Charlotte
High Point
Matthews
Raleigh
Technical Operations
Powerhouse 27
Entertainment Services
Carr-Hughes Productions Adirondack
LADIEKADIVA.com
Apex Video Productions
Gefen Productions
Production Management Specialist
7 Communications
On Location North Carolina Film & Video Equipment
Services
Swirl Films/Rentals
Studio 7 Productions
Production Services
Oklahoma Film Commission
2 Girls Catering & Craft Services
Doug Birnbaum Photography
Picture This Production Services
Portland Film Company
ROSTER
Axiom Custom Products
TheCrewStore
Wonderful Machine
Allied Pixel Services
Total Production Services
Cortron Media
ICA Creative
Towerstream
Proshow Systems
Junction Entertainment
Camera Work
Icaro Godoi
Quick-It Courier
Stacy Lockhart
Earl Miller Productions
Frozen Fire Films
InMotion Imagery
Red Snapper Catering by Original Dodies
Kays Casting
af Productions
Utah Crafty
E-Z Moving
Fiftyfilms
FastLights
Spotkick Productions
Global Voice Hall
The Camera 1 Group
Accent Media
Dotted Line
LDM Worldwide Productions
Grassland Media
Salems Plot Haunted House
Golden Icon
www.tech-ops.com
www.powerhouse27.com
www.entertainmentservices.us
www.carr-hughes.com
www.ladiekadiva.com
www.apexvideoproductions.com
www.gefenproductions.com
www.productionmanagementspecialists.com
www. 7commedia.com
(212) 465-1318
(585) 415-3202
(315) 335-4645
(518) 584-0202
(919) 272-7555
(336) 403-9273
(336) 884-5020
(803) 228-0271
(919) 332-1572
www.onlocation-nc.com
(919) 755-9488
www.swirlfilms.com
www.s7p.net
www.ProductionServicesLLC.com
www.oklahomaproductionguide.com
www.twogirlscatering.com
www.DougBirnbaum.com
www.pixthis.com
www.facebook.com/PortlandFilmCompany
www.rosterreps.com
www.axiomcustom.com
www.thecrewstore.com
www.wonderfulmachine.com
(910) 798-2934
(701) 356-7770
(405) 568-2079
(918) 645-0127
(503) 318-1719
(949) 205-9980
(503) 235-3456
(503) 897-8002
(503) 381-2067
(503) 964-1730
(484) 688-0142
(610) 260-0200
(610) 892-7970
(888) 877-1178
(412) 565-3471
(800) 835-9292
(866) 848-5848
(901) 372-0550
(615) 915-1423
(615) 942-7850
(615) 545-0547
(615) 595-6844
(727) 214-8624
(512) 458-4343
(214) 745-3456
(214) 748-2225
(214) 821-8890
(214) 542-5535
(903) 597-4289
(801) 427-0996
(801) 347-7786
(801) 875-8049
(855) 922-5600
(703) 717-1086
(703) 566-4008
(301) 252-1010
(703) 356-9427
(206) 419-0609
(206) 463-1902
(608) 238-7575
(262) 862-6515
(715) 302-1121
Raleigh
NORTH DAKOTA
OKLAHOMA
OREGON
PENNSYLVANIA
RHODE ISLAND
TENNESSEE
TEXAS
UTAH
VERMONT
VIRGINIA
WASHINGTON
186
WISCONSIN
Wilmington
Fargo
Oklahoma City
Tulsa
Gladstone
Portland
Portland
Portland
Portland
Portland
Clifton Heights
Conshohocken
Media
Philadelphia
Pittsburgh
East Greenwich
Middletown
Bartlett
Madison
Nashville
Nashville
Nashville
Nashville
Austin
Dallas
Dallas
Dallas
Grand Prairie
Tyler
Highland
Salt Lake City
Salt Lake City
Stowe
Alexandria
Arlington
Charlottesville
McLean
Seattle
Seattle
Fitchburg
Trevor
Wausau
www.tpsweb.com
www.cortronmedia.com
www.icacreative.com
www.towerstream.com
www.proshowsystems.com
www.junctionentertainment.com
www.dacamerawork.com
www.icarogodoi.com
www.quick-itcourier.com
www.stacylockhartmakeupartist.com
www.earlmillerproductions.com
www.frozenfirefilms.com
www.inmotionimagery.com
www.originaldodies.com
www.afproductionsonline.com
www.utahcrafty.com
www.ezmovingslc.com
www.fiftyfilms.com
www.fastlights.com
www. SpotKickProductions.com
www.globalvoicehall.com
www.thecamera1group.com
www.accentmediainc.com
www.dottedline.tv
www.ldmworldwide.com
www.grasslandmedia.com
www.salemsplot.com
www.goldenicon.com
Generators
CITY
COMPANY NAME
WEBSITE
PHONE
Anchorage
Anchorage
Anchorage
Anchorage
Anchorage
Anchorage
Anchorage
Fairbanks
Fairbanks
Kodiak
Kodiak
Glendale
Mesa
Phoenix
Phoenix
Phoenix
Scottsdale
Tucson
Little Rock
Mena
North Little Rock
Burbank
Burbank
Burbank
Burbank
Calabasas
Carson
Cerritos
Chatsworth
Compton
Culver City
Culver City
Los Angeles
Norco
North Hollywood
Oxnard
Placentia
Richmond
San Diego
San Fernando
San Francisco
Santa Clarita
Sausalito
Simi Valley
Stevenson Ranch
Sun Valley
Sylmar
Denver
Hartford
Stamford
Ocean View
Clearwater
Dania
Deerfield Beach
Fort Lauderdale
Fort Lauderdale
Fort Lauderdale
Fort Lauderdale
Hollywood
Hollywood
Jacksonville
Leesburg
Miami
Miami
Miami
Miami
Miami Beach
Neptune Beach
Orlando
Orlando
Orlando
Orlando
Pinellas Park
St. Augustine
Alaska Diesel Electric

Alaska Generator & Engine Sales
Craig Taylor Equipment
Cummins Northwest
NC Power Systems
Northern Lights Marine Generators
Pacific Detroit Diesel
Independent Rental
SolarAlaska
Kodiak Rental Center
NC Machinery
Rocket Rentals
Sound Lighting F/X
Reel Men
Sunstate Equipment
United Rentals Phoenix
RSC Rental Service
H&E Equipment Services
Continuous Grip Electric Services
Laark Honeywagons
Event Power
AC Power Distribution
ASAP Generators
Skye Rentals
United Rentals Burbank
Studio Air Conditioning Rentals
Multiquip
Location Air
Cinerep International
Century Studio
La Brea Air
W.A. Benjamin Electric
Norco Equipment Rentals
Star Power Generators
@Power Generators
Temp Power Systems
Top Productions
Andrus Lighting and Grip
Illumination Dynamics
Cresco Production Express
Santa Clarita Movie Ranch
Top Productions
Cinema Air
All-in-One-Truck
Dadco
Hollywood Rentals Los Angeles
Lighting Services
FastLights
Lex Products
Rent Equipment
Command
EmPower
IIS Group Optimum Power & Environment
Garrett Sound & Lighting
Martys Grip and Lighting
Production Power & Air
Production Toolbox Services
Rental Stages
Sidram Power
Ring Power Systems
Power Technology Southeast
Americas Generators
MAGIC II Lighting and Grip
Megawattage
Unique Producers Service
Great Southern Studios
Tuckers Equipment Rentals & Sales
DataPro Systems
Hollywood Rentals
Walker Miller Equipment
First Unit Production Services
www.nlalaska.com
(907) 562-2222
(907) 562-2505
(907) 276-5050
(907) 279-7594
(907) 561-1766
(907) 562-2222
(907) 522-3434
(907) 456-6595
(907) 235-6842
(907) 486-3662
(907) 486-6999
(602) 549-0894
(602) 722-0783
(602) 286-6800
(602) 275-0601
(623) 850-5100
(480) 905-3300
(520) 770-1120
(501) 400-8523
(818) 516-6474
(501) 351-5837
(818) 848-4004
(818) 846-5000
(323) 462-5934
(818) 842-5288
(818) 222-4143
(800) 421-1244
(855) 444-4757
(818) 882-2677
(310) 631-7700
(310) 287-3600
(800) 452-2732
(213) 749-7731
(951) 371-1231
(818) 982-2200
(877) 576-1099
(800) 748-6997
(415) 332-3005
(619) 521-0585
(818) 686-6400
(415) 920-2801
(661) 268-1891
(415) 332-3005
(805) 732-6517
(888) 818-7825
(818) 768-8886
(800) 233-7830
(303) 722-4747
(855) 922-5600
(818) 768-4474
(302) 537-9797
(727) 560-0134
(866) 751-9644
(855) 443.5777
(954) 777-3277
(561) 440-3659
(954) 739-2468
(954) 463-4820
(954) 989-8898
(954) 989-8898
(904) 737-7730
(800) 760-0027
(800) 434-0003
(305) 685-1811
(954) 302-3565
(305) 681-7627
(305) 944-2464
(904) 246-1330
(877) 228-2852
(407) 292-4282
(407) 852-0164
(407) 299-2620
(727) 522-2203
(877) 228-2852
Courtesy of
STATE
ALASKA
ARIZONA
ARKANSAS
CALIFORNIA
COLORADO
DELAWARE
FLORIDA
192
www.craigtaylorequipment.com
www.cumminsnorthwest.com
www.ncmachinery.com/power-systems
www.northern-lights.com
www.pacificdda.com/DetroitDiesel-Engines.aspx
www.independentrental.com
www.solaralaska.com
www.ncmachinery.com
www.rocketrentalsaz.com
www.soundlightingfx.com
www.reelmen.com
www.ur.com
www.rscrental.com
www.he-equipment.com
www.gripelectric.com
www.laarkhoneywagons.com
www. eventpowerpro.com
www.acpowerdistribution.com
www.skyerentals.com
www.ur.com
www.studioairconditioning.com
www.multiquip.com
www.locationair.tv
www.cinerepamps.com
www. es-cat.com
www.labrearentals.com
www.benjaminelectric.com
www.starpowergenerators.com
www.atpowergenerators.com
www.temppower.com
www.top-productions.com
www.andruslighting.com/Andrus_Grip/crew.html
www.illuminationdynamics.com
www.crescorent.com
www. scmovieranch.biz/index.html
www.top-productions.com
www. cinemaair.com
www.all-in-one-truck.com
www.dadcopowerandlights.com
www.hollywoodrentals.com
www.lsidenver.com
www.FastLights.com
www.lexproducts.com
www.rentequip.biz/
www.cmnd.com
www.empowergenerators.com
www.optimumpower.com
www.garrettsound.com
www.griptrucks.com
www.productionpowerandair.com
www. productiontoolbox.com
www.RentalStages.com
www.sidrampower.com
www.ringpower.com
www.powertech-gen.com
www. gopower.com
www.magic2lighting.com
www.megawattage.com
www. uniqueproducers.com
www.greatsouthernstudios.com
www. es-cat.com
www.dataprosystems.com
www.walkermiller.com
www.firstunit.com
www. es-cat.com
JOIN THE COMMUNITY

Leverage the established and trusted support network of Daktronics through a
community built around your optimal game day display operation. Through social
media platforms and blog channels, you receive more than just a technical help desk.
You receive tips and tricks from peers in the industry, sharing knowledge from personal
experiences tied with Daktronics technical expertise. Access this knowledge to create
unforgettable experiences for your fans.
Join Daktronics Sports User Group on Facebook and visit The Control Panel blog to
learn, share and grow within a community of your peers.
www.facebook.com/groups/DakSportsUserGroup
www.daktronics.com/TheControlPanel
THE INDUSTRY LEADER IN

RF VIDEO AND AUDIO SOLUTIONS
CUSTOMER FOCUSED
www.3gwireless.tv
INNOVATIVE
410-969-3501
RELIABLE
info@3gwireless.tv
Generators
STATE
Courtesy of
GEORGIA
HAWAII
ILLINOIS
INDIANA
IOWA
KANSAS
KENTUCKY
LOUISIANA
MARYLAND
MASSACHUSETTS
MICHIGAN
MINNESOTA
MISSOURI
MONTANA
NEBRASKA
NEVADA
NEW JERSEY
NEW MEXICO
198
CITY
COMPANY NAME
WEBSITE
PHONE
Tampa
Atlanta
Atlanta
Atlanta
Atlanta
Savannah
Tucker
Kaneohe
Kapaa
Lihue
Lihue
Wahiawa
Arlington Heights
Chicago
Chicago
Crystal Lake
Elgin
Elmhurst
Naperville
Wheeling
Indianapolis
Alta
Des Moines
Des Moines
Des Moines
Oskaloosa
Kansas City
Overland Park
Louisville
Louisville
Baton Rouge
Baton Rouge
Hammond
Kenner
La Place
New Orleans
New Orleans
New Orleans
New Orleans
New Orleans
Baltimore
Baltimore
Baltimore
Beltsville
Centreville
Hyattsville
Amesbury
Boston
Dedham
Hamilton
Hudson
Revere
West Bridgewater
Worcester
Detroit
Farmington Hills
Rochester
Brooklyn Park
Shakopee
Jefferson City
Kansas City
Kansas City
St. Louis
Bozeman
Ralston
Las Vegas
Atlantic Highlands
Carlstadt
Hoboken
Kenilworth
Maple Shade
North Arlington
South Plainfield
Spotswood
Santa Fe
Absolute Generators
BigCity Leasing & Production Equipment
Hertz Energy Services
Paskal Lighting
Wavelength Generators
Ross SysCon
Hollywood Rentals Atlanta
3-Star Movie Equipment
Kauai Marine & Mower
Service Rentals & Supplies
Toolmaster Hawaii
Island Power Hawaii
Show-Biz USA
Movies in Motion
Thomasson Lighting
Powerhouse Generators
Flender Corporation
Patten CAT
Hertz Equipment Rental
Wabash Power Equipment
Hammer Lighting & Grip
Gull Wing Industries
3E
Pratt Audio Visual & Video
Temp-Cool
Musco Lighting
Lights On Kansas City
Prime Light
Ace Rental and Sales
Red Star Pictures
Digital FX
Hollywood Trucks
Event Rental
Aggreko
Castay
Available Lighting
Center Staging
Hollywood Rentals
Nola Film Logistics
Silver Screen Rentals
Plus One Rentals
Serious Grip & Electric
Feature Systems Baltimore
Sunbelt Rentals
Annapolis Mobile Power Services
Washington Source for Lighting
Munters
FastLights
ScreenLight & Grip
CMT
Thermalogic
Rent-A-Tool
Equipment 4 Rent
Immedia
Great Lakes Michigan Crane
Detroit Power & Light
Essential Sound Products
Broadway Rental Equipment
Ziegler CAT
Nuway
Cummins Central Power
Foley Equipment
CK Power Products
Filmlites
Lights On Nebraska
Plus One Rentals
Risco Inc.
Rudox Engine & Equipment
Strike Force
Sunbelt Rentals
Sylvan Equipment
SBP Industries
Superior Signal
Serious Grippage & Light
www.absolutegenerators.com
www.bigcityleasing.com
www.hertzequip.com
www.paskal.com
www.day1atl.com
www.rosssyscon.com
(888) 264-2189
(678) 922-2490
(678) 848-5996
(678) 373-4160
(404) 687-9511
(912) 238-5800
(770) 939-0475
(808) 479-5694
(808) 823-0556
(808) 245-6360
(808) 246-1000
(808) 621-9944
(847) 577-2500
(773) 283-4615
(312) 666-4300
(312) 236-7989
(847) 931-1990
(630) 279-4400
(630) 369-4100
(847) 541-5600
(317) 547-4747
(800) 838-1482
(515) 266-8890
(515) 280-9800
(800) 836-7432
(800) 825-6030
(913) 362-6940
(913) 226-0849
(314) 771-7222
(855) 522-5272
(888) 898-6010
(225) 330-6126
(504) 362-8368
(877) 794-9083
(985) 652-9722
(504) 831-5214
(818) 559-4333
(504) 729-5090
(504) 309-6612
(504) 737-0555
(410) 279-5344
(410) 242-6124
410-242-4030
(800) 892-8677
(410) 758-0450
(301) 779-8185
(800) 843-5360
(855) 922-5600
(617) 224-8534
(978) 768-2555
(800) 343-4492
(781) 289-3800
(508) 583-5500
(508) 791-3366
(313) 365-1800
(248) 476-3737
(248) 375-2655
(763) 533-1680
(800) 352-2812
(573) 893-8786
(816) 414-8227
(816) 200-5470
(314) 868-8624
(406) 587-0226
(402) 331-4340
(844) 758-7100
(732) 872-7722
(201) 438-0111
(732) 661-9641
(877) 456-7854
(800) 667-9328
(888) 795-8261
(908) 412-8630
(732) 251-0800
(505) 473-1566
www.service-rentals.com
www.toolmasterhawaii.com
www.thomassonlighting.com
www.flenderusa.com
www.pattencat.com
www.hertzequip.com
www. wabashpower.com
www.hammergrip.tv
www.gull-wing.com
www. 3e-co.com
www.musco.com
www.lightson.com
www.primelight.com
www.acerentalandsales.com
www.redstarpictures.com
www.digitalfx.tv
www.hollywoodtrucksllc.com
www.youreventdelivered.com
www.aggreko.com
www.availablelighting.com
www.centerstaging.com
www.nolafl.com
www.silverscreensupplies.com
www.plusonerentals.com
www.seriousgrip.com
www.featuresystems.com
www.sunbeltrentals.com
www.annapolismobilepower.com
www.thewashingtonsource.com
www. munters.com
www.FastLights.com
www.screenlightandgrip.com
www.habitatmonitor.com
www.thermalogic.com
www.rentatool.com
www.equipment4rent.net
www.immedia1.com
www.michigancrane.com
www.detroitpowerandlight.com
www.essentialsound.com
www.broadwayrental.com
www.zieglercat.com
www.nuwayinc.com
www.cumminscentralpower.com
www.foleyeq.com
www.ckpower.com
www.filmlitesmt.com
www.lightsonrentals.com
www.plusonerentals.com
www.riscorv.com
www. es-cat.com
www.sbp4juice.com
www.superiorsignal.com
www.seriousgrippage.com
Network Infrastructure
oaoraon
Design
Wireess Moiity
Build
Business ase Deveoment

Technooy & Network
Assessment Services
Ga Anaysis & Transformaon oadma
roof of oncet vauaon
Data enter / oud
Manage
Imementaon Miraon
& Tesn
emote Manaement &

Monitorin
Hardware rocurement &

Stain
Manaed Services
NNetwork eraon
enter
Decommissionin &
Lifecyce Services
Knowede Transfer
Goa Souon Deoyment
Security
ca Networkin
Our goal is to make our clients job easier

b builing relaonsis base on integrit trust
an a commitment to growt an success.
Mike Meniburu - Presient
www.igoint.com
973-940-0040
We Deliver
For over 20 years, The Systems Group has delivered innovative solutions for leading sports networks including, ESPN,
Major League Baseball Network, NBA Entertainment, NFL Films, Madison Square Garden Media, New England Sports
Network, the USTA, Fighting Irish Digital Media, World Wrestling Entertainment, and Univision among others.
Our consulting and design teams have designed and deployed some of the most progressive systems to date utilizing
emerging technologies, collaborative design processes and sheer determination to deliver all-star results under big league
conditions. Put TSG on your team and take your game to a whole new level.
For more information, please visit:
www.tsg-hoboken.com or call us at 201-795-4672
PLANNING DESIGN INTEGRATION SERVICE

FOR MEDIA AND BROADCAST FACILITIES WORLDWIDE
FIRST STRING PERFORMANCE

YOU CAN RELY ON
BUILT FOR THE LOVE
OF THE GAME
. Ready in a quarter of a second, no backside .
. One operator, twice the replays .
. Trusted by NBA, NHL, NCAA teams & more .
www.trms.com | sales@trms.com
Generators
CITY
COMPANY NAME
WEBSITE
PHONE
Albany
Bayside
Brooklyn
Brooklyn
Deer Park
Freeport
Hicksville
Holtsville
Long Island City
Long Island City
Long Island City
New Hyde Park
New Paltz
New Rochelle
New York
New York
Pine Bush
Port Jefferson
Station
Charlotte
Denver
Wilmington
Ray
Cincinnati
Massillon
Oklahoma City
Portland
Havertown
Middleport
Philadelphia
Pittsburgh
Pittsburgh
Pittsburgh
Cranston
North Kingstown
Warwick
Charleston
Charleston
Charleston
Charleston
Charleston
Columbia
Franklin
Knoxville
Nashville
Nashville
Austin
Dallas
Dallas
Haslet
Houston
Houston
Houston
Irving
Richardson
Rowlett
San Antonio
Salt Lake City
Essex Junction
Hinesburg
Richmond
Richmond
Seattle
Madison
Milwaukee
Gillette
FastLights
Abbey Rent-All
F&F Specialized Equipment
United Rentals
RANTECH
Salvatore Martorano
On Site Energy
H.O. Penn Machinery
Available Light
Movie Mobile
Silvertrucks Lighting
ABC Generators
Stark Lighting & Generator
Tri-state Electric
Scheimpflg
Xeno-Lights
Pine Bush Equipment
www.fastlights.com
www.abbeyrent.com
(855) 922-5600
(516) 681-1323
(718) 834-5660
(718) 456-8546
(631) 983-8408
(516) 379-2303
800RENTAL1
(845) 452-1200
(718) 707-9670
(718) 482-8200
(718) 906-3045
(516) 437-7667
(347) 538-6501
(866) 947-3252
(212) 244-8300
(212) 941-9494
(845) 524-0966
Courtesy of
STATE
NEW YORK
NORTH CAROLINA
NORTH DAKOTA
OHIO
OKLAHOMA
OREGON
PENNSYLVANIA
RHODE ISLAND
SOUTH CAROLINA
TENNESSEE
TEXAS
UTAH
VERMONT
VIRGINIA
WASHINGTON
WISCONSIN
WYOMING
204
www.ur.com
www.OneStopSurplus.com
www.onsite-energy.com
www.hopenn.com
www.alny.net
www.moviemobilenyc.com
www.silvercupstudios.com
abcrentalnewyork.com
www.starklighting.com
www.tri-state-electric.com
www. theflug.com
www.xenolights.com
www.pbeinc.com
Alex Powers
(516) 474-4523
Hollywood Rental
Cooke Rentals
Gregory Poole Equipment
NOV Portable Power
Griptruck Cincinnati
HydroThrift
Toucan Productions
Peterson Caterpillar
Gaffer Baron
J L Electric
PECO Energy
Air Conditioner Rental and Leasing
Midwest Grip & Lighting
Performance Lighting Rentals
Rentals Unlimited
Taylor Rental
High Output
Hughes Rentals
Neff Rental
Paladin Equipment Rentals
U.S. Rentals
Blanchard Engine Systems
Cine Power Systems
The Smoky Mountain Grip & Lighting
Location Generator Service
Sunbelt Rentals Pump & Power Services
Fleet Maintenance of Texas
R&R Lighting
Jeff Watts Productions
Aggreko
Juice Goose/Whitenton Industries
The Lighting Zone
Panavision Dallas
Dallas Event Rentals
Burrell Enterprises
Texas Grip & Electric
Production RVs & Base Camps
Essex Equipment
NRG Systems
Carter Machinery
Paul Fischer
Pacific Grip & Lighting Inc.
Red Star Pictures
Rockstar Location Production Services
Cummins Power
www.hollywoodrentals.com/index2.html
www. cookerentals.com
www.gregorypoole.com
www. Nov.com/portablepower
www.griptruck.com
www.hydrothrift.com
www.toucanlighting.com
www.petersoncat.com
www.gafferbaron.com
www.peco.com/Pages/Home.aspx
www.acrental.com
www.midwestgrip.com
www.perflight.com/index.html
www.es-cat.com
www.highoutputcharleston.com
www.neffrental.com
www.cinepowersystems.com
www.smokymtngrip.com
www. es-cat.com
www.texasgenerators.com
www.jwproductions.org
www.aggreko.com
www.juicegoose.com
www.thelightingzoneinc.com
www.panavision.com
www.DallasEventRentals.com
www.litepower.com
www. mullethomes.com
www.essexequipment.com
www.nrgsystems.com
www.pacific-grip.com
www.redstarpictures.com
www.rockstarrvservices.com
(704) 597-1808
(704) 483-2722
(800) 451-7278
(701) 339-8870
(615) 256-6200
(330) 837-5141
(405) 943-9036
(503) 288-6411
(610) 449-6550
(610) 972-6035
(215) 731-3235
(800) 581-4844
(724) 900-2444
(412) 781-5655
(401) 942-3766
(888) 296-4492
(401) 739-4211
(843) 722-3600
(843) 521-0687
(843) 760-6333
(843) 819-6401
(843) 747-0471
(843) 791-7100
(615) 521-6857
(865) 947-5483
(615) 834-0680
(615) 838-2854
(512) 385-5817
(888) 908-4228
(214) 341-3222
(817) 233-6462
(281) 590-4224
(713) 772-1404
(713) 723-1393
(972) 929-8585
(214) 484-2489
(800) 474-8111
(210) 212-8899
(801) 699-5409
(800) 424-7300
(802) 482-2255
(800) 835-1166
(804) 749-4970
(206) 622-8540
(855) 522-5272
(855) 322-7234
(307) 682-9611
CL5
CL3
CL1
QL5
QL1
The standards stay, but innovation never ends.

Going strong, V3 software for the popular
CL and QL Series features a variety of
upgrades making our family of digital mixing
consoles more efficient than ever.
This next step up includes an 8-band Parametric
EQ Option with Notch Filters, Real Time Analyzer
Function, 4 User Defined Key Banks, Surround Sound
Panning and Monitoring and so much more.
Perhaps most notable is the addition of the
Dan Dugan Automatic Mic Mixer for the CL Series.
Already included in the QL Series, gain distribution
for up to 16 speech microphone channels is
automatically optimized in real time, achieving
smooth, natural level control.
What could be smarter than that?
For a complete list of features and to download the
software free-of-charge, visit www.yamahaca.com.
Yamaha Corporation of America P. O. Box 6600, Buena Park, CA 90620-6600 2015 Yamaha Corporation of America
A whole new way to experience live events.
Better than being there. Even when youre there.
Explore the AerNow Advantage:

Sales@AerNow.com
2015 AerNow, Inc.
Rise Above
t h e C r ow d
When the opportunity comes
to capture a once-in-a-lifetime
moment, you cant afford to miss it.
You need a Partner who will help
you excel when the pressure is on.
Contact CTG today and let us
help you Rise Above the Crowd.
404.352.3000 ctgatlanta.com
STATE
CITY
COMPANY NAME
WEBSITE
PHONE
ALABAMA
Abbeville
Jemison
Mobile
Montgomery
Spanish Fort
Anchorage
Gilbert
Mesa
Phoenix
Phoenix
Phoenix
Little Rock
Little Rock
North Little Rock
Rogers
Anaheim
Burbank
Burbank
Burbank
Burbank
Calabasas
Chatsworth
Concord
Diamond Bar
Glendale
Glendale
Gorman
Joshua Tree
Los Angeles
Los Angeles
Los Angeles
Los Angeles
Malibu
Morgan Hill
Norwalk
Ripon
Riverside
Sacramento
San Diego
San Diego
San Francisco
San Francisco
San Francisco
San Francisco
San Martin
Santa Barbara
Santa Clarita
Santa Monica
Stockton
Studio City
Studio City
Sunland
Torrance
Vacaville
Van Nuys
Van Nuys
Van Nuys
West Covina
Aurora
Denver
Denver
Englewood
Milford
Dales Broadcast
Control 1 Communications
Corredo Media Solutions
Dan Black Studios
AVS Media Group
Alaska Mobile Productions
FLOODstream by Pashley Creative
Suite Event Rentals
Cox Studios
More Mobile Internet
Skyline Productions
Hailstone Creek Productions
Jones Mobile Television
Clarks Video Group
Southern Sky Satellite
Apache Rental Group
Pacifico Television Engineering
Touring Video
Coastal Satellite
Cinerep International
E-N-G Mobile Systems
21 Lakes Media Group
*EP*TV Pro Gear
Glendale Studios
Z-Ville Productions
Mojave Film Services
Cinelease
Flying Cow Satellite Services
Sharp Eye Industries
SoHo Coaches & Catering
The J-Lab Company
Global Link Productions
UniSat: Universal Satellite Communications
MS Production Services
New Revolution Entertainment
PACSAT - California
Satellite Digital Teleproductions (S.D.T.V.)
SWATV Entertainment
*EP* GVS-Grande Vitesse
Beyond Pix Studios
Cresco Production Express
Bay Area Mobile Production
South Valley Mobile Television
Natural Video In Production
Buboosky
Mobeon
Total New Technology
Digital Media Group
Streaming Media Live
Schulman Mobile Video
Hollywood Riviera Studios
Bigfoot Mobile Systems
PSSI Global Services Strategic Television
Spaceworks
Sweetwater Digital Productions
VideoWorks
Slipstream Media
Comcast Wholesale
Denver Media Center
Mountain Mobile Television
Conover Production Services
www.dalesbroadcast.co.uk
www. control1comm.com
(116) 272-5190
(205) 706-9524
(251) 533-5433
(334) 279-6036
(251) 621-1200
(907) 762-9202
(480) 535-5002
(480) 461-0023
(623) 328-4778
(602) 728-0400
(480) 345-8009
(501) 219-2653
(501) 371-9515
(501) 376-1993
(479) 636-7111
(714) 315-7478
(818) 842-9944
(310) 807-4635
(818) 566-9706
(818) 504-3500
(818) 880-9800
(818) 882-2677
(800) 662-4522
(951) 515-1519
(818) 246-7100
(818) 550-6000
(310) 422-9590
(760) 799-4414
(855) 441-5500
(888) 384-3269
(866) 964-7474
(310) 272-6467
(310) 457-4090
(408) 465-2787
(562) 483-4800
(877) 354-6777
(951) 780-7323
(800) 672-2728
(619) 293-7777
(619) 746-2390
(415) 777-0320
(415) 434-1027
(415) 920-2801
(650) 375-8855
(408) 230-5694
(805) 963-3592
(661) 510-7650
(888) 789-2463
(866) 383-6828
(818) 561-6798
(818) 974-4000
(323) 785-2528
(310) 237-5653
(707) 602-5548
(310) 575-4400
(818) 304-0260
(818) 841-7821
(626) 338-4820
(303) 353-9425
(800) 824-1776
(303) 872-9993
(303) 542-5555
(203) 877-5427
ALASKA
ARIZONA
ARKANSAS
CALIFORNIA
Courtesy of
Mobile Production Units
COLORADO
CONNECTICUT
DISTRICT OF
COLUMBIA
FLORIDA
210
Washington
Hans Juergens
Washington
Washington
Cape Canaveral
Clearwater
Clearwater
Clearwater
Clearwater
Davie
Deerfield Beach
Fort Lauderdale
Mobile Video Services

Skehan Communications
Communications Concepts
F&F Productions
Frontline Communications
Oshkosh Specialty Vehicles
F&F Productions
Mobile Studios
MSR Mobile Stage Rentals
www. danblackstudios.com
www.avsmediagroup.com
www.floodstream.com
www.suiteeventrentals.com
www.coxcreativestudios.com
www.MoreMobileInternet.com
www.skylinefilmproduction.com
www.allianceproductions.com
www.hailstonecreek.com
www.jmtv.com
www.clarksvideogroup.com
www.southernskysatellite.com
www.apacherentalgroup.com
www.pacificobroadcast.com
www.touringvideo.com
www.coastalsatellite.com
www.cinerepamps.com
www.e-n-g.com
www.21lakes.com
www. tvprogear.com
www.z-ville.com
www.cinelease.com/us/
www.flyingcowsat.com
www. Sharpeyehd.com
www.sohocoaches.com
www.j-lab.com
www.globalinktv.com
www.unisatmobile.com
www.mspslive.com
www.pacsat.com
www.sdtv.com
www. swatv.com
www.GVSF.com
www.beyondpix.com
www.crescorent.com
www.bamphd.com
www. naturalvip.wix.com
www.mobeon.com
www.totalnewtechnology.com
www.digitalmedia.tv
www.streamingmedialive.com
www. schulmanmv.com
www.hollywoodrivierastudios.com
www.bigfootmobilecarts.com
www.pssiglobal.com
www.productiontrailers.com
www.svptv.com
www.videowks.com
www.ssmediatv.com/home.html
www.comcastwholesale.com
www. denvermediacenter.com
www.mobiletvgroup.com
www.conover.net
(202) 236-9519
www.mobilevideo.net
www.skehan.com
www.cciflorida.com
www. fandfhd.tv
www.frontlinecomm.com
www.oshkoshsv.com
www.crosscreektv.com
www.rossmp.com
www.mobilestudios.com
www.mobilestagerentals.com
(202) 331-8882
(202) 833-3310
(321) 783-5232
(727) 530-5000
(727) 573-0400
(727) 573-0400
(727) 530-5000
(954) 835-5404
(561) 372-0604
(877) 882-8889
2015_sports_production_yearbook_ad.pdf
10/28/15
11:38 AM
OUTSTANDING SERVICE AND SELECTION.

LICENSE MUSIC WITH THE BEST.
CM
MY
CY
CMY
Contact Us Today!
sports.apmmusic.com
@APMSports 323.461.3211 (LA) 212.856.9800 (NY)
Unity has years of leading edge expertise supporting

many Sports and Entertainment facilities across North
America.
Partnering with industry leaders to support their new
technology investments, Unity brings their vision to life.
www.unity-si.com
Digital Signage
- Design & Installation

- Creative Services
- Live Stats Integration
- Video Wall Design
- Interactive Wayfinding
- Digital Menu Boards
Maximize your venue IPTV

Digital Signage investment
with clear strategy,
design and operations
in year one, two
and beyond.
Operational Services
- Venue Content Strategy

- Game Day Operations
- Control Room System Design
- Sales Model Design
- IPTV Network Planning
MOEBAM! Venue Media Services, LLC

P.O. Box 951002 Lake Mary, FL 32746
407-341-8542 www.moebam.com
MASTERING MEDIA
WORKFLOW
Enabling Sports Organizations to Maximize the Value of

Media Assets by Providing Software-Based Solutions to
Better Create, Manage & Distribute Content
SportsFACTORY
FANS GET IN ON
THE ACTION ANYWHERE,

FROM THE JUMBOTRON
TO THE FUTON.
Deluxe provides creative production and interactive
technology services to make every fans visit to the game
unique, and our delivery solutions bring the game to
everyone, everywhere, faster and cheaper than satellite.
FAN ENGAGEMENT
by DELUXE
DELIVERY
by DELUXE
In-stadium
Video Experiences
Network Contribution
and Distribution Solutions
Mobile Apps
OTT Distribution
go.bydeluxe.com/svg
Courtesy of
STATE
GEORGIA
HAWAII
IDAHO
ILLINOIS
INDIANA
KANSAS
LOUISIANA
MAINE
MARYLAND
MASSACHUSETTS
MICHIGAN
MINNESOTA
MISSOURI
MONTANA
216
CITY
COMPANY NAME
WEBSITE
PHONE
Fort Lauderdale
Jacksonville
Lake Mary
Miami
Miami
Miami
Miami
Miami
Miami
Miami
Miami Beach
Miami Beach
Orlando
Orlando
Plantation
St. Petersburg
West Palm Beach
Windermere
Atlanta
Atlanta
Atlanta
Atlanta
Jasper
Lawrenceville
Lilburn
Marietta
Norcross
Smyrna
Hawi
Honolulu
Kapolei
Kapolei
Mililani
Boise
Arlington
Heights
Chicago
Chicago
Crystal Lake
Lake Bluff
Monee
Morris
Peoria
St. Charles
Hammond
Mishawaka
Muncie
Noblesville
Noblesville
Olympia Fields
South Bend
Olathe
Baton Rouge
New Orleans
New Orleans
West Monroe
Saco
Parkton
Phoenix
Avon
Hudson
Springfield
Wakefield
Watertown
Lansing
Sterling Heights
Wixom
Coon Rapids
Minneapolis
Minneapolis
Kansas City
Springfield
St. Louis
Butte
Helena
Remote Telecast
HMTV
Skystorm Productions
American Media Productions
Christian Media Group
Fireland Productions & Satellite Services
K-Tel Media
MMC Video Corp.
Tfactor Mobile Television
UNITED TELEPORTS
Encanta Productions
Mirikesh Production Motorcoach & Trailer
Orbital Communications
TMR Television Mobile Resources
Twilight Features Outdoor Movies
The Zoo Studios
National Teleproductions
First Call Location Coach Rentals
AgoraTV
Narrow Path Productions
Turner Studios
Talking Rock Communications
Lightnin Production Rentals
Gunner Live
SatlgicNetworks
Spectrum Productions Orlando
KEF Media Associates
Keith Nealy Productions
John Guild Communications
George Cambra Movie Production Trucks
Vision Accomplished Hawaii
Ron Eggleton
Netwest Communications Group
www.remotetelecast.tv
www.televisiontrucks.com
www.skystorm.com
www.americanmediaproductions.com
www.cmgshows.com
www.firelandtv.com
www.ktelmedia.com
www.mmcvideocorp.com
www.tfactor.tv
www.unitedteleports.com
www. encanta.com
www.mirikesh.com
www.orbitalcom.tv
www.tvmr.com
www.twilightfeatures.com
www.thezoostudios.net
(209) 534-9988
(904) 223-0742
(407) 328-4747
(305) 865-7425
(786) 286-4942
(305) 386-6882
(305) 766-1942
(305) 300-8976
(305) 597-0430
(305) 671-3333
(305) 673-5958
(786) 295-3969
(800) 682-4364
(407) 737-0046
(954) 323-2562
(727) 350-5962
(561) 689-9271
(407) 832-2606
(678) 581-3750
(678) 421-6600
(770) 704-8000
(404) 885-4876
(706) 692-6450
(770) 963-1234
(678) 313-6001
(770) 993-9054
(800) 358-2704
(404) 605-0009
(808) 987-8093
(808) 987-8093
(808) 845-1546
(808) 591-0066
(360) 790-1459
(208) 562-8000
www.firstcallcoach.com
www.encompass.tv
www.narrowpath.tv
www.turnerstudios.com
www.talkingrockcommunications.com
www.lightnin.net
www.gunnerlive.com
www.spectrumproductions.com
www.kefmedia.com
www.keithnealy.com
www.john-guild.com
www.xleggs.com
Chicago Visual
www. vimeo.com/chicagovisual
GigRig Chicago
Trio Video
Satellite Technology Systems
Corplex Television
Advanced Mobility Specialty Vehicles
ProSource Motorsports
ScheffTech Productions
HD Roadie Mobile Entertainment
Kentucky Trailer
CVM Productions
WIPB Productions
LeSEA Productions
TV40Productions
Lakeshore Productions
LeSEA Productions
Freebird Communications
HD Mobile Production Truck
Satellite Center
YES Productions
ShowCase Video
CSP Mobile Productions
Jomar Productions
Sheffield Audio Video Productions
Technology Management
D2 Productions
VideoPort Communications
Remote Facilities Consulting Services
PixMix Video Services
SCP Media
Moonlink Satellite
Detroit Public Television
CTN Studios
Arctek HD Satellite Productions
RumJungle Media
Cashmark Media
TL Mobile Television
Spot Media Transfer
RapComm
Lyon Productions
www.gigrigchicago.com
(312) 878-2360
(312) 666-9900
(312) 421-1683
www.satellitetechsys.com
(800) 838-1472
www.nepinc.com/welcome/corplex?lang=PT
(888) 582-8800
(708) 235-2800
www.motorcycle-usa.com/dealer/pro-source-motorsports (851) 941-9258
www.schefftech.com
(309) 524-5865
www.highdef.org/hd/hd-roadie-mobile-entertainment.htm (630) 918-7000
www.kytrailer.com
(888) 598-7245
www. cvmproductions.com
(574) 256-0068
www.wipbproductions.com/teleplex_site/index.php
(765) 285-1625
www.leseaproductions.com
(317) 773-5050
www. whmbtv.com
(317) 773-5050
www. lakeshorefilm.com
(708) 382-0885
(574) 291-8200
www.freebirdtv.com
(913) 209-2788
www. beta.lpb.org/index.php/site/truck
(225) 767-4220
www.satctr.com
(504) 915-8244
www.yesproductions.org
(800) 736-8812
www.showcasevp.com
(318) 398-0748
www.cspmobile.com
(207) 282-9680
www.jomarproductions.com
(410) 343-1599
www.sheffieldav.com
(800) 355-6613
www.tmcrecycles.com
(800) 949-5424
www.d2productions.com
(508) 485-0300
www.videoportc.com
(413) 478-1745
www.remotefacilities.com
(781) 246-8300
www. pixmix.net
(617) 923-0102
www.scp-media.com
(517) 507-0383
www.moonlinksat.com
(586) 323-9590
www.dptv.org/about/production-services
(248) 305-3827
www.ctnstudios.com
(763) 767-6525
www.arcteksat.com
(612) 623-1986
www.rumjungle.com
(952) 472-5525
www.cashmarkmedia.com
(816) 861-4200
www.tlmobiletv.com
(417) 877-0025
www.spotmpg.com/services-section/satellite-uplink-section/ (314) 667-5915
(406) 490-1895
www. lyongroup.biz/content/
(406) 442-9014
FOCUS
ON FLEXIBILITY
Based on models originally developed for use in the Summer Games, Audio-Technicas BP4027 (14.96") and BP4029 (9.29")
Stereo Shotgun models are engineered for high-end broadcast and production use. These innovative microphones give sound
recordists the remarkable flexibility of selecting a left-right stereo output (wide or narrow) via the microphones internal
matrixing system or choosing discrete Mid-Side signals for later manipulation. Whatever your audio demands, listen for more.
audio-technica.com
Rely on CEI
For Award-Winning Systems Integration
Plus Sales & Service For the Industrys Best Products
Since 1986, our customers have come to rely

on CEI for world-class consulting, systems
design, integration, service, support, training and
all professional AV, Broadcast and Multi-media
equipment needs.
From stadiums and mobile units to broadcast
networks and TV stations, CEI has built
superior, award-winning facilities for a wide
range of industry leading clients who demand
the best in engineering and support.
Contact CEI Today:

703-550-5800
sales@commeng.com
www.commeng.com
In addition to offering complete turnkey systems

and solutions, CEI also has a comprehensive
maintenance and repair center, with full-time
professional broadcast, audio-visual and IT
engineers offering on-site and in-house repair
and support. CEI also offers training and
customized maintenance contracts to fit your
facilitys unique needs.
We can even help with your legacy systems!
Canare develops, manufactures, and provides the best audio and video cables,
connectors, patchbays, and fiber-optic products for the television broadcast
industry and the professional A/V market. Broadcast engineers, sound technicians,
A/V facility integrators, design consultants and many leading OEM's rely on
Canare's product, proven reliability and top notch customer service.
Full line of Audio / Video connectors and

cables for most applications.
BNC / Triax / Din 1.0/2.3 / SMPTE HFO
New quick connect 4-Channel 3G SDI

connectors and panel mount.
For 4K applications where rack space is limited
Manufacturer of HFO SMPTE cable and

connectors. Custom sizes and
configurations assembled in NJ.
For in studio or mobile application.
45 Commerce Way Totowa, NJ 07512 I www.canare.com I 973-837-0070

STATE
CITY
COMPANY NAME
WEBSITE
PHONE
NEVADA
Las Vegas
Las Vegas
Stateline
Hudson
Pelham
East Rutherford
Hackensack
Ramsey
Voorhees
Wayne
Whippany
Buffalo
Flushing
Flushing
New City
New City
New York
New York
New York
New York
New York
New York
New York
Patchogue
Port Washington
Warwick
West Babylon
Apex
Charlotte
Charlotte
Pfafftown
Raleigh
Raleigh
Troutman
Cincinnati
Columbus
Columbus
New Middletown
Poland
Rocky River
Sunbury
Sunbury
Wapakoneta
Broken Arrow
Broken Arrow
Tulsa
Allentown
Boyertown
Harrisburg
Harrisburg
Harrisburg
King Of Prussia
Lancaster
Philadelphia
Philadelphia
Pittsburgh
Pittsburgh
West Chester
Myrtle Beach
Myrtle Beach
Gallatin
Goodlettsville
Hendersonville
Hendersonville
Memphis
Nashville
Nashville
Argyle
Arlington
Austin
Dallas
Haslet
Houston
Houston
Missouri City
CoverEDGE Las Vegas

RentLEDsigns.com
Shoot It Live
Game Creek Video
Thistle Communications
Venue Services Group
Patchamp
Jim Houston Productions
Broadcast Center Studios
Vision Quest Productions
A3 Media
Admiral Video InMotion HD
Interface Communications
Multi Media Network News
Flight 9 Satellite Services
MyStreamingEvent.com
All Mobile Video
Cinedeck
DS Simon Productions HD Television Studio
KoKo Baz Video & Film
Metrovision Production Group
Remote Digital Media
Luna Video
ADM Productions
Centrex Communications
Village Video News
RMG Satellite Productions
Aviv Moon Productions
Media Comm
Spevco
7 Communications
On Location N. Carolina Film & Video Equip. Services
A&M Productions Southeast
Satellite Today
Lyon Video
Mobile Production Services
SureShot Transmissions
First Call UPLinks
TeleNet Media
Bennett Systems
Gerling and Associates
Game Face Ohio
Allied Broadcast Group
Winnercomm
New Century Productions
J A Taylor & Associates
Invica
Jump
Media Solutions
PMTV Producers Management Television
Proviaus
StreamByte Event Broadcasting
NEP Broadcasting
Viewpoint Production Services
CCI Communications
4 Quarters Productions
Satellite Papa
Brightlink HD
Video One Productions Inc
Camp Digital
Stokes Production Services
KNO Productions
Concerto HD
Tennessee Digital Video
GoVision
Greene HD Productions
Tricam Video Productions
Jeff Watts Productions
Advanced Containment Systems
Satellite Center
Stage2screenProductions
www.coveredge.com
www.RentLEDsigns.com
www.shootitlive.tv
www.gamecreekvideo.com
www.thistlecommunications.net
www.vsg.tv
www.patchamp.com
www.nysportsvideos.com
800822NEWS
(888) 653-6800
(808) 371-3023
(603) 882-5222
(603) 598-5100
(888) 700-4388
(201) 457-1504
(201) 788-7096
(856) 751-3500
(973) 686-9400
(800) 881-0569
(716) 651-9900
(718) 463-8700
(718) 809-7058
(845) 271-4455
(267) 382-0285
(212) 727-1234
(212) 784-6020
(646) 642-6985
(212) 736-2727
(212) 674-6601
(212) 989-1515
(646) 536-7340
(631) 767-8817
(516) 484-6900
(845) 987-1666
(631) 752-9311
(919) 363-3645
(704) 765-4995
(704) 527-8853
(800) 982-9415
(919) 332-1572
(919) 755-9488
(205) 566-2549
(513) 891-1444
(614) 297-0001
(614) 864-7900
(330) 542-0900
(800) 951-6707
(216) 276-8840
(740) 965-5727
(740) 965-2888
(419) 739-7720
(918) 250-5353
(918) 925-9877
(918) 496-1900
(888) 887-3627
(610) 754-6800
(717) 577-6601
(717) 246-2419
(877) 860-5255
(610) 768-1770
(717) 842-0440
(267) 382-0285
(888) 877-1178
(800) 444-0054
(800) 820-0402
(610) 296-7233
(843) 205-1080
(843) 333-5963
(615) 289-4319
(615) 859-1521
(615) 826-0122
(615) 822-6500
(901) 729-8770
(615) 346-9545
(877) 959-8638
(940) 464-2320
(817) 860-4086
(512) 458-4343
(817) 909-4137
(817) 233-6462
(713) 987-0336
(504) 915-8244
(281) 804-9525
Courtesy of
NEW HAMPSHIRE
NEW JERSEY
NEW YORK
NORTH CAROLINA
OHIO
OKLAHOMA
PENNSYLVANIA
SOUTH CAROLINA
TENNESSEE
TEXAS
222
www.visionquestproductions.com
www.a3mediallc.com
www.ImHD.tv
www.interfacetv.com
www.multimedianetworknews.com
www.flight9.com
www.mystreamingevent.com
www.allmobilevideo.com
www.cinedeck.com
www.dssimon.com
www.kokobaz.com
www.metrovision.tv
www.remotedigitalmedia.com
www.vimeo.com/75588888
www.admproductions.com
www.centrexcom.com
www.vvn.com
www.avivmoon.tv
www.media-comm.com
www.spevco.com
www.7commedia.com
www.onlocation-nc.com
www.amproductions.tv
www.satellitetoday.com
www.lyonvideo.com
www.remoteriley.com
www.sureshotsat.com
www.firstcalluplinks.com
www.telenetmedia.net
www.tvmobile.net
www.gfoproductions.com
www.alliedbroadcastgroup.com
www.kodiakmobile.tv
www.winnercomm.com
www.nepinc.com/welcome/ncp
www.broadcastassociates.com
www.invica.net
www.multi-mediapros.com
www.mediamadeeasy.com
www.pmtv.com
www.proviaus.com
www.streambyte.tv
www.tpsweb.com
www.nepinc.com
www.viewpoint.tv
www.ccivideo.com
www.satellitepapa.com
www.BrightlinkHD.com
www.vopinc.com
www.campdigital.net
www.stokesvideo.com
www.knoproductions.com
www.ConcertoHD.com
www.tndv.com
www.jumbo.tv/home.html
www.greenehdtv.com
www.tricamvideo.com
www.jwproductions.org
www.acsi-us.com
www.satctr.com
www.stage2screenproductions.com
EVERY
SHOT
COUNTS
World-class experience for your world-class events
For over 25 years, BSI has been delivering excellence in full-service
technical production, consulting, equipment and engineering
services for major sporting events around the world, including
20 Olympic Games, 18 NBA Finals and every Masters tournament
since 1992. 16 Emmys later, we're still capturing every moment.
BSI, proud technical engineering partner of the
2015 Pan American Games Host Broadcaster
905.332.2171 | www.bsi-tv.com
INNOVATIVE SOLUTIONS NEEDED?

BROADCAST, POST PRODUCTION,
STUDIO RECORDING, TRUCK, AND
LIVE SOUND EQUIPMENT.
BGS
SUPPLIES
IT ALL
BROADCASTERS GENERAL STORE
The brands you want and the service you need.
352-622-7700
www.bgs.cc sales@bgs.cc
Courtesy of
STATE
UTAH
VIRGINIA
WASHINGTON
WISCONSIN
COMPANY NAME
WEBSITE
PHONE
Shook Mobile Technology

TriVan Truck Body Texas
Videolines Mobile Television
Colonial Williamsburg Productions
Fremont Studios
LDM Worldwide Productions
Link Up Communications
Token Creek Mobile Television
www.shook-usa.com
www.trivan.com
www. videolinesmobiletv.com
www.history.org/productions
www. fremontstudios.com/fremontstudios/Home.html
www.ldmworldwide.com
www.linkupcom.com
www.tokencreek.com
(210) 651-5700
(866) 874-8261
(801) 580-9474
(757) 220-7143
(206) 838-9080
(206) 463-1902
(866) 435-8008
(608) 849-4965
Satellite Trucks
STATE
CITY
COMPANY NAME
WEBSITE
PHONE
ALABAMA
ARIZONA
Montgomery
Chandler
Gilbert
Phoenix
Prescott
Anaheim
Aptos
Burbank
Calabasas
Clovis
Concord
Danville
Montecito
Morgan Hill
Norwalk
Sacramento
San Diego
San Diego
San Juan
Capistrano
Santa Barbara
Sonoma
Studio City
Sun Valley
Sunland
Commerce City
Shelton
Stamford
Washington
Washington
Washington
Clearwater
Clearwater
Dania
Hallandale
Lakeland
Largo
Miami
Miami
Miami
Orlando
Orlando
Orlando
Orlando
St. Cloud
Atlanta
Jasper
Lilburn
Honolulu
Honolulu
Crystal Lake
Mount Prospect
Peoria
Wauconda
Merrillville
South Bend
Mason City
Waterloo
Shawnee
Dan Black Studios

ATCI Antenna Technology Communications
Channel Master
Crew West
Desert Sky Media
Southern Sky Satellite
Central Coast Uplink
Coastal Media Group
RTM Remote Transmission Management
E-N-G Mobile Systems
Robert McWilliams Productions
CBTV West
Global Link Productions
UniSat: Universal Satellite Communications
PACSAT California
Hurst USA
Satellite Digital Teleproductions (S.D.T.V.)
www.danblackstudios.com
www.atci.net
www.channelmaster.com
www.crewwestinc.com
www.desertskymedia.com
www.southernskysatellite.com
www.centralcoastuplink.com
www.coastalmediagroup.com
www.rtmhd.com
www.e-n-g.com
www.mcwilliamsproductions.com
www.cbtvhd.com
www.globalinktv.com
www.unisatmobile.com
www.pacsat.com
www.hurstusa.com
www.sdtv.com
(334) 279-6036
(480) 844-8501
(877) 746-7261
(888) 444-2739
(888) 728-8782
(714) 315-7478
(831) 325-5271
(310) 807-4635
(818) 880-9800
(866) 786-4389
(925) 798-4060
(925) 736-9570
(866) 728-3375
(408) 465-2787
(562) 483-4800
(800) 672-2728
(619) 277-9990
(619) 293-7777
Todocast
www. todocast.tv
(866) 510-7889
Rough House Productions

SatNews
Streaming Media Live
Panarex Electronics
Schulman Mobile Video
MS Transport
Vitec Videocom
Newtec America
Media X Presentations
NPR Satellite Services
F&F Productions
Frontline Communications
Calhoun Satellite Communications
K-Tel Media
Crew West/Satellink Communication Service
Advanced Microwave Components
GLASAT.com
Overon America
UNITED TELEPORTS
Lowery Satellite Services
MobileCast-Live
Telepoint Studios
TMR Television Mobile Resources
Comtech Antenna Systems
Talking Rock Communications
Gunner Live
KGMB Productions
Pro Sat Hawaii
Satellite Technology Systems
Roscor Corp Illinois
WTVP
Satellite Communication Systems
Lakeshore Public Media
LeSEA Productions
Efficient Antenna Systems
Baird Mounting Systems
Satellite Engineering Group
www.roughhousehd.com
www.satnews.com
www.streamingmedialive.com
www.satellite-links.co.uk
www.schulmanmobilevideo.com
(800) 626-2490
(707) 939-9306
(818) 974-4000
(818) 768-5161
(323) 785-2528
(720) 529-9743
(203) 929-1100
(203) 323-0042
(202) 609-7757
(888) 873-6974
(202) 513-2626
(727) 530-5000
(727) 573-0400
(305) 655-2629
(305) 753-9008
(863) 698-4313
(727) 571-1008
(786) 210-2235
305 357 5891
(305) 671-3333
(407) 859-7940
(407) 376-8379
(407) 859-7940
(407) 737-0046
(407) 892-6111
(678) 421-6600
(706) 692-6450
(678) 313-6001
(808) 847-3246
(808) 551-1970
(800) 838-1472
(847) 299-8080
(309) 677-4747
(847) 556-1056
(219) 756-5656
574-291-8200
(888) 327-4797
(319) 233-3561
(800) 932-1555
CALIFORNIA
COLORADO
CONNECTICUT
DISTRICT OF
COLUMBIA
FLORIDA
GEORGIA
HAWAII
ILLINOIS
INDIANA
IOWA
KANSAS
228
CITY
Schertz
Waco
Sandy
Williamsburg
Seattle
Seattle
Milwaukee
Waunakee
www.vitecvideocom.com
www.newtec.be
www.mxpi.com
www.nprss.org
www. fandfhd.tv
www.frontlinecomm.com
www. calhounsat.com
www.satellinkwest.com
www.advancedmicrowave.com
www.glasat.com
www.overonamerica.com
www.unitedteleports.com
www. lowerysatellite.com
www.mobilecast-live.com
www.telepointstudios.com
www.tvmr.com
www.comtechantenna.com
www.encompass.tv
www.talkingrockcommunications.com
www.gunnerlive.com
www.hawaiinewsnow.com
www.noapro.com
www.stslivetv.com
www.wtvp.org
www.1800usalink.com
www. lakeshorepublicmedia.org
www.easisat.com
www.bairdsatellitesupports.com
www.sateng.com
Newest Equipment Solid Engineering

24/7 Support for Hassle Free Rentals
Sony HDC-2400 Sony HDC-2500 Sony HSC-100R with 29.97Psf

Sony F55 Panasonic V-35 Varicam
Sony MVS-3000A, MVS-6530 & MVS-7000X Switcher Systems
4K Production Packages
KiPro Rack & Sound Devices PIX-270i
Live Cloud Solutions HD / 4K Mobile Truck
East Coast Office

610-694-9800
clarkmedia.com
West Coast Office

818-435-4689
Courtesy of
Satellite Trucks
STATE
CITY
COMPANY NAME
WEBSITE
PHONE
KENTUCKY
LOUISIANA
Florence
New Orleans
New Orleans
Saco
Point Of Rocks
Potomac
Ashland
Bedford
Boston
Wakefield
Ann Arbor
Cottage Grove
Minneapolis
St. Paul
Springfield
St. Louis
Columbia Falls
Helena
Stateline
Pelham
Old Bridge
Wayne
Whippany
Congers
Flushing
Hauppauge
Haverstraw
New York
New York
New York
New York
Victor
Warwick
West Babylon
Apex
Charlotte
Charlotte
Charlotte
Fort Mill
Cincinnati
Cincinnati
New Middletown
Poland
Rocky River
Sunbury
Broken Arrow
Boyertown
Harrisburg
Indiana
King Of Prussia
Malvern
Philadelphia
Philadelphia
Radnor
Myrtle Beach
Cordova
Gallatin
Nashville
Nashville
Austin
Austin
Dallas
Denton
Fort Worth
Schertz
South Houston
Salt Lake City
Arlington
Falls Church
Virginia Beach
Williamsburg
Ridgefield
Charleston
Prairie Du Chien
Nickless Schirmer & Co.

LeSEA Productions
Satellite Center
CSP Mobile Productions
LiveOnSite
ABS Asia Broadcast Satellite
Remote Broadcast Services
Polatis
VideoLink
Remote Facilities
Michigan Satellite Systems
PSB Satellite
ARCTEK HD
Ingwell Communications
KY3
Spot Media Production Group
Superior Satellite Engineers
Lyon Group
Shoot It Live
Thistle Communications
Fulton Production and Consulting
Vision Quest Productions
A3 Media
American Satellite Uplink
Interface Communications
L-3 Narda-MITEQ
Flight 9 Satellite Services
All Mobile Video
DS Simon Productions HD Television Studio
Metrovision Production Group
L-3 CGS
Centrex Communications
Village Video News
RMG Satellite Productions
Aviv Moon Productions
Nomadic Communications
Thomas Digital
Control 1 Communications
Central Satellite Services
Satellite Today
Sure Shot Transmissions
First Call UPLinks
TeleNet Media
Gerling and Associates
J A Taylor & Associates
Media Solutions
Quintech Electronics & Communications
PMTV Producers Management TeleVision
Liberty Uplink
MyStreamingEvent.com
StreamByte Live Event Broadcasting
Satellite Papa
Prolink Satellite
BrightLink HD
Skyway Studios
StagePost
ATX HD
Texas TV Trucks
WSC HD Productions
Applied Telecommunications
Shook Mobile Technology
World Teleport
Bonneville International
MGA
Dawnbreaker Communications
Atlantic Satellite
Colonial Williamsburg Productions
Wild Hare Satellite
The Media Center
DH Satellite
www.nsccom.com
www.satctr.com
www.cspmobile.com
www.liveonsite.com
www.absatellite.net
www.RemoteBroadcastServices.com
www.polatis.com
www.videolinktv.com
www.remotefacilities.com
www.misat.com
www.PSBsatellite.com
www.arcteksat.com
www.ingwellcommunications.com
www.ky3.com
www.spotmpg.com
www.superiorsatelliteusa.com
www. lyongroup.biz/content
www.shootitlive.tv
www.thistlecommunications.net
www.satellitedownlink.com
www. vqpi.yolasite.com
www. a3mediallc.com
www.americansatelliteuplink.com
www.interfacetv.com
www.miteq.com
www.flight9.com
www.allmobilevideo.com
www. dssimon.com
www.metrovision.tv
www.globalcoms.com
www.centrexcom.com
www.vvn.com
(800) 543-1584
(504) 681-0120
(504) 915-8244
(207) 282-9680
(703) 431-4332
(301) 605-7629
(201) 312-5531
(781) 275-5080
(617) 340-4100
(781) 246-8300
(734) 761-9011
(651) 300-9538
(866) 623-1986
(612) 839-5154
(417) 268-3128
(314) 667-5915
(406) 257-9590
(406) 442-9014
(808) 371-3023
(603) 598-5100
(917) 312-9894
(973) 686-9400
(800) 881-0569
(845) 352-0998
(718) 463-8700
(631) 439-9108
(845) 271-4455
(212) 727-1234
(212) 784-6020
(212) 736-2727
(212) 989-1515
(585) 742-9100
(845) 987-1666
(631) 752-9311
(919) 363-3645
(704) 765-4995
(866) 519-7723
(704) 200-9353
(205) 706-9524
(513) 821-7200
(513) 891-1444
(330) 542-0900
(800) 951-6707
(216) 276-8841
(740) 965-2888
(918) 925-9877
(610) 754-6800
(877) 860-5255
(800) 839-3658
(610) 768-1770
(215) 964-5222
(267) 382-0285
(267) 382-0285
(888) 877-1178
(843) 333-5963
(901) 356-2394
(615) 289-4319
(615) 650-6124
(615) 248-1978
(800) 338-6862
(512) 458-4343
(972) 570-1118
(940) 483-9200
(817) 763-5992
(210) 651-5700
(281) 741-4810
(801) 575-7500
(703) 522-1185
(202) 288-0805
(757) 318-3500
(757) 220-7143
(360) 573-6850
(304) 720-5445
(608) 326-8406
MAINE
MARYLAND
MASSACHUSETTS
MICHIGAN
MINNESOTA
MISSOURI
MONTANA
NEVADA
NEW HAMPSHIRE
NEW JERSEY
NEW YORK
NORTH CAROLINA
OHIO
OKLAHOMA
PENNSYLVANIA
SOUTH CAROLINA
TENNESSEE
TEXAS
UTAH
VIRGINIA
WASHINGTON
WEST VIRGINIA
WISCONSIN
230
www.avivmoon.tv
www.nomadic-comm.com
www. Thomas-Digital.com
www. control1comm.com
www.centralsat.com
www.satellitetoday.com
www.sureshotsat.com
www.firstcalluplinks.com
www.telenetmedia.net
www.kodiakmobile.tv
www.broadcastassociates.com
www.mediamadeeasy.com
www.quintechelectronics.com
www.pmtv.com
www.libertyuplink.com
www.mystreamingevent.com
www.streambyte.tv
www.tpsweb.com
www.satellitepapa.com
www. prolinksat.com
www.BrightlinkHD.com
www.skywaystudios.net
www.stagepost.com
www. atxhd.com
www.TexasTVTrucks.com
www.wschdproductions.tv
www.appliedtelecominc.com
www.shook-usa.com
www.worldteleport.com
www.bonneville.com
www.mga-media.net
www.dbchd.com
www.atlanticsat.com
www.history.org/productions
www.wildharesat.com
www. themediacenter.tv
www.dhsatellite.com
Program Productions is the countrys premier

provider of technical production staffing for
entertainment, sports and more. We assemble and
manage the right team for any eventanywhere.
BUT THATS JUST ONE ANGLE.
Inspired by what we see, thrilled by what we
hear and moved by what we capture:
OUR PRODUCT IS OUR PASSION.
Our crews: our MVPs. Our broadcast:

our hat-trick. From the rush of blades
cutting ice to that game-winning shot
WE SEE PASSION IN EVERYTHING WE DO.
AND WE SHARE IT WITH THE WORLD.
he 10th annual SVG Gearbase Survey provides an ongoing database of production-truck technology for the North American
fleet of more than 240 broadcast vehicles. The 2015 Gearbase comprises 248 total mobile units, only 13 of which are SD. With
SD all but gone, HD flourishing, and 4K and IP-based tools on the way, truck vendors find themselves at an interesting crossroads.
This years Gearbase Survey drew more participating companies than ever before 37 in all and includes more than a
dozen mobile units that debuted over the past 12 months. Here is a brief summary of the Gearbase Surveys key findings in the
HD-truck market. On the following pages is a listing of the trucks and specs (based on October 2015 data collected from participating companies):
NEP has by far the largest fleet in North America with 63 trucks
boosted by several recent acquisitions. Mobile TV Group is
second with 25 mobile units, followed by Game Creek Video
(21), Dome Productions (18), Lyon Video (11), F&F Productions
(10), Live Media Group (9), and All Mobile Video (7). Turn to
page 18 for Total Trucks by Company graphic.
Of the 221 HD trucks whose camera complement was identified
by brand, 118 use Sony (53.4%), followed by Grass Valley with
72 (32.6%), Ikegami with 22 (10%), and Hitachi with 10 (4.5%).
The battle for lens-market share continues as a two-horse
race: 122 HD trucks carry Canon lenses exclusively in 2015
(56%), 69 have Fujinon exclusively (31.7%), and 24 trucks lens
complement is a mix of Canon and Fujinon lenses (11%).
Among HD switchers, Grass Valley continues to dominate, with
its units found at the center of 187 HD mobile units (77.6%). Sony
and Ross Video switchers are in 19 trucks apiece (7.9% each).
Eight trucks carry FOR-A switchers (3.3%); five trucks, Blackmagic Design switchers (2.1%).
The video-router sector continues to be diverse, led by Grass
Valley in 70 trucks (35.7%), followed by Evertz with 40 (20.4%),
PESA with 33 (16.8%), Utah Scientific with 15 (7.7%), and Sony
with eight (4.1%). Blackmagic Design, Leitch, and Imagine

Communications video routers appear in seven trucks each
(3.6% apiece), followed by Ross Video with six (3.1%).
ChyronHego remains the market leader in HD graphics, with
its systems in nearly 90% of trucks on the road (148 of the 165
trucks that specified a graphics system). Vizrt and Ross Video
systems are installed in eight trucks apiece (4.8% each).
In HD replay devices, EVS is once again the undisputed
industry standard, with 184 HD trucks reporting some form
of EVS system as its primary replay device (95.8% of HD
trucks that specified a replay system). Currently, 22 trucks
carry Grass Valley K2 Dyno replay systems, although 20 of
those trucks also have EVS replay systems. NewTek (four HD
trucks), Abekas (three), and Tightrope (two) also appear in the
Gearbases replay numbers for 2015.
Calrec Audio remains the number-one audio console represented on HD trucks, with 144 consoles in 63.7% of the HD trucks;
Yamaha is second with consoles in 26 audio rooms (11.5%),
followed by Avid/Euphonix (14), Soundcraft Expression (11),
DiGiCo (nine), Studer (eight), Mackie (five), and SSL (three).
Visit www.sportsvideo.org/main/gearbase
PERCENT OF HD TRUCKS BY
PRODUCTI0N SWITCHER BRAND
PERCENT OF HD TRUCKS BY
AUDIO CONSOLE BRAND
production switchers
3.3% 0.8%
0.4%
2.1%
7.9%
4.9%
6.2%
7.9%
Grass Valley
Blackmagic Design
Sony
Ross
NewTek
3.5%
1.3%
1.3%
0.4%
2.2%
4%
63.7%
11.5%
77.6%
FOR-A
Panasonic
Gearbase
GearbaseStudy
Calrec
DiGiCo
Yamaha
Studer
Midas
Avid/Euphonix
Mackie
Stagetec
Soundcraft Expression
SSL
Allen and Heath
Lawo
235
HD/SD/1080P
CAPABLE
TRIAX, FIBER,
OR BOTH?
MICROPHONES
SWITCHER, M/E,
STILL STORE
NUMBER REPLAY DEVICES
ROUTER (VIDEO/AUDIO SIZE)
HD
Both
Yamaha LS9-32
5 GV/2 Sony HD POV
4 Canon, 3 Fujinon 3/4
Ross XPression/ChyronHego
HyperX2
Senn., Sony, A-T, EV
Ross Carbonite, 2M/E
1 6-ch. GV K2 Dyno, 1 3-ch. GV K2 Dyno
Ross (72x72 HD/64x64 AES, 32x32 analog)
HD/3D
Both
Studer Vista 8 (256)
16 Sony
16 Fujinon
Wired for 2 CG's
kits vary
Sony MVS-8000x, 5M/E
4 8-ch. EVS
Sony
60' triple
expando
HD
Both
24 Sony
24 Fujinon
Wired for 2 CG's
kits vary
Sony MVS8000A, 4M/E
4 6-ch. EVS
Sony
Revolution
53' double
expando
HD
Both
Studer Vista 9
16 Sony
16 Fujinon
Wired for 2 CG's
kits vary
Sony MVS 7000x, 5M/E
4 8-ch. EVS
Sony
Crossroads
53' triple
expando
HD
Both
16 Sony
16 Fujinon
Wired for 1 CG
kits vary
Sony MVS8000G, 4M/E
3 8-ch. EVS
Sony
Celebrity
53' triple
expando
HD
Both
16 Sony
16 Fujinon
Wired for 1 CG
kits vary
Sony MVS8000, 4M/E
2 4-ch. EVS
Sony
NYLA
51' straight
HD
Both
Studer Vista 5 M3 (256)
10 Sony
10 Fujinon
Wired for 2 CG's
kits vary
Sony MVS8000G, 4M/E
6 Miranda HMP 1801
Sony
Maverick
40' expando
HD
Both
Calrec Omega (256)
10 Sony
10 Fujinon
Wired for 1 CG
kits vary
Sony MVS 6350
2 4-ch. EVS XTnano
Sony
Unit A
53' expando
HD
Triax
Yamaha
Sony HxC100
3 H, 2 HH
ChyronHego Duet/Ross
XPression
full complement
Kalypso, 4M/E
2 6-ch. EVS
(256x256)
Unit B
40' straight
SD
Triax
Yamaha
Ikegami 388W
5 70x, 2 HH
ChyronHego Duet
full complement
Kalypso, 4M/E
1 6-ch. EVS
(64x64)
BSI
Golf 5
52'
HD/RF
Fiber
n/a
24 RF paths
as requested
n/a
38 RF wireless
n/a
n/a
n/a
CCI
COMMUNICATIONS
Mobile 2
36' straight
HD/SD
Triax
Yamaha 02R96 (24/56)
5 Sony HSC-300, wired for 8
4 Fujinon 2 23X, 2 18X, 1 Canon

2X, long available on request
ChyronHego HyperX3
4 shotguns, 3 RE 50 Hand , 4 lavs, 4 beta

53 headworn , 3 HMD 26II, 3 Daltech,
more available on request
GV Karrera, 3M/E
wired for 2 EVS. 7-ch. XT3-4U, XT Access
GV Concerto w/Encore (96x96 HDSDI/32x32 AES)
CLARK
MEDIA
Slate
40' expando
HD
Fiber
Calrec Artemis (40/64 analog,

48 AES, 2 MADI)
10 Sony HDC-2500
Canon: XJ-95, 22X,

14X wide-angle
ChyronHego Mosaic
Shure, Senn.
GV Kayenne, 4M/E
2 EVS XT3
Imagine IP3 (1024x1024)
Integrity
50' expando
HD
Both
Yamaha PM5000 (56)
6 GV LDX 80 Premier
4 H, 3 HH
ChyronHego HyperX3
GV Karrera, 4M/E
2 EVS LSM; 2 DVCPRO; 1 KiPro
GV NVision 8256 Plus (512x512/audio 256x256)
COX
CREATIVE
STUDIOS
Red
32' expando
HD
Triax
Calrec Omega (56 faders)
6 GV LDX 80, 2 Thompson LDK-6000
4 Fujinon 87x1, 1 Fujinon 72x,

5 HH
ChyronHego HyperX3
large selection
GV Kalypso, 4M/E
EVS: 1 6-ch XFile, 1 4-ch. XFile; DVW-M2000, HDW 2000, XDCam
Trinix HD (128x256)
6 Fujinon 66x1, 5 Fujinon HH
ChyronHego HyperX3
large selection
Sony DVS 9000, 2M/E
1 EVS, 2 DigiBeta SP
PESA Cougar (32x32)
ADMIRAL
VIDEO
NLT-36
36'
Epic 3D
53' double
expando
Titan
DOME
PRODUCTIONS
D2 PRODUCTIONS
CSP MOBILE PROUDTIONS
CP COMMUNICATIONS
BOUNCE
MULTIMEDIA
ALL MOBILE VIDEO
DIMENSIONS/
TYPE
GRAPHICS
COMPANY
LENSES (HARD/
HANDHELD)
CMG
MOBILE
PRODUCTIONS
Gearbase
# CAMERAS & MAKE
236
Blue
26'
SD
Triax
Yamaha M7CL (48 ch.)
6 Philips LDK 20P
DSM-1
40', 42' mast
HD/SDI
Fiber
DiGiCo SD-10B (32/96)
N/A
HD-1
40' box
HD/1080p/
3 Gb
Fiber
MIDAS 320 (32/4 sub/2 stereo)
8 RF Tx w/paint control; Sony, Thomson,

Ikegami
as requested
n/a
as requested
FOR-A Hanabi HVS1055hs, 1.5M/E
n/a
GV NVision (32x32 embedded audio)
HD-11
53' expando,
60' mast
HD/1080p/
3 Gb
Fiber
12 RF Tx w/paint control; Sony,

Thomson, Ikegami
as requested
n/a
as requested
n/a
GV 32x32 3G w/32x8 Kaleido multiviewer
HD-21
53' expando,
60' mast
HD/1080p/
3 Gb
Fiber
12 RF Tx w/paint control; Sony,

Thomson, Ikegami
as requested
n/a
as requested
n/a
RF-5
53', 60' mast
HD/1080p/
3 Gb
Fiber

Ikegami
as requested
n/a
as requested
n/a
RF-6
53', 60' mast
HD/1080p/
3 Gb
Fiber
DiGiCo SD-10B-24 (24/96)

Ikegami
as requested
n/a
as requested
n/a
RF-7
53', 60' mast
HD/1080p/
3 Gb
Fiber
Stagetec Crescendo (32/96)

Ikegami
as requested
n/a
as requested
n/a

Utah 400 HD (96x216 HD video/80x80 AES, 40x40 analog
audio, 128x128 MADI)
as requested
n/a
HD1
53' expando
HD
Both
Calrec Omega
8 Ikegami
10 Canon
ChyronHego HyperX3
Senn., EV, Sony
GV 400/35 HD Kayenne, 4/5M/E
EVS: 2 6-ch. HD (LSM) XT2, 1 4-ch. HD (LSM) XT2, 1 4-ch. HD XT2 SpotBox RO, 1 XT2
XFile w/GigE
HD2
53' expando
HD
Both
Calrec Artemis
10 Ikegami
10 Canon
ChyronHego HyperX3
Senn., EV, Sony
EVS: 2 6-ch. HD (LSM) XT3, 1 4-ch. HD (LSM) XT3 SpotBox RO, 1 8-ch. HD XT3 RO
(can be split into two 4-ch. ROs), 1 XF3 w/XFile3 transcoding
Utah 400 HD (528x528 HD/48x48 embedded, 384x384

MADI, 64x64 AES, 36x36 analog stereo)
HD3
53'
HD
Both
Calrec Omega
8 Ikegami
10 Canon
ChyronHego HyperX3
Senn., EV, Sony
GV Kayenne, 4/5M/E
EVS: 2 6-ch. HD (LSM) XT2, 1 4-ch. HD XT2 SpotBox RO, 1 HD XT2 XFile w/GigE; 1
Sony 1800 HDCam; 1 Panasonic DVCPRO HD; 2 Sony DVW-500/A500 DigiBeta; 2 DNF
ST300 controllers
Utah 400 HD (96x216 HD video/84x84 AES, 40x40 analog,

128x128 MADI)
HD4
53' expando
HD/1080p
Both
Calrec Artemis
11 Ikegami
12 Canon
ChyronHego Mosaic
Senn., EV, Sony
EVS: 2 6-ch. HD (LSM) XT3, 1 4-ch. HD (LSM) XT3 SpotBox RO, 1 8-ch. HD XT3 RO (can
be split into 2 4-ch. ROs), 1 XF3 w/XFile3 transcoding, 4 LSM Connect tablets
Utah 400 HD (528x528 HD/48x48 embedded, 576x576

MADI, 64x64 AES, 36x36 analog stereo)
HD-B1
53'
HD/1080p
N/A
n/a
n/a
n/a
Wired for 3 graphic units, 2

bugs units, 2 first & 10 units
n/a
n/a
wired for 4 8-ch. EVS XT3 w/10 gig
Utah 400 HD (144x144)
SD5
40'
SD/16:9
Triax
Yamaha 3500 (56)
9 Ikegami
5 Fujinon
ChyronHego HyperX
Senn., EV, Sony
GV 4000, 3M/E
EVS: 4-ch. XT2, 4-ch. LSM, XFile2 (XF2); 2 BetaSP, 2 DigiBeta, FFV
Utah 300 (32x32 SDI video, 128x128 analog video)
Genesis
24'
HD
Fiber
Soundcraft GB8 (32/32)
5 Hitachi/2 POV
Fujinon, Canon 3/2
ChyronHego ChyronIP
Senn., EV, Sony, Crown, Rode
TriCaster 8000, 8M/E
6-ch. NewTek TriCaster 3Play, 2-ch. TriCaster DDR
Blackmagic (40x40)
Zeppelin
40'
HD
Fiber
Soundcraft GB8 (32/32)
5 Hitachi/2 POV
Fujinon, Canon 3/2
ChyronHego HyperX3
Senn., EV, Sony, Crown, Rode
Sony MVS-3000, 2M/E
2 6-ch. NewTek TriCaster 3Play; 4-ch. Abekas Tria
Blackmagic (72x72)
Horizon HD
53' expando
HD
Triax
Calrec Alpha 100 (360)
10 GV LDK 6000
12 Canon
ChyronHego HyperX3,
Lyric Pro
A-T, Senn., EV, Sony
GV Kalypso, 4M/E
EVS: 2 6-ch. XT2, 4-ch. RO XT2, 4-ch. XT2 SpotBox, XFile2 (XF2), XHub; 2 HDCAM/
XDCAM
GV Trinix (224x320/96x64)
Majestic HD
w/B unit
53' expando
HD
Triax
Calrec Alpha 100 (360)
10 Sony HSC 300R
12 Canon
ChyronHego HyperX3,
Lyric Pro
GV Kalypso, 4M/E
EVS: 2 6-ch. XT2, 4-ch. RO XT2, XS SpotBox, XHub, XFile2 (XF2); 2 HDCAM/XDCAM
GV Trinix (224x320/96x64)
All information subject to change. Please contact the truck vendors

Website for the most current information on equipment and capabilities
Gearbase
AUDIO CONSOLE
(FADERS/
CHANNELS)
TRUCK
NAME
237
BEHIND
POWERFUL
PRODUCTION
EXPERTLY ENGINEERED SOLUTIONS FOR:
Remote Production
Studio Production
Video Display
Host Broadcasting
Post Production & VFX
Smart Media Asset Management & Logistics
End-to-End OTT Solutions
Premium Encoding Services
CDN Federation
Cloud Playout & MCR Services
Broadcast IT Services
SS-CBS is the newest addition to NEPs fleet.

It features an IP-based routing system that
makes it flexible, scalable, and 4K ready.
www.nepinc.com
Redefining Television
FPB 8.125 x 10.875
THE POWER YOU NEED

TO START THE GAME.
RAdIO
ACTIVe
deSIGnS
Team up with one of the industrys most

reliable Global Power Providers.
When the game is LIVE, time is critical. And you dont
get a second chance. At Cat Entertainment Services,
we have the prime and stand-by power solutions and
technical expertise to make sure you stay on the air.

Twin 300 kW generators

1200 amp parallel capable generators
We own one of the largest inventories of power

distribution equipment and cable suited
specifically for broadcast compounds
of any configuration or voltage.
Whether you are looking for the
redundant power of a twinpac,
or a single back up unit for your
production, we have a package to
fit your needs, and to ensure that
the show goes on.
Los Angeles
New York
Dallas
Atlanta
Indianapolis
Orlando
Tampa
New England
Miami
Toronto Canada
866.762.5228
877.228.2852
877.456.7854
866.769.3761
888.908.4228
888.296.4492
877.228.2852
877.228.2852
877.456.7854
888.296.4492
HD/SD/1080P
CAPABLE
53' expando
HD
DOME PRODUCTIONS
ENCOMPASS DIGITAL
GRAPHICS
MICROPHONES
SWITCHER, M/E,
STILL STORE
Both
Calrec Sigma (360)
10 Sony 1500
12 Canon
ChyronHego HyperX3,
Lyric Pro
GV Kalypso, 4M/E
EVS: 2 6-ch. XT2, 4-ch. RO XT2, 4-ch. SpotBox XS, XFile2 (XF2), XHub2; 2 HDCAM/
XDCAM
GV Trinix (222x160)
GV K-Classic, 4.5M/E
EVS: 2 6-ch. XT3, 6-ch. RO XT2, 4-ch. XS SpotBox, XFile3, XHub3; 2 HDCAM/XDCAM
GV Trinix (256x256/256x256)
53' expando
HD
Both
Calrec Alpha 100 w/Bluefin (540)
10 Sony 1500
12 Canon
Tribute HD
53' expando
HD
Triax
Calrec Omega (240)
10 Sony 2400
12 Canon
ChyronHego HyperX3,
Lyric Pro
GV K-Classic, 4M/E
EVS: 2 6-ch. XT2, 4-ch. RO XT3, XS SpotBox, XFile2 (XF2), XHub; 2 HDCAM/XDCAM
Imagine (64x64/128x128)
12 Canon
ChyronHego HyperX3,
Lyric Pro
EVS: 2 6-ch. XT2, 4-ch. RO XT2, 4-ch. XT2 SpotBox, XFile2, XHub2; 2 HDCAM/XDCAM
Evertz (288x180/128x128)
EVS: 2 6-ch. XT3, 6-ch. RO XT3, 4-ch. XS SpotBox, XFile3, XHub3; 2 HDCAM/XDCAM
Evertz (288x180/128x128)
GV K-Frame, 4.5M/E
EVS: 2 6-ch. XT3 LSM, 6-ch. RO XT3, 4-ch. XS SpotBox, XFile3, 2 XHub3; HDCAM/
XDCAM
Evertz (288x288/128x128)
Evertz (288x288/128x128)
53' expando
HD
Triax
Calrec Sigma (360)
10 Sony HSC 300
Echo HD
53' expando
HD
Both
Calrec Sigma (360)
10 Sony 1500
12 Canon
ChyronHego HyperX3,
Lyric Pro
Pacific HD
53' expando
HD
Both
Calrec Artemis Beam (360)
10 Sony 2400
12 Fujinon
ChyronHego HyperX3,
Lyric Pro
GV K-Frame, 4.5M/E
XDCAM
Atlantic HD
53' expando
HD
Both
10 Sony 2400
12 Fujinon
ChyronHego HyperX3,
Lyric Pro
Kodiak HD
40' straight
HD
Triax
Calrec S2
6 GV LDK-6000
8 Canon
ChyronHego HyperX3.1 ,
Lyric Pro
GV Karrera, 3.5M/E
EVS: 2 6-ch. LSM XT2, 4-ch. XS SpotBox, XFile2 (XF2), XHub2; HDCAM/XDCAM
Imagine (32x32/32x32)
Silver HD
53' expando
HD/1080p
Both
10 Sony 2400
12 Fujinon/Canon
ChyronHego HyperX3,
Lyric Pro
GV K-Frame, 4.5M/E
XDCAM
Evertz (288x288/128x128)
GV K-Frame, 4.5M/E
XDCAM
Evertz (288x232/128x128)
Journey HD
53' expando
HD/1080p
Both
10 Sony 2400
12 Canon
ChyronHego HyperX3,
Lyric Pro
Sierra HD
53' expando
HD
Both
Calrec Sigma (360)
10 Sony 1500
12 Canon
ChyronHego HyperX3,
Lyric Pro
EVS: 2 6-ch. XT3 LSM, 4-ch. RO XT2+, 4-ch. XS SpotBox, XFile3, 2 XHub3; HDCAM/
XDCAM
Evertz (220x184/128x128)
11 Canon
ChyronHego HyperX3,
Lyric Pro
GV Kalypso, 4M/E
EVS: 2 6-ch. XT2, 6-ch. RO XT2, XS SpotBox, XHub, XFile2; 2 HDCAM/XDCAM
GV Trinix (256x256/256x256)
11 Canon
ChyronHego HyperX3,
Lyric Pro
GV Kalypso, 4M/E
EVS: 2 6-ch. XT2, 6-ch. RO XT2, XS SpotBox, XHub, XFile2; 2 HDCAM/XDCAM
GV Trinix (256x256/256x256)
Blackmagic (74x144)
53' expando
HD
National HD
w/B unit
53' expando
HD
Both
SSL C-100
Both
4 Sony HDC1000, 5 Sony HDC-1500
SSL C-100
4 Sony HDC1000, 5 Sony HDC-1500
Spring
48' straight
HD REMI
Both
7 Sony 1500R
7 Canon
as requested
Ross Vision 2MDx, 2.5M/E
as requested
Sidecar HD
16' trailer
HD
Coax/fiber
TriCaster internal + 8-ch. Mackie
3 Sony Ex-3
w/camera
NewTek TriCaster-based
TriCaster 850
as requested: EVS, NewTek 3Play, GV Dyno
Blackmagic (16x16)
Beacon (uplink)
30' straight
HD
Fiber
Yamaha O2RV2
5 Sony 1500
n/a
FOR-A HVS-300
AVL 2.4-meter Ku/C-band, 2 ETM 400-W C/Ku TWT amplifier, Sony PDW-F1600
XDCAM
Leitch Panacea (16x16)
Rico (uplink)
tractor cabin
HD
n/a
none
none
n/a
n/a
n/a
none
Ku-band uplink w/redundant-path CPI HPAs (400-W), Adtec encoders, 1.8-m GD VerteX
dish
none
Upstream (uplink)
tractor cabin
HD
n/a
none
none
n/a
n/a
n/a
none
Ku-band uplink w/redundant-path MCL HPAs (400-W), Ericsson encoders, 1.8-m GD

VerteX dish
none
n/a
none
Ku-band uplink w/redundant-path MCL HPAs (400-W), Ericsson encoders, 1.8-m GD

VerteX dish
none
as requested
GV Trinix (192x288/128x128)
Stargazer (uplink)
F&F PRODUCTIONS
LENSES (HARD/
HANDHELD)
ChyronHego HyperX3,
Lyric Pro
Hudson HD w/B
unit
GAME
CREEK VIDEO
# CAMERAS & MAKE
Trillium HD w/B
unit
Thunder HD
242
TRIAX, FIBER,
OR BOTH?
DIMENSIONS/
TYPE
COMPANY
Gearbase
Spirit HD
AUDIO CONSOLE
(FADERS/
CHANNELS)
tractor cabin
HD
n/a
none
none
n/a
n/a
HD/1080p
request
as requested
as requested
as requested
as requested
as requested
UNITE is integrated with a router

and intercom system and is ready to
deploy for multipurpose function as
a host facility
TES45
34', C- and
Ku-band
HD
SMPTE Fiber or
TAC w/Telecast
Copperhead HDx
power units for
cameras
Mackie 1604VLZ 16 mic/line

inputs 4 aux 4 sub L/R main
4 Panasonic HDx-900 w/RC-10G

control units
Fujinon HA18x7.6
Ross XPression
n/a
Ross Crossover Solo
1 AJA KiPro
Blackmagic (40x40 SDI embedded audio only)
TES5
32', Ku-band
HD/SD
Triax camera;
TAC fiber for
ISO signals
Mackie 1604VLZ 16 mic/line

inputs 4 aux 4 sub L/R main
5 Sony DxC-D50WS SD only
Fujinon A20x
n/a
n/a
Panasonic HS-400an
2 AJA KiPro
Blackmagic (40x40 SDI embedded audio only)
GTX-7
53' expando
HD
Both
Calrec Artemis Light w/Bluefin2

340 (2)
8 Sony 1500
Fujinon: 6 88x, 4 22x, 2 12x4.5

w/A
ChyronHego HyperX3
A-T, EV, Senn., Shure, Sony
GV Kalypso, 4M/E
EVS: 2 6-ch. XT2+, 2 4-ch. RO XT2+, 1 4-ch. SpotBox, XFile2, 1 XHub2; 2 Sony
DVW-A500, 1 DVCPRO 1700, 1 HDCam 1800
PESA HD (multirate/144x352 PESA DRS, 128x128 analog,

128x128 AES, 128x128 MADI, 256x256 embed/de-embed
GTX-8
53' expando
HD
Both
Calrec Sigma w/Bluefin, 2

MADI I/O
12 Sony 1500
Fujinon: 2 101x, 4 88x, 4 22x, 4

12x4.5 w/A
ChyronHego HyperX3
GV Kayenne, 4.5M/E, K2 Solo, GV

Kayenne Image Store
EVS: 3 6-ch. XT2, 2 4-ch. XT2, 2 4-ch. RO XT2, 1 4-ch. SpotBox, XFile2 (XF2), 2 XHub2,
IPDirector, XTAccess; 2 Sony M2000; 2 DVCPRP 1700, 1 DVCPRO 1400, 1 HDCam
1800
PESA HD (multirate video/192x448 PESA DRS, 512x512

analog, 512x512 AES, 128x128 MADI)
GTX-9
53' expando
HD
Both
Calrec Sigma w/Bluefin, 2

MADI I/O
9 Sony 1500
Fujinon: 6 88x, 4 22x, 4 12x4.5

w/A
ChyronHego HyperX3
GV Kayenne, 4.5M/E
EVS: 2 6-ch. XT2, 2 4-ch. RO XT2, 1 4-ch. SpotBox, XFile2 (XF2), 2 XHub2; 2 Sony
M2000, 1 DVCPRO 1700, 1 DVCPRO 1400, 1 HDCam 1800

analog, 256x256 AES, 128x128 MADI, 128x128 embed/
de-embed)
GTX-10
53' expando
HD
Both
Calrec Artemis Beam w/ Bluefin2

(340) (2) MADI I/O
8 Sony 2400
Fujinon: 6 88x, 4 22x, 4 12x4.5

w/A
ChyronHego HyperX3
GV Kayenne, 4.5M/E
EVS: 2 6-ch. XT2+, 2 4-ch. RO XT2+, 1 4-ch. SpotBox, XFile2+ (XF2), 2 XHub2; 1 Sony
M2000, 1 DVCPRO 1700, 1 DVCPRO 1400, 1 HDCam 1800

analog, 256x256 AES, 128x128 MADI, 256x256 embed/
de-embed
GTX-11
53' expando
HD
Both
Calrec Artemis Beam w/Bluefin2,

(340) (2) MADI I/O
14 Ikegami
Fujinon: 4 101x, 3 87x, 5 22x, 2

12x4.5 w/A
ChyronHego HyperX3
Senn., EV, Sony
GV Kayenne; 4.5M/E
EVS: 4 8-ch. EVS HD XT3; 1 4-ch. EVS XT2 SpotBox; 1 XFile (XF2); 2 XHub; 1 DVCPRO,
1 DigiBeta
GV Trinix (256x256 HD/SD)
14 Ikegami
Fujinon: 4 101x, 3 87x, 5 22x, 2

12x4.5 w/A
ChyronHego HyperX3
Senn., EV, Sony
GV Kayenne K-Frame, 6M/E
EVS: 2 6-ch. EVS HD XT2; 2 4-ch. HD XT2; 1 XFile2 (XF2); 1 4-ch. XT2 SpotBox; 1
DVCPRO, 1 DigiBeta
14 Ikegami
Fujinon: 3 101x, 4 87x, 5 22x, 2

12x4.5 w/A
ChyronHego HyperX3
Senn., EV, Sony
EVS: 4 6-ch. HD XT2, 1 4-ch. HD XT2 SpotBox, 1 XFile2 (XF2); 2 DVCPRO; DigiBeta
ChyronHego HyperX3
Senn., EV, Sony
EVS: 4 6-ch. HD XT2+, 1 4-ch. XT2+ SpotBox; 2 DVCPRO; 1 HDW-2000
GV NVision (288x576 eExpandable HD/SD)
Unite HD
53' double
expando
GTX-12
53' expando
HD
Both
Calrec Artemis Beam Digital w/

Bluefin2 (340) (2) MADI I/O
GTX-14
53' expando
HD
Both
Calrec Artemis Beam Digital w/

Bluefin2 (340) (2) MADI I/O
GTX-15
53' double
expando
HD
Both
Calrec Alpha w/Bluefin2 (480)

(2) MADI I/O
14 Ikegami
Fujinon: 5 101x, 2 87x, 5 22x, 2

12x4.5 w/A
GTX-16
53' double
expando
HD/SD/1080p
Both
Calrec Artemis Beam w/Bluefin2

(340) (4) MADI I/O
14 Ikegami
Fujinon: 4 101x, 3 88x, 4 22x, 3

12x4.5 w/A
ChyronHego HyperX3
Senn., EV, Sony
EVS: 4 8-ch. HD XT3, 1 6-ch. XT3 SpotBox, 2 Xfile (XF2), 1 IPDirector, 2 Hub; 2
SRW5500; 1 DVCPRO; 10G network
Evertz (288x516 HD)
GTX-17
53' double
expando
HD/SD/1080p
Both
Calrec Apollo w/Bluefin2 (1,020)

(4) MADI I/O
14 Sony 2500
Fujinon: 8 88x, 4 23x, 3 16x4.5

w/A
ChyronHego HyperX3
Senn., EV, Sony
EVS: 4 8-ch. HD XT3, 1 6-ch. XT3 SpotBox, 2 XFile, 1 IPDirector, 2 Hub; 2 SRW5500; 1
DVCPRO; 10G network
Evertz (496x962 HD)
ChyronHego: Duet HyperX3,

Mosaic XL
8 Senn. HMD 26 headset, 8 Daltech

annouce/cough box,12 Senn. MD-46
handheld, 6 Senn. MKH-8070 long shotgun,
6 Senn. MKH-416 short shotgun, 2 Senn.
MKH 418 stereo shotgun,
4 A-T AT4027 stereo shotgun, 6 EV RE50
handheld, 12 Sony ECM 77 lavalier
EVS: 3 6-ch. HD XT3 LSM w/high-speed XNe2t, 2 4-ch. HD XT3 RO replay emulator w/
Evertz: EQxHD video (396x684),
high-speed XNet2, 1 4-ch. HD XT3 SpotBox w/Lance TDC 100 controller, 1 XFile3; Sony:
EMxaudio (384x384 AES, 256x256 MADI, 288x288 analog,
1 DVW A500 DigiBeta VTR w/DNF controller, 1 HDW-D1800 HDCam, 1 XDS-PD2000
128x128x16 HD-SDI embedded)
XDCam; 4 DVD/VHS
94
53' expando
HD/SD/1080p
Both
Calrec Artemis (144/1,020)
10 Sony HDC-2500
Canon: 5 Digi Super 76x, 1 Digi

Super 100x, 3 22x7.8 ENG, 2
14x4.3 w/A ENG

Gearbase
TRUCK
NAME
243
PROVIDING MOBILE
BROADCAST SOLUTIONS
SINCE 1988
Boston Marathon
World Series of Poker
CBS College Football
Under Armour Elite 24
MLB
Latin America Music Awards
AFL
ACC
NBC College Hockey

Boston Pops
MLL Championships
FOX College Football
MMA
Olympics
Latin Grammy Awards
NFL
NBC Today Show
IVY League Hard Rock Live Concert Series
UFC
ESPN College Basketball
International Boxing
MLS
NHL
ICC Soccer
15 Willey Road | Saco, Maine 04072 | OFFICE: (207) 282-9680 | FAX: (207) 282-9318 | www.cspmobile.com
Apollo
Maverick
GAME CREEK VIDEO
Dynasty
53' expando
53' expando
53' expando
53' expando
HD/SD/1080p
HD/SD/1080p
HD/SD/1080p
TRIAX, FIBER,
OR BOTH?
HD/SD/1080P
CAPABLE
HD/SD/1080p
Both
Both
Both
Both
Calrec Alpha w/Bluefin (96/512)
# CAMERAS & MAKE
LENSES (HARD/
HANDHELD)
10 Sony HDC-2500
Canon: 6 Digi Super 95x 9.3,

2 Digi Super 100x 9.3, 3 22x7.8
ENG, 2 14x4.3 w/A ENG
10 Sony HDC-2500
Canon: 5 Digi Super 76x 9.3, 1

Digi Super 100x 9.3,
3 22x7.8 ENG, 2 14x4.3
w/A ENG
Glory
Justice
53' expando
53' expando
HD/SD/1080p
HD/SD/1080p
Both
Both
Calrec Apollo w/Bluefin

(144/1,020)
Calrec Apollo (144/1,020)

multiple Lyric Versions;
Adobe Photoshop

talkback/cough box, 6 Beyer M58
handheld, 12 Senn. MD-46 handheld,
6 Beyer MC836 short shotgun, 6 Beyer
MC837 long shotgun, 6 Senn. MKH 416
shotgun, 6 EV 635A handheld, 6 Sony
ECM 66 lav, 6 Sony ECM 77 lav
GV Kayenne K-Frame, 4.5M/E
EVS: 1 6-ch. HD XT2 LSM w/high-speed XNet, 1 4-ch. HD XT2 LSM w/high-speed
XNet2, 3 4-ch. HD XT2 RO VTR emulators w/high-speed XNet2, 1 SpotBox w/Lance
TDC 100 controller, 1 XFile (XF2);
Sony: 1 DVW A500 DigiBeta VTR w/DNF controller; 2 HiFi VHS;
2 DVD
Evertz EQxHD video (396x684), EMxaudio (384x384 AES,

256x256 MADI, 288x288 analog, 128x128x16 HD-SDI
embedded)

multiple Lyric versions;
Adobe Photoshop
8 Senn. HMD 25 headset, 8 Studio

Technologies 210 talkback/cough
box, 6 Beyer M58 handheld, 12 Senn.
MD-46 handheld, 6 Beyer MC836 short
shotgun, 6 Beyer MC837 long shotgun,
6 Senn. MKH 416 shotgun, 6 EV 635A
handheld, 6 Sony ECM 66 lav, 6 Sony
ECM 77 lav
GV K-Frame, 4.5M/E
EVS: 2 6-ch. HD XT2+ LSM w/high-speed XNet2, 4 4-ch. HD XT2+ RO VTR emulator
w/high-speed XNet2, 1 4-ch. HD XT2+ SpotBox w/Lance TDC 100 controller, 1 XT2+
XFile (XF2); Sony: 1 DVW A500 DigiBeta VTR w/DNF controller, 1 M2000 HDCAM VTR;
4DVD/VHS
Evertz: 576x1152 multiformat video, 1024x1024 audio
GV Kalypso, 3M/E
EVS: 2 6-ch. HD XT2 LSM w/high-speed XNet2, 3 4-ch. HD XT2 RO VTR emulator, 1
SpotBox w/Lance TDC 100 controller, 1 XFile; Sony: 1 DVW A500 DigiBeta VTR w/DNF
controller; 1 Panasonic AJ HD 1700A DVCPRO VTR; 4 DVD
Evertz EQxHD video (288x288 + 288 XLink), GV NVision

512x512 mono audio (AES and analog)
Evertz: EQx(288x288) HD video, EMx (384x384 AES,

embedded)
GV K-Frame, 4.5M/E
Xfile (XF2); 1 Sony DVW-A500 DigiBeta VTR w/DNF controller; 1 Panasonic DVCPRO
AJ-HD1700; 4 DVD/VHS
576x1152 multiformat video w/128x128 embedded

mux/demux capability, 128x128 video I/O w/16
Channels embedded audio each (2048x2048)/192x192
AES (384x384 mono), 288x288 analog, 16x16 MADI
(1024x1024 mono)
EVS: 4 6-ch. HD XT2+ LSM w/high-speed XNet2, 5 4-ch. HD XT2+ RO VTR emulator, 1
4-ch. HD XT2+ SpotBox w/Lance TDC 100 controller, 1 XT2+ Xfile (XF2);
1 Sony DVW A500 DigiBeta VTR w/DNF controller; 1 Panasonic DVCPRO AJ-HD1700;
4 DVD/VHS
Canon: 12 Digi Super 100x9.5, 4

21x7.8 ENG, 2 11x4.7B w/A ENG
Both
Evertz: EQxHD video (396x684),

EMxaudio (384x384 AES, 256x256 MADI, 288x288 analog,
128x128x16 HD-SDI embedded)
w/high-speed XNet2, 1 4-ch. HD XT2+ SpotBox w/Lance TDC 100 controller, 1 XFile2;
1 Sony DVW A500 DigiBeta VTR w/DNF controller; 4 DVD/VHS
14 Sony HDC-1500
HD/SD/1080p
EVS: 3 6-ch. HD XT3 LSM w/high-speed XNet2, 2 4-ch. HD XT3 RO VTR emulator w/
high-speed XNet2, 1 4-ch. HD XT3 SpotBox w/Lance TDC 100 controller, 1 XFile3;
Sony: 1 DVW A500 DigiBeta VTR w/DNF controller, 1 HDW-D1800 HDCam, 1 XDSPD2000 XDCam; 4 DVD/VHS
GV Kayenne, 3M/E
Calrec Alpha w/Bluefin (96/162

stereo, 78 surround sound,
156 mono)
River Hawk
GV Kayenne, 3M/E
PESA: 512x1024 HD video, DRS

2048x2048 mono (AES and analog)
Both
53' expando
with a
64' by 24'
Recommended
Working Area

Mosaic XL

announce/cough Box, 6 Beyer M58
shotgun, 6 EV 635A handheld, 6 Sony
ECM 66 lav, 5 Sony ECM 77 lav
EVS: 2 6-ch. HD XT2 LSM w/high-speed XNet2, 4 EVS 6-ch. HD XT2 super-slowmotion w/high-speed XNet2 , 4 6-ch. HD XT2 RO w/high-speed SportNet, 1 6-ch. HD
XT2 SpotBox w/dual Lance TDC 100 controller, 2 XFile, 1 IPDirector; 1 Sony DVW A500
DigiBeta VTR; Panasonic: 1 AJ HD 1800A DVCPRO VTR, 1 D-5 HD VTR; 4 DVD/VHS
Yes/Yes/No
Both
Evertz: EQxHD video (396x684), EMxaudio

(384x384 AES, 256x256 MADI, 288x288
analog,128x128x16 HD-SDI embedded)
2x 53' expando
HD/SD/1080p
EVS: 3 6-ch. HD XT3 LSM w/high-speed XNet, 2 4-ch. HD XT3 RO VTR emulator,
1 4-ch. HD XT3 SpotBox w/Lance TDC 100 controller, 1 XFile3; Sony: 1 DVW A500
DigiBeta VTR w/DNF controller, 1 HDW-D1800 HDCam,
1 XDS-PD2000 XDCam; 2 Mac Mini; 4 DVD/VHS
8 Senn. 416, 4 Senn. ME-66, 4 Senn.

ME-67, 8 Audix D-3, 4 Senn. MKH-70,
18 A-T 815-ST, 6 Senn. MD-46, 8 Shure
VP-88, 10 Senn. E-825,
8 A-T 825
FX
53' expando

Adobe Photoshop
10 Sony HDC-1500
Pride

Mosaic XL

annouce/cough box, 12 Senn. MD-46
handheld, 6 Senn. MKH-8070 long
shotgun, 6 Senn. MKH-416 short
shotgun, 2 Senn. MKH 418 stereo
shotgun, 4 A-T AT4027 stereo shotgun,
6 EV RE50 handheld, 12 Sony ECM
77 lav

multiple Lyric versions,
Adobe Photoshop

(144/1,020)

Technologies 210 talkback/cough box,
6 Beyer M58 handheld, 12 Senn.
MD-46 handheld, 6 Beyer MC836 short
shotgun, 6 Beyer MC837 long shotgun,
6 Senn. MKH 416 shotgun, 6 EV 635A
handheld, 6 Sony ECM 66 lav, 6 Sony
ECM 77 lav
Both
Calrec Omega (64/160)
12 Sony HDC-1500
HD/SD
Both
SWITCHER, M/E,
STILL STORE

Digi Super 86x9.3, 3 Digi Super
75x9.3, 3 22x7.8 ENG, 1 11x4.7
w/A ENG
53' expando
HD/SD/1080p
MICROPHONES
Canon: 7 Digi Super 72x 9.3, 2

11x4.7B w/A ENG
Freedom
44' dual
expando
GRAPHICS
12 Sony HDC-1500

100x9.3, 4 21x7.8 ENG, 1
11x4.7B w/A ENG, 1 21Ax7.8
Gemini
248
DIMENSIONS/
TYPE
COMPANY
Gearbase
Amazin'
AUDIO CONSOLE
(FADERS/
CHANNELS)
6 Sony HDC-1500
Canon: 4 Digi Super 72x9.3,

2 22x7.8 ENG, 1 14x4.3
w/A ENG
ChyronHego Duet HyperX3

announce/cough box, 4 Beyer M58
shotgun, 5 EV 635A handheld, 1 Shure
SM58 handheld, 6 Sony ECM 66 lav,
6 Sony ECM 77 lav
10 Sony HDC-2500

5 Digi Super 75x9.3, 4 22x7.8

Adobe Photoshop

12 Senn. MD-46 handheld, 6) Senn.
MKH 416 shotgun, 2 Senn. MKH 418S
stereo shotgun, 6 Senn. 8070 shotgun,
4\ A-T BP4027 long stereo shotgun, 6
EV RE50 handheld, 6 Sony ECM 77 lav
ChyronHego Mosaic; Adobe

Photoshop
8 Senn. HMD 26 headset

(8) Daltech Announce/Cough box
(12) Senn. MD-46 handheld
(6) Senn. MKH 416 shotgun
(2) Senn. MKH 418S stereo shotgun
(6) Senn. 8070 shotgun
(4) A-T AT4027 stereo shotgun
(6) EV RE50 handheld
(12) Sony ECM 77 lav
ChyronHego Duet HyperX3;

Adobe Photoshop
(8) Senn. HMD 26 headset

(8) Studio Technologies 210 Talkback/
Cough Box
(6) Senn. MKH 418S stereo shotgun
(6) Senn. 8070 shotgun
(4) A-T BP4027 Long stereo shotgun
(6) EV RE50 handheld
(6) Sony ECM 77 lav
4-ch. HD XT2+ SpotBox w/Lance TDC 100 controller, 1 XT2+ Xfile (XF2);
1 Sony DVW A500 DigiBeta VTR w/DNF controller; 1 Panasonic DVCPRO AJ-HD1700;
4 DVD/VHS

(upon request)

(8) Daltech Annouce/Cough Box
(6) Beyer M58 handheld
(6) Beyer MC836 Short shotgun
(6) Beyer MC837 Long shotgun
(6) EV 635A handheld
(6) Sony ECM 66 lav
(6) Sony ECM 77 lav
GV Kayenne, 3M/E
w/high-speed XNet2, 2 4-ch. HD XT2+ RO, 1 4-ch. HD XT2+ SpotBox w/Lance TDC
100 controller, 1 XFile2 (XF2); 1 Sony DVW A500 DigiBeta VTR w/DNF controller; 2
Panasonic AJHD1800P DVCPRO; 4 DVD/VHS
12 Sony HDC-2500
14 Sony HDC-2500
10 Sony HDC-1500R

2 22x7.8 ENG, 2 HJ17ex6.2B
IRSE, 2 14x4.3 w/A ENG

3 Digi Super 86x9.3, 2 Digi
Super 75x9.3, 2 22x7.8 ENG, 2
14x4.7 w/A ENG

75x9.3, 2 22x7.8 ENG, 2 14x4.3
w/A ENG

Gearbase
TRUCK
NAME
576x1152 multiformat video w/128x128 embedded mux/

demux capability, 128x128 video I/O w/16 ch. of embedded
audio each (2048x2048)/192x192 AES audio (384x384
mono), 288x288 analog,
16x16 MADI (1024x1024 mono)

demux capability, 128x128 video I/O w/16 ch. of embedded
audio each/192x192 AES audio (384x384 mono), 288x288
analog, 16x16 MADI (1024x1024 mono)
Evertz: EQxHD video (396x684), EMxaudio (384x384 AES,

embedded)
249
HD
METROVISION
R
ROVISION
Production
c tion Grou
Group
roup
rou
ou p
Over Twenty Years Of Getting It Done Right

For over twenty years, Metrovision
has been providing clients a full
spectrum of Mobile production,
Mobile Satellite Transmission
and Live Event Production across
North America.
Mobile Production Services
We offer the industrys leading
selection of mid-size
HD OB Units for:
Pre/Post Game Coverage
Full Game Coverage
Host/Unilateral Services
Contact: mobile@metrovision.tv
Mobile Satellite Services
We are one of the leading independent
Providers of Satellite Transmission
Services on the East Coast
Customized end to end solutions
4 KU Mobile Uplink Units
3 CBand Mobile Uplink Units
Point to Point Digital Microwave
PRODUCTION INNOVATION FOR THE

TOP CONTENT CREATORS IN THE U.S.
WHY?
Advanced Technology | Most Cost Effective

WHAT?
4K & Super Slomo | 30 Mobile Units | 4,000 Events/Year
Contact: satdesk@metrovision.tv
Live Event Production
We brings the expertise and experience
necessary for the planning and
management of technical support
for the Sports & Sports Marketing
communities.
Press Conferences & Award shows
Victory parade coverage
Pre/Post game & Wraparound Shows
Contact: production@metrovision.tv
NOW OFFERING PRODUCTION COAST TO COAST
TEAMWORK. RELIABILITY. TRUST.
315 West 53rd Street, NY, NY 10019 | Ph 212.989.1515 Fax 212.989.8278 | www.metrovision.tv
MobileTvGroup.com
How was Filmwerks

able to provide
1600 amps of
redundant power
24 hrs a day for
30 days in New York
and only burn
20 gallons of fuel?
800 amp mobile unit
918-925-9877 Oklahoma
630-385-6213 Chicago
info@kodiakmobile.tv
Kodiak Mobile Television, LLC
1100 E. Houston Street
Broken Arrow, OK 74012
Kodiak-Mobile-Television-LLC
@kodiakmobile
www.kodiakmobile.tv
Monitoring every cell in every battery
3 400 amp 3 phase 208 volt

modular UPS systems now
available and more to come!
Filmwerks
Structures bring
a new look to the
2015 US Open.
> 70 mph wind rating
> No external ballast
> Cantilever roof for
cross shoots
> Fully engineered
> Less exposed cables
and clutter
LOCATIONS IN NORTH CAROLINA, CALIFORNIA, FLORIDA,

ILLINOIS, NEW YORK, TENNESSEE AND TEXAS
Nationwide Service
910.675.1145 | www.filmwerksintl.com
www.twinpackpower.com
Legends
Liberty
GAME CREEK VIDEO
Northstar
Patriot
Spirit
Victory
254
53' expando
53' expando
53' expando
53' expando
53' expando
53' expando
53' expando
2 53' expandos
HD/SD
HD/SD
HD/SD
HD/SD
HD/SD/1080p
HD/SD/1080p
HD/SD/1080p
TRIAX, FIBER,
OR BOTH?
HD/SD/1080P
CAPABLE
HD/SD/1080p
Both
Both
Both
Both
Both
Both
Both
Both
Calrec Alpha (64/108 stereo,

104 mono, 52 surround sound

(144/1,020)

(144/1,020)

(144/1,020)
# CAMERAS & MAKE
LENSES (HARD/
HANDHELD)

Digi Super 75x9.3, 4 22x7.8 ENG,
2 14x4.3 w/A ENG
10 Sony HDC-1500R
10 Sony HDC-1500R

2 14x4.3 w/A ENG
12 Sony HDC-1500R

75x9.3, 2 22x7.8 ENG, 2 11x4.7B
w/A ENG
10 Sony HDC-1500R

22x7.8 ENG, 2 11x4.7B w/A ENG
12 Sony HDC-1500R

1 11x4.7B w/A ENG
12 Sony HDC-2500

6 Digi Super 95x8.6, 3 22x7.8
12 Sony HDC-1500R

5 Digi Super 86x9.3, 3 22x7.8

4 14x4.7 w/A ENG
23 Sony HDC-4300
GRAPHICS
MICROPHONES
SWITCHER, M/E,
STILL STORE

(upon request)

(8) Daltech Annouce/Cough Box
(6) Beyer M58 handheld
(6) Beyer MC837 Long shotgun
(6) EV 635A handheld
(6) Sony ECM 66 lav
(6) Sony ECM 77 lav
GV Kayenne, 3M/E
4-ch. HD XT2+ SpotBox w/Lance TDC 100 controller, 1 XFile2 (XF2); 1 Sony DVW A500
DigiBeta VTR w/DNF controller; 2 Panasonic AJHD1800P DVCPRO; 4 DVD/VHS
Evertz: EQxHD (396x684). EMx(384x384 AES, 256x256

MADI, 288x288 analog, 128x128x16 HD-SDI embedded)

Adobe Photoshop
8 Senn. HMD 25 headset

8 Studio Technologies 210 Talkback/
Cough Box
6 Beyer M58 handheld
10 Senn. MD-46 handheld
6) Beyer MC837 Long shotgun
6) Senn. MKH 416 shotgun
6) EV 635A handheld
6) Sony ECM 66 lav
6) Sony ECM 77 lav
GV Kayenne, 3M/E
EVS: 2 6-ch. HD XT2 LSM w/high-speed XNet2; 3 4-ch. HD XT2 RO VTR emulators, 1
4-ch. HD XT2 SpotBox w/Lance TDC 100 controller, 1 Xfile (XF2); Sony: 1 DVW-A500
DigiBeta VTR w/DNF controller, 2 HDW-D-1800 VTR;
4 DVD/VHS; 1 DNF VTR
PESA: 288x576 HD video, 704x576 DRS mono audio (AES

and analog)

(upon request)

6 Beyer M58 handheld, 12 Senn. MD-46 HH,
MC837 long shotgun, 6 Senn. MKH-416
shotgun, 6 EV 635A HH, 6 Sony ECM 66
lav, 6 Sony ECM 77 lav
GV Kayenne, 4.5M/E Busses

*Image Store
*Chroma Keyers
*(16) Internal DPMs
*M/E & Aux RGB Color Correctors
*(4) Channel E-DPM
EVS: 3 6-ch. HD XT2 LSM w/high-speed SportNet, 2 4-ch. HD XT2 RO VTR emulator
w/high-speed XNet2, 1 6-ch. HD XT2 RO, 1 4-ch. HD XT2 SpotBox w/Lance TDC 100
controller, 1 XFile (XF2); 1 Sony DVW-A500 DigiBeta VTR w/DNF controllers; 1 Panasonic
AJ HD 1800A DVCPRO VTR; 4 DVD/VHS
PESA: 384x720 HD video, 2048x2048 DRS mono (AES,

analog, and MADI)

Adobe Photoshop

6 Beyer M58 HH, 12 Senn. MD-46 HH,
MC837 long shotgun, 6 Senn. MKH-416
shotgun, 6 EV 635A HH, 6 Sony ECM 66
lav, 6 Sony ECM 77 lav
GV Kayenne, 4.5M/E Busses

*Still Store w/Animation
EVS: 2 6-ch. HD XT2 LSM w/high-speed XNet2; 3 4-ch. HD XT2 RO VTR emulator w/
high-speed XNet2, 1 4-ch. HD XT2 SpotBox w/Lance TDC 100 controller, 1 XFile (XF2);
Sony: 1 DVW-A500 DigiBeta VTR w/DNF controller, 1 HDW-M2000 VTR; 1 Panasonic AJ
HD 1800A DVCPRO VTR; 4 DVD/VHS
PESA: 288x576 HD video, 704x576 DRS mono audio (AES

and analog)

Adobe Photoshop
8 Senn. HMD-25 headset, 8 Daltech

talkback/cough box, 6 Beyer M58 HH,
12 Senn. MD-46 HH, 6 Beyer MC836
short shotgun, 6 Beyer MC837 long
shotgun, 6 Senn. MKH-416 shotgun, 6
EV 635A HH, 6 Sony ECM-66 lav, 6 Sony
ECM 77 lav
GV Kayenne, 3M/E Busses

*Still Store w/Animation
EVS: 2 6-ch. HD XT2 LSM w/high-speed XNet2, 3 4-ch. HD XT2 RO VTR emulator
w/high-speed XNet2, 1 SpotBox w/Lance TDC 100 controller, 1 XFile (XF2); 1 Sony
DVW-A500 DigiBeta VTR w/DNF controller; 1 Panasonic AJ HD 1700A DVCPRO VTR';
2 HiFi VHS; 2 DVD
Evertz EQxHD video (288x288 + 288 XLink); GV NVision

512x512 mono (AES and analog)

Photoshop

talkback/cough box
12) Senn. MD-46 handheld
6) Senn. MKH 416 shotgun
2) Senn. MKH 418S stereo shotgun
4) AT-BP4071L Long shotgun
6) EV RE50 handheld
12) Sony ECM 77 lav
EVS: 3 6-ch. HD XT3 LSM w/high-speed XNet2; 3 6-ch. HD XT3 RO VTR emulator
w/high-speed XNet2, 1 4-ch. HD XT3 SpotBox w/Lance TDC 100 controller, 5 LSM
Connect tablets, 1 IPDirector, 1 C-Cast Agent, 1 database server, 1 XT Access, 1 XFile3
(XF2); 1 Sony DVW-A500 DigiBeta VTR w/DNF controller; 2 Panasonic DVCPRO AJHD1700; 2 DVD/VHS; 2 Mini Mac/Blackmagic H264 disk recorders

demux capability, 192x192 AES (384x384 mono), 288x288
analog audio, 16x16 MADI (1024x1024 mono),
128x128 video I/O w/16 ch. of embedded audio each
(2048x2048)

Photoshop

Technologies 210 talkback/cough box 6)
Beyer M58 handheld 12) Senn. MD-46
handheld 6) Beyer MC836 Short shotgun
6) Beyer MC837 Long shotgun 6) Senn.
MKH 416 shotgun 6) EV 635A handheld
6) Sony ECM 66 lav 6 ) Sony ECM 77 lav
GV K-Frame, 4.5M/E
XFile (XF2); 1 Sony DVW A500 DigiBeta VTR w/DNF controller; 1 Panasonic DVCPRO
AJ-HD1700; 4 DVD/VHS

demux capability, 192x192 AES audio (384x384 mono),
288x288 analog, 16x16 MADI (1024x1024 mono),
128x128 video I/O w/16 ch. of embedded audio each
(2048x2048)

Photoshop

12 Senn. MD-46 handheld, 6 Senn. MKH416 shotgun, 6 Senn. MKH 418S, stereo
shotgun, 6 Senn. 8070 shotgun,
4 A-T BP4027 long stereo shotgun, 6 EV
RE50 HH, 6 Sony ECM 77 lav
EVS: 21 6-ch. HD XT3 LSM w/high-speed XNet2, 3 6-ch. HD XT2+ SpotBox w/Lance
TDC 100 controller, 2 XFile3; 1 Sony DVW A500 DigiBeta VTR w/DNF controller; 1
Panasonic DVCPRO AJ-HD1700; 4 DVD/VHS
2 576x1152 multiformat video w/128x128 embedded mux/

demux capability, 192x192 AES (384x384 mono), 288x288
analog,
16x16 MADI (1024x1024 mono), 128x128 video I/O w/16
ch. of embedded audio each
Encore
3 53' expandos
HD/SD/1080p
Both

(144/1,020)
14 Sony HDC-4300

4 Digi Super 95x8.6, 4 22x7.8

Photoshop
6 Senn. ME 66, 6 Senn. ME 67, 6 Senn.

MKH 416, 6 Senn. MKH 418, 6 Senn.
MKH 8070, 12 Senn. MD 46, 10 Senn.
HMD 26 II announce headsets, 4 A-T
4050ST, 6 Sony ECM77B
EVS: 10 6-ch. HD XT3 LSM w/high-speed XNet2, 1 6-ch. HD XT2+ SpotBox w/Lance
TDC 100 controller, 2 XFile3; 1 Sony DVW-A500 DigiBeta VTR w/DNF controller; 1
Panasonic DVCPRO AJ-HD1700; 4 DVD/VHS
A unit: 968x2214 multiformat video w/468x378 embedded

mux/demux capability, 192x192 AES (384x384 mono),
192x288 analog, 37x37 MADI, 468x378 video I/O w/16 ch.
of embedded
audio; IHSE Draco Tera KVM 192-port
w/RS data transport
B unit: 96x96 AES audio (192x192 mono), 48x96 analog
(96x192 mono), 12x12 MADI
C unit: 96x96 AES audio (192x192 mono),
48x96 analog (96x192 mono), 12x12 MADI
GEARHOUSE BROADCAST
PeacockOne
DIMENSIONS/
TYPE
COMPANY
Gearbase
Larkspur
AUDIO CONSOLE
(FADERS/
CHANNELS)
Morpheus
53' expando
HD/
1080p/
4K
Fiber
Lawo
18 Hitachi
Canon
as requested
Senn., Lectro
GV, 4M/E
6 EVS XT3 10Gb
1028/1028
Ocean
36' expando
HD
Fiber
Yamaha
8 Sony
Canon
as requested
Senn., Lectro
Ross, 2M/E
2 EVS XT3 10Gb
128/128
3G1
Flypack
HD
Fiber
DiGiCo
12 Hitachi
Canon
as requested
Senn., Lectro
Ross, 4M/E
3 EVS XT3 10Gb
288/144
HD1
Flypack
SD
Fiber
Yamaha
12 Sony
Canon
as requested
Senn./Lectro
Ross, 3M/E
3 EVS XT 3 10Gb
144/72
The Brain
Sprinter
HD/
1080p/
4K
Fiber
Yamaha
8 Hitachi/Sony
Canon
as requested
Senn., Lectro
Ross, 2M/E
2 EVS XT3 10Gb
128/128
HRS MOBILE
HRS-TV1
40' expando
HD/SD
Triax
Yamaha DM-2000 (24/96)
4 GV LDK 3000, 4 GV LDK 6000
1 72x H, 2 55x H, 2 w/A, 3 15x,

1 22x HH
12 shotgun , 6 HH
GV Kalypso, 4M/E
2 EVS w/XFile
288x288 HD/SD

Gearbase
TRUCK
NAME
255
Whether it is entertainment or main event

sports, IMS Productions has the facilities
and experience to execute ANY event.
Five state-of-the art HD trucks on the

road and a fleet of support vehicles...
HD 1
-16 camera capability
-Kalypso switching
-Chyron Mosaic graphics
-Calrec audio
HD 2
-10 camera capability (expandable to 16)
-Kayenne switching
-Calrec audio
HD 3
-4K capable
-Kayenne K frame switching
-Calrec audio
HD 4
-Kalypso switching
-Chyron graphics
-SSL audio
HD 5
-4K capable
-20 plus camera capability
-Kayenne K frame switching
-Calrac audio
ROBOTIC CAMERAS
Our studios are HD deliverable via our in-house VYVX circuit for all types of productions.
Recent clients include: NBC SPORTS, ABC SPORTS, TIME WARNER CABLE, NBA, INDYCAR,
PROFESSIONAL BULL RIDING AND MANY MORE!
Ken Gardner
Remote Sales Director
kgardner@imsptv.com
(317)-523-6235
www.imsptv.com
Kevin Sublette
VP of Broadcast Operations
ksublette@imsptv.com
(317)-492-8723
OUR COMMITMENT
HD MOBILE TELEVISION TRUCKS SERVING THE SPORTS AND

BROADCASTING COMMUNITY SINCE 1992.
The highest quality mobile television facilities, the finest engineering staff and the best
equipment at affordable prices. Discover the extraordinary level of customer service our
experienced team brings to any project, and a Midwest location for smooth,
cost-conscious logistical and production planning.
visit
www.tokencreek.com
for a
quickquote
TOKEN CREEK MOBILE TELEVISION, INC. | 501 MORAVIAN VALLEY ROAD | WAUNAKEE, WI 53597 | PHONE: 608.849.4965 | FAX: 608.849.4035 | tcp@tokencreek.com | www.tokencreek.com
A Full Service Production Company

Featuring:
80 x 50 Sound Stage n Final Cut Pro Suites n XD Cam Field Production
2 53 HIGH DEFINITION PRODUCTION TRUCKS EQUIPPED WITH:

Calrec Audio Consoles n Ikegami Cameras n Fujinon Lenses n Multiple EVS Units
x File n HD CAM VTRs n GVG K-Frame & Kalypso Switchers n Duet Graphics
53' expando
HD-2
53' expando,
plus second
control room
and expando
HD-3
HD-4
53' expando
53' expando
HD/SD
HD/SD/1080p
HD/SD
TRIAX, FIBER,
OR BOTH?
HD/SD/1080P
CAPABLE
HD/SD
Both
Both
Both
Triax
Calrec Sigma (64/256)
Calrec Artemis Beam (64/544)
SSL (56/128)
# CAMERAS & MAKE
8 Sony HDC-1000 studio, 8 Sony HDC

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

handheld, 2 Sony HDLA-1500
10 Sony HDC2400L, 2 Sony HDC2500L
12 GV LDK 8000
LENSES (HARD/
HANDHELD)
Canon: 10H, 8 HH
Canon: 6 H, 4 HH
Canon: 6 HH 22x, 4 xJ95x8.6,

5 xJ80x8.8
Canon: 8 H, 4 22x HH
GRAPHICS
MICROPHONES
SWITCHER, M/E,
STILL STORE
ChyronHego Mosaic XL with

Matrox cards
8 Senn. HMD 26 announce headset,

8 announce box with talkback, 8 Senn.
ME 66 short shotgun, 8 Senn. ME 67 long
shotgun, 4 BP4027 stereo shotgun,
6 Shure Beta 58, 6 EV 635, 4 EV RE 5,
6 Sony ECM 77, 4 Sony ECM 66,
20 Shure FP 23 line amps
GV Kalypso
Sony: DVW-A500 DigiBeta, HDW-1800 HDCam, PDW75 XDCam; EVS: 2 6-ch, XT2 LSM,
4 6-ch. XT2 RO, 4-ch. EVS SpotBox, XFile (XF2), Sports Hub; Panasonic AJ-HD-1800
DVCPRO; 2 DVD
GV NVision w/Jupitor control (288x236 HD/SD/224x256

AES, 192x192 analog)
ChyronHego Mosaic XL with

Matrox cards

ME 66 short shotgun, 5 Shure SM 89
long shotgun, 5 BP4027 stereo shotgun,
2 VP 88 stereo, 4 Shure Beta 58,
4 Senn. MD 46, 4 Sony ECM 77, 4 Sony
ECM 66, 10 Shure FP 23 line amps
GV Kayenne, 4.5M/E
2 Panasonic AJ- HD-1800 DVCPRO; 2 Sony HDW-1800 HDCam; EVS: 2 6-ch. XT2 LSM,
1 6-ch. XT2 RO, 1 4-ch. XT2 RO, 1 4-ch. SpotBox, XFile (XF2), Sports Hub; 2 DVD
GV NVision w/Jupitor control (288x504 HD/SD/224x256

AES, (192x192 analog)
2 ChyronHego Mosaic
eFX XL

ME 66 short shotgun, 6 Senn. ME 67 long
shotgun, 6 Senn. MKH 416 shotgun,
2 VP 88 stereo, 8 Senn. MD 48, 6 Sony
ECM 77, 2 Sony ECM 66, 10 Shure FP
23 line amps
Sony: 1 HDW-D1800 HDCAM IMX DigiBeta SX, 1 Sony HDW 1800 HDCAM, 2 PDWHD1500 XDCAM; wired for 8 tape machines;
2 Blu-ray or DVD burners; EVS: 2 6-ch. XT3 LSM licensable to 8 channel, 3 6-ch.
XT-3 RO licensable to 8 channel, 1 6-ch. XS SpotBox,1 XFile2 (XF2) or XFile3 w/
transcoding,1 IPDirector
Evertz EQx314x314 3G/HD/SD (80x80 support audio, 96x96

stereo analog, 96x96 unbalanced AES, 19x19 MADI)
ChyronHego HyperX3

12 Sony ECM77B lav, 10 Senn. ME 66
shotgun, 8 Senn. MKH 416P shotgun,
8 Senn. MKH 70-P48 shotgun, 8 EV RE50 handheld, 8 EV 635B handheld
GV Kalypso
EVS: 2 6-ch. LSM XT2,1 4-ch. RO XT2, SpotBox, IPDirector, XFile (XF2), wired for 2
additional 6-ch.; 1 Panasonic AJ-HD1800 DVCPRO;
Sony: 1 PDW-F75 HD VTR, 1 HDW-D1800 HDCAM/DigiBeta,1 HDW-M2000 HDCAM/
DigiBeta
288x288 HD/SD Evertz EQx, 256x256 GV NVision

unbalanced AES
53' double
expando
HD/SD/1080p
Both
14 Sony HDC-2400, 4 Sony HDC-2500
Canon: 8 22x HH, 6 100x9.3,

6 95x8.6
2 ChyronHego Mosaic
eFX XL
JAS DIGITAL
New Wave
30'
HD
Fiber
Yamaha M7CL (32)
8 Sony
8 Fujinon
ChyronHego HyperX2
Shure
Sony MFS-2000, 1.4M/E
EVS available as requested
Imagine: Panace 32x32 HD-SDI video, Panace 32x32

HD-SDI analog audio
JONES
MOBILE TV
VisionHD
51' expando
HD
Both
Calrec Summa (44/128)
8 Sony HDC-2400
Fujinon: 4 88x, 2 77x, 3 23x,

1 14x
A-T, Sony, EV
GV Kayenne, 4.5M/E
EVS: 6-ch. XT2, 4-ch. RO XT2, 4-ch. RO XT3, 4-ch. SpotBox, XFile2 (XF2); HDCAM;
DVCPRO; DigiBet; DVD
PESA Cheetah: 64xE, DRS 128x128
ChyronHego HyperX3
5 Senn. HMD-26 announcer headset, 3

Senn. HMD-25 announcer headset, 7 A-T
AT8015 shotgun, 7 A-T BP4027 stereo
shotgun, 4 Sony ECM-77 lav, 4 Senn.
MD-46 HH, 2 Shure SM-58 HH, 2 EV
RE-50 HH, 5 Studio Technologies 210
announcer box, 1 booth kit with
announcer box, headset, IFB box and
earpieces, mult., etc. in Pelican case
GV Kayenne, 2.5M/E
EVS: 2 6-ch. XT NANO, XT Access/XFile; Tightrope Media ZPlay 8-ch.; 10 AJA KiPro; 2
Panasonic: AJ HD1400 DVCPRO, AG-HPD24PJ; Sony: HDW-1800 HDCam, DVW A500
DigiBeta; 2 DVD
Utah Scientific 400S 72x204 HD-SDI I/O w/embedding

and de-embedding, 64x64 AES I/O, 192 x192 MADI I/O,
1024x1024 audio crosspoint matrix
LIVE MOBILE GROUP
LESEA PRODUCTIONS
KODIAK MOBILE
TELEVISION
HD-5
8 HMD-26 announcer headset, 6 Senn.

MKH 816 shotgun, 6 Senn. MKH 416
shotgun, 6 Senn. ME 66 shotgun, 4 A-T
AT-4029 stereo shotgun, 12 Senn. MD
46, 2 Shure VP-88 stereo, 2 EV RE50,
8 Sony ECM-77 lav
LYON VIDEO
260
DIMENSIONS/
TYPE
COMPANY
Gearbase
IMS PRODUCTIONS
HD-1
AUDIO CONSOLE
(FADERS/
CHANNELS)
Fujinon: 3 xA77x9.5BESM,
3 ZA17x7.6BERM HH, 1
7 GV LDK 3000+, 2 Panasonic HPx 250 ZA12x4.5BERM w/A HH; 5 studio
viewfinders, 3 hard, 2 HH rear
zoom/focus
Sony: 1 HDW-D1800 HDCam, 1SRW HDCam, 2 PDW-HD1500 XDCam; 1 Panasonic

314x1276 3G/HD/SD Evertz EQx(160x160 support audio,
1800 DVCPRO; 2 Blu-ray/DVD; EVS: 2 8-ch. EVS XT3 LSM, 4 8-ch. XT3 RO, licensed for
9696 stereo analog, 96x96 unbalanced AES, 34x34 MADI)
slo-mo, 1 6-ch. XS3 SpotBox, 1 XFile2 (XF2) w/XT Access, 1 IPDirector
Grizz HD
45'
HD
Triax
S1
38'
SD
Triax
Allen Heath (32 ch. )
5 Thomson/GV LDK 400
Canon
ChyronHego Duet
2 Lectronsonic
GV Zodiak, 2.5M/E
EVS: 2 record, 2 playback; Sony: 2 PVW-2800 Beta SP, 2 BVW-75 SP slo-mo, 1 DNF
controller
GV Concerto (32x32)
S2
40' expando
HD
Triax
Calrec Artemis (40 faders)
6 GV LDX 80
Fujinon: 3 77x1, 3 22x1
ChyronHego Mosaic
Senn., Sony
GV Kayenne, 4M/E
EVS 11-ch.; Panasonic DVCPRO HD; Blackmagic
GV NVision (142x134 w/integrated AES audio)
HD-1
38' expando
HD
Fiber
Yamaha M7CL & Avid S3
5 GV LDK 8000
1 72X Fujinon, 2 22X, 2 12X

wide angle
WIRED 1
as requested
GV Kalypso, 2.5M/E
wired for 2
GV Concerto (32x32)
HD-2
38' expando
HD
Fiber
Yamaha DM2000, Avid S3
5 GV LDK 8000
Fujinon: 1 72X, 2 22X, 2 12X

wide angle
WIRED 1
as requested
GV Kalypso, 2.5M/E
wired for 2
GV Concerto (32x32)
1 Canon 86X, 2 Fujinon 22X, 2

Fujinon 12X wide angle
WIRED 1
as requested
Ross Carbonite, 2.5M/E
wired for 1
Ross (72x72)
n/a
as requested
Ross Synergy, 1M/E
wired for 1
Leitch (16x16)
HD-3
40' expando
HD
Fiber
Avid S3
5 Sony HDC-1500R
HDX-6
32' straight
HD
Triax
Allen & Heath WZ3
3 GV LDK 6000, Sony 1500R
HDX-7
40' expando
HD
Triax
Yamaha PM 5D
6 GV LDK 8000
3 70X ANG, 2 19X ANG, 1 10X

wide angle

(3.1)
as requested
GV Kalypso, 4M/E
EVS: 1 6-ch. XT3, 1 4-ch. XT2, 1 XFile (XF2)
GV Concerto (32x32)
as requested
GV Kalypso, 2M/E
EVS: 1 6-ch. XT2, 1 4-ch. XT2 RO, 1 XFile (XF2)
GV Concerto (32x64)
HDX-8
40' expando
HD
Triax
Yamaha PM 5D
6 GV LDK 8000
3 70X ANG, 2 26X ANG, 1 10X

wide angle
HDX-9
40' expando
HD
Triax
DiGiCo SD5
6 GV LDK 8000
Canon: 3 86X, 2 22X, 1 12X

wide angle
ChyronHego Duet LEx3.1
as requested
GV Karrera, 4M/E
EVS: 1 6-ch. XT3, 1 6-ch. XT2, 1 XFile3 (XF2)
GV Trinix (96x64)
ChyronHego Duet LEx3.1
as requested
GV Kayenne, 4M/E
EVS: 1 6-ch. XT3, 1 6-ch. XT2 w/GigE, 1 XFile (XF2)
Utah SCI. (216x324)
ChyronHego Duet HyperX3.1
as requested
GV Kayenne, 3.5M/E
EVS: 1 6-ch. XT2, 1 4-ch. XT2, 1 4-ch. XT RO, 1 2-ch. XT SpotBox, 1 XFile (XF2)
GV (162x286)
HDX-10
42' expando
HD
Triax
DiGiCo SD5
6 GV LDX 80
Canon: 3 86X, 2 22X, 1 14X

wide angle
HD-11
51' expando
HD
Triax
Calrec Omega (5.1)
10 LDK 3000
1 70X ANG, 3 62X ANG, 2 26X

ANG, 1 19X ANG, 1 15X ANG,
1 Canon 21X, 1 Canon 18X, 1
Fujinon 12X wide angle
Lyon 3
43' expando
HD
Triax, fiber
Calrec Artemis (56/240)
6 GV
Fujiinon: 5 72x, 1 22x,1 18x, 1 12x
client-supplied
Senn., A-T
GV Kalypso, 3M/E
2 6-ch. EVS, 1 4-ch. RO/SpotBox
Evertz (280x442/1312x1696)
Lyon 4
43' expando
HD
Triax, fiber
5 GV
Fujiinon: 4 72x, 1 22x, 1 18x, 1 12x
client-supplied
Senn., A-T
GV Kalypso, 3M/E
2 6-ch. EVS, 1 4-ch. RO/SpotBox
Evertz (280x442/1312x1696)
10 GV
Fujiinon: 1 101x, 3 87x, 2 72x, 3

22x, 1 12x
Vizrt, ChyronHego HyperX3
Senn., A-T
GV Kalypso, 4M/E
2 6-ch. EVS, 1 4-ch. RO, 1 4-ch. RO/SpotBox
GV (256x448/ 256x256)
Senn., A-T
GV Kayenne, 4.5M/E
GV (128x128/512x512)
Senn., A-T
GV Kayenne, 4.5M/E
2 6-ch. EVS, 2 4-ch. RO, 1 4-ch. RO/SpotBox, 1 8-ch. Summit/Dyno
GV (128x128/512x512)
Lyon 5
53' expando
HD
Triax
Calrec Q2 (120/120)
Lyon 6
53' expando
HD
Triax, fiber
Calrec Alpha (72/480)
10 GV
Fujiinon: 1 101x, 5 87x, 1 72x, 4

22x, 1 12x
Lyon 7
53' expando
HD
Triax
10 GV, 1 GV Extreme SSMO
Fujiinon: 1 101x, 5 87x, 1 72x, 4

22x, 2 12x

Gearbase
TRUCK
NAME
261
HD Mobile Production Trucks

for Sports and Entertainment
Proshow Broadcast provides a fleet of agile HD mobile production trucks

thoughout the US and Canada.
In addition to two 40 traditional production units, we offer trucks specifically
designed for the growing At-Home" andREMI production models.
www.proshow.tv
1-888-776-7469
Los Angeles
Vancouver
www.sdtv.com
History making television since 1981
PROUD
Aerials - HD Wireless - Communications - POV Cameras - RF Support Trucks
www.aerialvideo.com
818.954.8842
HD/SD/1080P
CAPABLE
53' expando
HD
MOBILE TV GROUP
MPS
NEP
# CAMERAS & MAKE
LENSES (HARD/
HANDHELD)
GRAPHICS
MICROPHONES
SWITCHER, M/E,
STILL STORE
Triax, Fiber
12 GV
Fujiinon: 1 101x, 5 88x, 1 72x, 2

22x, 2 x18, 2 12x
Senn., A-T
GV Kayenne, 4.5M/E
PESA (256x496/512x512)
Senn., A-T
GV Kalypso, 4M/E
GV (256x448/256x256)
Lyon 9
50' expando
HD
Triax, fiber
10 GV
Fujiinon: 1 101x, 2 87x, 3 72x, 4

22x, 1 12x
Lyon 10
53' expando
HD
Triax
10 GV
Fujiinon: 1 101x, 3 88x, 3 72x, 4

22x, 1 12x
Senn., A-T
GV Kalypso, 4M/E
GV (256x448/256x256)
12 GV
Fujiinon 1-101x, 4-88x, 2- 72x, 4

-22x, 4-12x
ChyronHego HyperX3
Senn., Beyer, A-T
6 6-ch. EVS, 1-4ch. RO/SpotBox,
Evertz (492x746/2016x2016)
Senn., Beyer, A-T
4 6-ch. EVS,1 4-ch. RO, 1 4-ch. RO/SpotBox
Evertz (280x802/1344x1504)
Senn., Beyer, A-T
2 8-ch. EVS, 2 6-ch. EVS, 1 4-ch. RO/SpotBox, 1 6-ch. Summit/Dyno
Evertz (460x902/2720x3328
Lyon 11
53' expando
HD/1080p
Triax, fiber
Lyon 12
53' expando
HD/1080p
Triax, fiber
Calrec Aretmis (64/340)
12 GV
Fujiinon: 1 101x, 3 88x, 3 72x, 2

22x, 2 18x, 2 12x
Lyon 14
53' expando
HD/1080p
Triax, fiber
12 GV
Fujiinon: 5 99x, 2 72x, 2 22x, 2

18x, 2 12x
6 Sony HDC-1500
3/3 +
8 shotgun, 4 lav, 4 HH
GV Kalypso, 4M/E
EVS: 2 XT2, SpotBox, XFile (XF2)(3)
Leitch Platinum (256x256/128x136 HD-SDI matrix/32x32

analog matrix)
HD-1
40' expando
HD
Both
Studer Vista 5 (32 AES/32

analog)
HD-2
40' expando
HD
Both
Calrec Omega w/Bluefin (64

AES/64 analog)
6 Sony HDC-1500
4/2 +
ChyronHego HyperX3
GV Kalypso, 4M/E
2 EVS XT2
Leitch Platinum (256x256/112x96 HD-SDI matrix/8x8

analog matrix)
HD-3
40' straight
HD
Both
Midas M32 (40 ch. /8 aux/25

mix buses)
5 Sony HDC-1500
2/3 +
ChyronHego Duet LEx2
Sony MVS-8000A, 2.5M/E
1 EVS XT2; Fast Forward DDR
Leitch (64x64 HD/32x32 analog, 64x64 audio)
Both
Calrec Omega (32 AES/64

analog)
7 Sony HDC-1400
4/4 +
GV Kayenne, 2.5M/E
EVS: 2 XT2, XFile (XF2), XHub
Evertz xenon (128x128)
HD-5
266
TRIAX, FIBER,
OR BOTH?
DIMENSIONS/
TYPE
COMPANY
METROVISION
LYON VIDEO
Gearbase
Lyon 8
AUDIO CONSOLE
(FADERS/
CHANNELS)
40' expando
HD
PUMA HD-2
32' expando
HD/SD
Triax
Allen & Heath (40/40)
5 GV LDK 8000
Canon: 3 H, 2HH
ChyronHego HyperX
Senn., Sony, EV
GV Kayak, 3M/E
EVS: 1 4-ch. HD XT2 LSM, 1 4-ch. HD XT2 RO, XFile (XF2); DVD
PESA: HD video (64x64), audio (32x32)
8HDX
53' expando
HD/SD
Triax, fiber
Euphonix System 5-B (48/160)
8 GV LDK 8000 Elite, 1 Phantom SSMO
Canon: 6H, 3HH
ChyronHego HyperX
A-T, Senn.
GV Kalypso, 4M/E, Internal DVE/

still store
EVS: 2 6-ch. HD XT2 LSM, 2 4-ch. HD XT2 RO, 4-ch. SpotBox, XFile (XF2), XFile3
GV video (128x320), Euphonix audio (258x270)
12HDXs
53' expando
HD/SD
Triax
8 GV LDK 8000 Elite
Canon: 7H, 3HH
ChyronHego HyperX
A-T, Senn.
GV Kalypso, 4M/E
EVS: 2 6-ch. HD XT2 LSM, 1 4-ch. HD XT2 LSM, 1 4-ch. HD XT2 RO, 2-ch. SpotBox,
XFile3; P2 deck; DVD
16HDX
53' expando
dual feed
HD/SD
Triax, fiber
9 GV LDX 80, 2 GV 6x SSMO
Canon: 8 H, 4 HH
2 ChyronHego HyperX
A-T, Senn., EV
GV Kayenne, 4.5M/E
EVS: 2 6-ch. HD XT2 LSM, 1 4-ch. HD XT2 LSM, 2 4-ch. HD XT2 RO, 1 4-ch. SpotBox, 2
XFile3; P2 deck; DVD; GV K2 Dyno
PESA HD video (128x256), Euphonix audio (258x270)
18HDX-U
40' expando
HD/SD
Triax
Yamaha PM 5000 (48/48)
6 GV LDK 8000 Elite
Canon: 4 H, 3 HH
ChyronHego HyperX
Senn., Sony, EV
GV Kayak, 3M/E
EVS: 2 6-ch. XT2 LSM, XFile (XF2); Abekas HD Clipstore DDR; DVD
Imagine: Platinum video (80x128),

Panacea audio (32x32)
19HDX-U
40' expando
HD/SD
Triax
Yamaha PM 5000 (48/48)
6 GV LDK 8000 Elite
Canon: 4 H, 3 HH
ChyronHego HyperX
Senn., Sony, EV
GV Kayak, 3M/E
EVS: 2 6-ch. XT2 LSM, 1 2-ch. SpotBox, 1 XFile (XF2); DVD
Imagine: Platinum video (80x128), Panacea audio (32x32)
20HDX
53' expando
dual feed
HD/SD
Triax, fiber
10 LDX 80, 1 GV 6x SSMO
Canon: 8 H, 4 HH
2 ChyronHego HyperX
A-T, Senn., EV
GV Kayenne, 4.5M/E
EVS: 2 6-ch. HD XT2 LSM, 1

4-ch. HD XT2 LSM, 2 4-ch. HD XT2 RO, 1 4-ch. SpotBox, 2 XFile3; P2 deck; DVD; VTR;
GV K2 Dyno
PESA video (128x288), Euphonix audio (258x270)
21HDX-U
48' expando
HD/SD
Triax
Euphonix MaxAIR (56/108)
8 GV LDK 8000 Elite
Canon: 6 H, 3 HH
ChyronHego HyperX
Senn., Sony, EV
GV Kalypso, 4M/E
EVS: 1 6-ch. HD XT2 LSM, 1 4-ch. HD XT2 LSM, 2 4-ch. HD XT2 RO, 2-ch. SpotBox,
Leitch video (96x244), Euphonix audio (258x270)
22HDX
48' expando
HD/SD
Triax
8 GV LDK 8000 Elite
Canon: 8 H, 4 HH
1 ChyronHego HyperX
Senn., Sony, EV
GV Kalypso, 4M/E
EVS: 2 6-ch HD XT2 LSM, 2 4-ch HD XT2 RO, 1 4-ch SpotBox, XFile3; P2 deck, DVD
Imagine Platinum video (128x256), Euphonix audio

(258x270)
23HDXs
48' expando
HD/SD
Triax
8 GV LDK 8000 Elite
Canon: 6 H, 3 HH
1 ChyronHego HyperX
Senn., Sony, EV
GV Kalypso, 4M/E
EVS: 1 6-ch. HD XT2 LSM, 1 4-ch. HD XT2 LSM, 2 4-ch. HD XT2 RO,
1 2-ch. SpotBox, XFile3; P2 deck, DVD
24HDXs
48' expando
HD/SD
Triax
8 GV LDK 8000 Elite
Canon: 6 H, 3 HH
ChyronHego HyperX
Senn., Sony, EV
GV Kalypso, 4M/E
EVS: 1 6-ch. HD XT2 LSM, 1 4-ch. HD XT2 LSM, 2 4-ch. HD XT2 RO, 1 2-ch. SpotBox,
PESA video (128x256), Euphonix SH612 (792x792)
25HDX
53' expando
dual feed
HD/SD
Triax, fiber
9 LDK 8000 3G, 2 GV 6X SSMO
Canon: 9 H, 4 HH
2 ChyronHego HyperX
Senn., Sony, EV
GV Kayenne, 4.5M/E
XFile3; GV K2 Dyno; P2 deck; DVD
PESA video (144x320), Euphonix SH612 (792x792)
26HDX
53' expando
dual feed
HD/SD
Triax, fiber
10 LDK 8000 3G,1 GV 6X SSMO
Canon: 8 H, 4 HH
2 ChyronHego HyperX
Senn., Sony, EV
GV Kayenne, 4.5M/E
EVS: 3 6-ch. HD XT2 LSM, 2 4-ch. HD XT2 RO, 1 4-ch. SpotBox, 2 XFile3; GV K2 Dyno;
P2 deck; DVD
27HDX
53' expando
dual feed
HD/SD
Triax, fiber
10 LDK 8000 3G, 1 GV 6X SSMO
Canon: 8 H, 4 HH
2 ChyronHego HyperX
Senn., Sony, EV
GV Kayenne, 4.5M/E
XFile3; P2 deck; DVD; GV K2 Dyno
GV video (160x320, Euphonix audio (258x270)
28HDX
53' expando
dual feed
HD/SD
Triax
10 GV LDX 80
Canon: 8 H, 4 HH
2 ChyronHego HyperX
Senn., Sony, EV
GV Kayenne, 4.5M/E
EVS: 3 6-ch. HD XT2 LSM, 2 4-ch. HD XT2 RO, 1 4-ch. SpotBox, 2 XFile3; P2 deck; DVD
29HDX
53' expando
dual feed
HD/SD
Triax, fiber
9 LD K8000 3G, 2 GV 6X SSMO
Canon: 8 H, 4 HH
2 ChyronHego HyperX
Senn., Sony, EV
GV Kayenne, 4.5M/E
P2 deck; DVD
GV video (160x320), Calrec audio (192x192)
30HDX
53' expando
dual feed
HD/SD
Triax, fiber
9 GV LDX 80, 2 GV 6X SSMO
Canon: 8 H, 4 HH
2 ChyronHego HyperX
Senn., Sony, EV
GV Kayenne, 4.5M/E
EVS: 3 6-ch. HD XT3 LSM, 2 4-ch. HD XT3 RO, 1 4-ch. SpotBox, 2 XFile3; P2 deck;
XDCAM; DVD; GV K2 Dyno
GV video (160x320), Calrec audio (192x192)
31HDX
53' expando
dual feed
HD/SD
Triax, fiber
Canon: 8 H, 5 HH
2 ChyronHego HyperX
Senn., Sony, EV
GV Kayenne, 4.5M/E
EVS: 2 6-ch. HD XT3 LSM, 1 4-ch. HD XT3 RO, 1 6-ch. HD XT2 LSM, 1 4-ch. HD XT2
LSM, 1 4-ch. SpotBox, 2 XFile3; P2 deck; DVD; GV K2 Dyno
32HDX
53' expando
dual feed
HD/SD
Triax, fiber
Canon: 9 H, 4 HH
2 ChyronHego HyperX
Senn., Sony, EV
GV Kayenne, 4.5M/E
EVS: 3 6-ch. HD XT3 LSM, 1 4-ch. HD XT3 RO, 1 4-ch. HD XT2 LSM, 1 4-ch. SpotBox,
(2) XFile3; GV K2 Dyno; P2 deck; DVD
33HDX/VMU33
dual feed A 53'

expando, B 53'
HD/SD
Triax, fiber
10 LDX 80, 2 GV 6X SSMO
Canon: 8 H, 5 HH
2 ChyronHego HyperX
Senn., Sony, EV
GV Kayenne K-Frame
EVS: 1 4-ch. HD XT3 RO, 3 6-ch. HD XT2 LSM, 2 4-ch. HD XT2 RO, 1 4-ch. SpotBox, 2
XFile3; GV K2 Dyno; P2 deck; DVD
Evertz: 198x480 HD video, 1296x1456 audio
34HDX/VMU34
dual feed A 53'

expando, B 53'
HD/SD
Triax, fiber
Canon: 8 H, 5 HH
2 ChyronHego HyperX
Senn., Sony, EV
GV Kayenne K-Frame
EVS: 3 6-ch HD XT3 LSM, 2 4-ch HD XT3 RO, 1 4-ch SpotBox, 2 XFile3; GV K2 Dyno,
P2 deck; DVD
Evertz: 230x256 HD video, EMR audio
35HDX/VMU35
dual feed A 53'

expando, B 53'
GV Kayenne K-Frame
P2 deck; DVD
36HDX/VMU36
dual feed A 53'

expando, B 53'
HD/SD
Triax, fiber
Canon: 8 H, 5 HH
2 ChyronHego HyperX
Senn., Sony, EV
GV Kayenne K-Frame
EVS: 2 6-ch. HD XT3 LSM, 1 6-ch. HD XT2 LSM, 1 4-ch. HD XT2 LSM, 1 4-ch. HD XT3
RO, 1 4-ch. SpotBox, 2 XFile3; GV K2 Dyno; P2 deck; DVD
37HDX/VMU37
dual feed A 53'

expando, B 53'
HD/SD
Triax, fiber
9 LDX 80, 2 GV 6x SSMO
Canon: 8 H, 5 HH
2 ChyronHego HyperX
Senn., Sony, EV
GV Kayenne K-Frame
P2 deck; DVD
38 FLEX/VMU38
dual feed A 53'

expando, B 53'
GV Kayenne K-Frame
EVS: 4 12-ch. HD XT3 LSM, 1 4-ch. HD XT3 RO, 1 4-ch. SpotBox, 2 XFile3; P2 deck;
DVD
GV NVision: 477x862, audio
HD/SD
HD/SD/1080p
Triax, fiber
Triax, fiber
9 LDX 80, 2 GV LDX SSMO
6 GV 6X SSMO
Canon: 9 H, 5 HH
Canon: 9 H, 2 HH; 2 Fujinon HH
2 ChyronHego HyperX
2 ChyronHego HyperX
Senn., Sony, EV
Senn., Sony, EV
MU 4
50' expando
SD 16:9
Triax
Yamaha PM4000 (52x8x2)
10 Sony
6 Canon H, 4 Fujinon HH
ChyronHego HyperX2
EV, Sony, Shure, Senn., Rode
GV Kalypso, 4M/E
EVS: 6-ch. XT, 4-ch. XT2, XFile; 4 DigiBeta, 2 BetaSP, FFV
GV Kalypso
MU 5
53' expando
SD 16:9
Triax
SSL Axiom MT+ (192)
10 Sony
6 Fujinon HH, 5 Canon H
ChyronHego HyperX3
GV Kalypso, 4M/E
EVS: 2 6-ch. XT, XFile; 4 DigiBeta, 2 Beta SP; FFV
GV Kalypso
MU-6
53' straight
HD 16:9
Triax
Calrec
10 GV
Angenieux 6/4
ChyronHego HyperX3
GV Kalypso, 4M/E
EVS: 2 4-ch., 1 6-ch,, XFile, SpotBox; DV Cam, DVCPRO
PESA
MU-7
53' expando
SD 16:9
Triax
Yamaha PM4000
10 Ikegami
Fujinon 6/4
ChyronHego HyperX2
GV Kalypso, 4M/E
EVS: 1 6-ch., 1 4-ch, XFile (XF2); 2 DigiBeta; FFV
PESA
GV Karrera 2.5M/E
EVS: 2 6-ch. XT2, 1 4-ch. XT2 RO, K2 SpotBox, Sports Net Hub, XFile2; 1 XDCam, 1
HDCam
160x288 video/96x96 mono analog, 192x192 AES audio
Atlantic
49'5" expando
HD
Triax
Calrec Artemis Beam
Arctic
55' expando
HD
Both
Calrec Q2
10 Sony
Canon
as requested
Senn., EV
as requested
Senn., EV

Gearbase
TRUCK
NAME
267
On a roll
since 1993!
EXCLUSIVE BROADCASTING
Technology that CUTS the Edge - then
. . . . . . . . . . . . . . PUSHES IT
Changing The Way You
View The World
FROM HERE
61.1881 N, 149.8122 W
TO HERE
18250N, 66423W
Aerodynamic
A
rodynamic Roof Top
Onboard Camera
C
At BSI, we design, develop and deploy wireless

technologies that take live broadcast productions from
And lots of coordinates in between
LET US ROLL THERE FOR YOU
ORDINARY TO EXTRAORDINARY!
MIC7000 7GHz
Wireless Mic
We tailor audio, video and communications packages

to meet the unique needs of every customer and back
our UNBEATABLE TECHNOLOGY with FIRST-CLASS,
ON-SITE CUSTOMER SUPPORT.
360 Pann/Tilt
Onboard Camera
C
Now, the freedom to go wireless is at your ngertips with

BSIs REAL FREEDOM camera link system.
Let us help bring your vision into focus.
501-376-1993 www.jmtv.com
RReal
eal Freedom Camera
Link System
www.BSIntl.com
DIMENSIONS/
TYPE
HD/SD/1080P
CAPABLE
TRIAX, FIBER,
OR BOTH?
COMPANY
NEP
Gearbase
California
62' expando
HD
Both
Calrec Apollo
up to 16 Sony
as requested
as requested
Senn., Sony, EV, Shure
GV Kayenne K-Frame
up to 16 VTRs and 5 servers as requested
Chromium
53'
HD
Both
Calrec Apollo
Up to 18 Sony
Fujinon
as requested
Senn., Shure, Sony
Kayenne K-Frame
EVS: 4 6-ch. XT3 LSM, 1 6-ch. XT3 SpotBox, 2 XHub, XFile; A500, DigiBeta
Evertz EQx128x112
Cobalt
53' expando
with hauler
HD
Fiber
Studer Vista
Sony according to needs
Fujinon according to needs
as requested
Shure, Senn
GV Kayenne
HD/SD options
GV NVision: 576x576 HD-SDI 3-GB-capable multiformat,

96-port RS422
EN1
58' expando
twin w/third unit
HD/1080p
Both
16 Sony
15 Canon
as requested
EVS: 9 6-ch. XT3, 6-ch. SpotBox, Sport Net Hub, XFile 2, XT Access, SQL database
server; 1 DVCPRO
Evertz EQX w/integrated multiviewers (576x650, 288 deembedded inputs/325 embedded outputs, 192x192 mono
analog, 192x192 AES, dual-channel 4x4 MADI
LENSES (HARD/
HANDHELD)
GRAPHICS
MICROPHONES
SWITCHER, M/E,
STILL STORE
GV: Trinix 256x448 HD/SD, SMS-7000 64x64x4 audio
EN2
53' A and B unit
HD
Both
Calrec Apollo
16 Sony
Fujinon
as requested
Senn., Studio Tech, EV
GV Kayenne K-Frame
EVS: 8 8-ch. XT3 LSM, 6-ch. XT3 SpotBox, 3 Sports Net Hub, XFile
Gold
60' expanded
SD
Both
Studer Vista 9
Up to 12 Sony
Fujinon
as requested
Sony MVS-8000x
Up to 16 VTRs as requested
as requested
Indy
33' straight
HD
Both
Yamaha DM2000
as requested
Senn., Sony
GV Kayak
HD/SD options
GV: Concerto 128x128 AES, 128x128 analog
Iridium
53'
HD
Both
Calrec Sigma
11 Sony
Canon
as requested
Senn., Shure
GV Kayenne K-Frame
EVS: 5 6-ch. EVS XT3, 1 4-ch. XT3 SpotBox, 2 XHub, XFile; M2000; A500; XDCam
M11HD
53' expando
HD
Both
Calrec Sigma w/Bluefin (64/104

mono, 104 stereo)
10 Sony 1450
Fujinon 7H/3HH+1 w/A
ChyronHego HyperX3
Senn., Beyer, Shure, Sony
GV Kalypso, 4M/E
EVS: 2 6-ch. XT2, 2 4-ch. RO XT2, SpotBox, XFile; DigiBeta
288x576 HD/128x128 AES, 128x128 stereo
M12HD
53' expando
HD
Both

and Hydra2 (64/104 mono,
104 stereo)
12 Sony 2570
ChyronHego HyperX3
GV Kayenne, 4.5M/E
EVS: 2 6-ch. XT3, 1 6-ch. RO XT3, 1 4-ch. RO XT3, SpotBox, XFile
334x462 HD/96xx96 AES, 48x96 stereo
M14HD
53' expando
HD
Both

and Hydra2 (64/104 mono,
104 stereo)
12 GV LDK 8000
ChyronHego HyperX3
EVS: 2 6-ch. XT3, 2 4-ch. RO XT3, SpotBox, XFile; XDCam; 1 SXS recorder/player
334x476 HD, 96x96 AES, 48x96 stereo
M3HD (SxS dual

feed)
48' expando
HD
Both
Yamaha 5000 (52/46 mono,

6 stereo)
3 GV LDK
Fujinon, Canon
ChyronHego HyperX3
Senn., EV, Sony
GV Kalypso, 4M/E
EVS: 6-ch. XT2, 4-ch. RO XT2, 4-ch. SpotBox, XFile; DigiBeta
96x96 HD, 128x128 SD
8 Sony 1450
Canon: 6 H, 3 HH
ChyronHego HyperX3
Senn., Beyer, EV, Shure, Sony
GV Kalypso, 4M/E
EVS: 6-ch. EVS XT2, 4-ch. XT2, 4-ch. RO XT2, SpotBox, XFile; DigiBeta
96x96 HD, 128x128 SD, 96x96 audio
M4HD
53' expando
HD
Both
Calrec Omega w/Bluefin (56/64

mono, 48 stereo)
M5HD
53' expando
HD
Both

mono, 48 stereo)
10 Sony 1550
Fujinon: 6 H, 3 HH; 2 w/A
ChyronHego HyperX3
Senn., EV, Sony
GV Kalypso, 4M/E
EVS: 6-ch. XT2+, 4-ch. XT2+, 6-ch. RO XT2+, SpotBox, XFile; DigiBeta
288x512 HD, 256x256 SD, 256x256 audio
M6HD
53' expando
HD
Both
Yamaha 5000 (52/46 mono,

6 stereo)
6 GV LDK 8000
ChyronHego HyperX3
Senn., A-T, Sony, EV
GV Kalypso, 4M/E
EVS: 6-ch. XT3, 2 4-ch. RO XT2+, SpotBox, XFile; DigiBeta
192x288 HD, 64x64 audio
10 Sony 1550
ChyronHego HyperX3.1
GV Kayenne K-Frame
EVS: 6-ch. XT2, 4-ch. XT2, 2 4-ch. RO XT2, SpotBox, XFile; XDCAM, HDCAM, DigiBeta
288x576 HD, 128x128 AES, 128x128 stereo
M7HD
53' expando
HD
Both

mono, 104 stereo)
M8HD
48' expando
HD
Both

mono, 48 stereo)
7 Sony 1450
Fujinon: 5 H, 3 HH
ChyronHego HyperX3
Senn., Shure, Sony
GV Kalypso, 4M/E
EVS: 6-ch. XT2, 4-ch. RO XT2, SpotBox, 2-ch. HD FFWD, XFile; DigiBeta
192x304 HD, 128x128 AES, 128x128 stereo
10 Sony 1550
Fujinon: 7 H, 3HH; 2 w/A
ChyronHego HyperX3
GV Kayenne, 4.5M/E
EVS: 2 6-ch. XT2, 2 4-ch. RO XT2, SpotBox, XFile; DigiBeta
288x576 HD, 128x128 AES, 128x128 stereo
M9HD
53' expando
HD
Both

mono, 104 stereo)
NCPII
53' expando
SD
Both
Calrec Artemis Beam
9 Thompson
12 Canon
as requested
GV Kalypso, 4M/E
EVS: 2 6-ch. XT2, 2 4-ch. XT2 RO, 4-ch. SpotBox, 2 SportsNet Hub, XFile; GigE,2
M2000 HDCAM, XDCAM, 2 DigiBeta
Utah Scientific 400 384x624 HD, 48 Inputs DUx16 ch. each,

84 outputs MUx16 ch. each, Utah Scientific 400 2304 ch.
TDM router matrix, 128x128 analog I/O, 128x128 AES I/O,
768x1344
NCPIV
53' expando
HD
Both
Calrec Sigma w/Bluefin (72)
13 Ikegami, 1 Panasonic
13 Canon
as requested
GV Kalypso, 4M/E
EVS: 2 6-ch. XT2, XT, 2 6-ch. RO XT2, XT2, SpotBox; 2 DigiBeta, BetaSP, DVCPRO, GigE,
Multicam 10
Utah Scientific 400 228x456 HD,

288x288 SDI, Utah Scientific 400
80x120 analog I/O, 208x168 AES I/O
NCPVII
53' expando
HD
Triax
Calrec Alpha (96)
12 Sony
16 Canon
as requested
GV Kayenne
2 6-ch. EVS XT2, 3 4-ch. RO XT2, SpotBox; 2 HD DVCPRO, HDCAM, 2 DigiBeta, GigE,
Multicam 10
288x528 Utah Scientific HD, 1 208x208 AES audio,1 96x96

analog audio
NCPVIII
53' expando
HD
Both
Calrec Alpha w/Bluefin (96)
12 Ikegami, 1 Sony
9 Canon
as requested
GV Kayenne K-Frame
EVS: 4 6-ch. XT3, XT3 SpotBox, XFile; M2000, DVCPRO, PDW, XDCam
288x528 HD video, minimum 128 AES, 44 analog, 128

AES, 44 analog
NCPX
53' expando
HD
Triax
12 Ikegami
18 Canon
as requested
GV Kayenne K-Frame
EVS; 6 6-ch. XT3, 1 EVS XT3 SpotBox, 3 SportsNet Hub, XFile; HDCam, DVCPRO, A500
1 Utah Scientific 400 288x705 HD, minimum 128 AES, 128

analog, 128 AES, 128 analog
NCPXI
53' expando
HD
Both
12 Ikegami
11 Canon
as requested
GV Kayenne
EVS: 2 6-ch. XT2, 3 4-ch. RO XT2, SpotBox; DVCPRO, 2 DigiBeta, GigE, Multicam 10
Utah Scientific 400 populated 288x552, 216x184 AES,

72x104 analog
NCPXIV
53' expando
HD
Both
10 Sony
18 Canon
as requested
GV Kayenne
EVS: 2 6-ch. XT2, 2 6-ch. RO XT2, XT2 SpotBox; 2 HDCAM, XDCAM, DigiBeta, GigE,
Multicam 10
Utah Scientific 400/528 populated 288x528, 400/288R

192x192 MADI, 96x39 AES, 24x55 analog
ND1
3 53' expandos
HD/1080p
Both
Calrec Apollo
17 Sony
20 Canon
as requested
Senn., Shure, Sony
GV Kayenne K-Frame
EVS: 10 6-ch. XT3, 1 6-ch. SpotBox, XFile2, 2 IPDirector, 5 SportNet Hub; HDCam;
SRW; XDCam
Evertz EQX w/integrated multiviewers

576 inputs, 540 outputs, 288 de-embedded inputs, 288
embedded outputs, 192x192 mono analog, 192x192 AES ,
dual-channel 36x36 MADI
ND2
53' expando
HD
Both
Calrec Q2 (120)
Wired for 8 GV
10 Canon
as requested
Senn., Sony, EV, Shure, Sanken
GV Kalypso, 4M/E
wired for 8 VTR and 4 EVS as requested
PESA: 144x128 HD-SDI, Tiger 144x144 stereo
ND4/Double Eagle
53' expando
twin
HD
Both
Up to 24 Sony
16 Canon
as requested
GV Kayenne K-Frame
EVS: 10 6-ch. XT2, SpotBox
GV 256x256 Trinix HD video, Concerto analog/AES, 192x192

analog stereo, 512x768 AES audio
ND5
53' expando
HD
Both
Calrec Artemis Beam w/

Bluefin (64)
11 Sony, 1 Sony SSM
14 Canon
as requested
GV Kalypso, 3.5M/E
EVS: 6 6-ch. XT3 LSM, XT2 SpotBox, IPDirector, 2 XFile (XF2); GigE Jumboframe
network; Sony: HDCAM, 2 XDCAM, DigiBeta
PESA: HD 270x240 w/16 channel embed/de-embed

capabilities, distributed audio, integrated signal flow
(512x640 AES, 128x128 analog, 512x512 MADI, 96x96
embed/de-embed 16 ch.)
ND6
60' expanded
HD
Both
Calrec Artemis Beam w/

Bluefin (64)
11 Sony, 1 Sony SSM
15 Canon
as requested
GV Kayenne K-Frame
EVS: 6 6-ch. XT3 LSM, XT2, SpotBox, IPDirector, 2 XFile2; GigE Jumboframe network;
Sony: HDCAM, 2 XDCAM, DigiBeta
PESA: HD 270x240 w/16 channel embed/de-embed

capabilities,distributed audio integrated signal flow (512x640
AES, 128x128 analog, 256x256 MADI, 96x96 embed/
de-embed 16 ch.)
Pacific
47' A, 40' B
HD
Fiber
2 Yamaha DM2000
as requested
Shure, Senn.
GV Kayak, 2.5M/E
HD/SD options
GV: Concerto 128x128 HD/SD video, Venus 128x128

analog audio
Phoenix
53' expando
HD
Triax
Calrec Sigma
11 GV
10 Fujinon
as requested
Senn., Sony
GV Kalypso, 4M/E
EVS: 2 6-ch. XT2 LSM, 4-ch. XT2 LSM, 4-ch. RO XT2, 4-ch. SpotBox, wired for 1 more
EVS; GigE, GV K Dyno; HDW, XDCAM, DigiBeta
GV FR 8280 162x270 HD video, GV Concerto (128x128

AES/128x128 analog)
Platinum
53'
HD
Both
Calrec Alpha
11 Sony
Fujinon
as requested
Senn., Shure, Sony
GV Kalypso
2 6-chn EVS XT2, 4-ch. EVS XT2, 4-ch. XT2 RO, Spot Box, XHub, XFile
GV NVision
Rhythm
53' expando
HD
Triax
Calrec Sigma w/Bluefin
10 GV
10 Fujinon
as requested
Senn., Sony
GV Kalypso, 4M/E
EVS: 6-ch. XT2 LSM, 4-ch. XT2 LSM, 4-ch. RO XT2, 4-ch. XT2 SpotBox, wired for 2
more EVS; GigE, HDW, XDCAM, DVW
GV: Trinix 160x224 HD/SD, Concerto (128x128 AES, 96x96

analog)
Sapphire
40' expando
HD
Fiber
Yamaha DM2000
as requested
Shure, Senn.
Sony, 1.5M/E
HD/SD options
GV Concerto 96x96 HD/SD video
Silver
53' expando
HD
Both
Calrec Alpha (72 faders)
16 Sony
2 Canon, 9 Fujinon
as requested
as requested
GV Kalypso
as requested
GV: Trinix 256x352 HD/SD, Apex (672/672 AES/MADI/analog)
Skyline
53' expando
HD
Both
Calrec Sigma w/Bluefin
10 GV
11 Canon
as requested
Senn., Beyer, EV, Shure, Sony
GV Kalypso, 4M/E
EVS: 3 6-ch. EVS, 1 4-ch. SpotBox, Sport Net Hub; HDW, DigiBeta, XDCam
PESA: Cheetah 144x256 video, DRS AES 384x384, DRS

analog 256x256, MADI 4 streams in and out
HD
Both
Calrec Alpha
12 Sony
Canon
as requested
Senn., Sony
GV Kayenne
1 K2 Summit; 2 SRW; EVS: 3 6-ch. XT2, 2 4-ch. XT2, XFile, SpotBox
SS1
272
# CAMERAS & MAKE

Gearbase
AUDIO CONSOLE
(FADERS/
CHANNELS)
TRUCK
NAME
273
Kaufman Broadcast was started with a satellite dish and a vision.

For more than 30 years, we have lived that vision: Super Bowls, Stanley
Cups, Final Fours and All Star Games. We have worked alongside
rookies and Hall of Famers. We have seen triumphs and tragedies
unfold without ever having a seat. We have made visions reality.
We can capture your vision too.
TRANSMISSION / UPLINK / FIBER / ENCODING

ENGINEERING / SYSTEMS INTEGRATION / STUDIOS
(314) 533-6633
www. kaufmanbroadcast.com
53' expando
SS14
53' expando
PROSHOW BROADCAST
PSSI
RAYCOM
SPORTS
# CAMERAS & MAKE
LENSES (HARD/
HANDHELD)
GRAPHICS
MICROPHONES
SWITCHER, M/E,
STILL STORE
HD
Both
19 Sony, 2 Sony clock cam, 1 Sony

SSM
28 Fujinon
as requested
GV Kayenne K-Frame
EVS: 6 6-ch. STX (2 w/SSM), 1 4-ch. SpotBox, 2 IPDirector, SportsNet Hub, SpotBox;
HDCam, DVCPRO, DigiBeta
PESA Cheetah/DRS (1072x1344 HD, 1472x1728 audio,

128x128 AES, 128x128 analog, MADI)
HD
Both
Calrec Omega w/Bluefin (64)
10 Ikegami
13 Canon
as requested
GV Kalypso, 4M/E
EVS: 3 6-ch. EVS XT2, 4-ch. RO XT2, XT2, SpotBox, SportsNet Hub; DigiBeta, DVCPRO,
2 HDCAM, 2 DigiBeta, 3 HDCAM SRW, 2 DVCPRO
128x128 GV Concerto HD-SDI video, 512x512 TDM audio

matrix, (192 analog, 320 AES, analog and AES internal
crossconversion)
HD
Triax
Calrec Alpha (60)
10 GV
11 Fujinon
as requested
GV Kalypso, 4M/E
EVS: 2 6-ch. XT2, 2 4-ch. XT2, SpotBox, SportsNet Hub; GigE, DigiBeta, 2 HDCAM
GV (96x96 HD/256x256 AES/analog)

GV: 256x192 HD, 384x384 AES, 128x128 analog, 192x320
MADI
SS15
53' expando
HD
Both
12 Sony
9 Canon, 2 Fujinon
as requested
GV Kalypso, 4M/E
EVS: 4 6-ch. XT2, 4-ch. XT2, SpotBox, SportsNet Hub; DigiBeta, 2 DVCPRO; HDCAM;
SRW
SS16
53' expando
w/B unit
HD
Both
10 Sony
11 Canon
as requested
GV Kayenne
wiring to support 7 EVS frames and 4 VTRs; EVS: 1 6-ch. XT3 SpotBox, 4 6-ch. XT3 live
slow-motion system w/10-GB network, 2 Sport Net Hub for LSM and SpotBox; 1 XFile
(XF2) XF3, 1 IPDirector; Sony: 1 SRW-5500 VTR, 1 HDCAM HDW-1800; 1 Panasonic
DVCPRO AJHD-1700
PESA: 192x192 HD/SD-SDI video, DRS 512x640 AES, DRS

128x128 analog audio, DRS 128x128 MADI, 96x96 embed/
de-embed 16 ch.
SS17
55' expando
HD
Both
10 Sony
11 Canon
as requested
GV Kalypso Duo, 4M/E
EVS: 3 6-ch. XT2, 2 4-ch. XT2, SpotBox; DigiBeta, 5 HDCAM, HDCAM SRW
PESA: video w/16-ch. embed/de-embed capabilities, DRS

512x640 AES, DRS 128x128 analog, DRS 128x128 MADI,
96x96 embed/de-embed 16 ch.
SS18
56' expando
HD
Triax
11 Sony
11 Canon
as requested
GV Kayenne K-Frame
EVS: 4 6-ch. XT2, SpotBox, SportsNet Hub; HDCAM SRW, DigiBeta
GV: Trinix Concerto 160 inx128 out HD/SD video,

Aphex576x576 AES, 128x128 analog
SS20
53' expando
HD
Both
12 Sony
10 Canon, 2 Fujinon
as requested
GV Kalypso, 4M/E
EVS: 5 6-ch. XT2, 4-ch. XT2, SpotBox, 2 SportsNet Hub; DVCPRO, HDCAM, SRW,
DigiBeta
176x176 HD/SDI video w/96 embedders and 96 eeembedders, 128x128 analog (mono), 96 de-embedding
inputs and 96 embedding outputs, 256x256 MADI, 512x640
AES
SS21
53' expando
twin w/third unit
HD
Both
15 Sony, 5 GV
24 Canon
as requested
GV Kayenne, 4.5M/E
EVS: 11 6-ch. XT2, 1 SSM XT2+, 2 SpotBox, 5 SportsNet Hub; DigiBeta, DVCPRO, SRW
PESA: Cheetah HD video 256x448, DRS 832x704 AES,

192x448 stereo analog, 2x2 MADI
SS22
53' expando
w/B unit
HD
Both
12 Sony
13 Canon
as requested
as requested
GV Kayenne K-Frame
EVS: 5 6-ch. XT3 LSM, 1 4-ch. XS SpotBox, 1 IPDirector w/i7 processor, 3 SportsNet
2 Hub, 1 XF3 XFile, 2 Gig-E Jumboframe network; Sony: 1 HDW-500 HDCam, a
DVW-A500 DigiBeta; 1 Panasonic AJHD-1800 DVCPRO
PESA: 192x176 HD video (96 16-ch. mux/demux-capable),

384x384 AES, 192x192 analog, 1536x1536 mux/demux
SS23
53' expando
w/B unit
HD
Triax
Calrec Alpha (64)
13 Ikegami
13 Fujinon
as requested
Senn., Sony, EV
GV Kalypso, 4M/E
EVS: 2 6-ch. XT2, 2 4-ch. RO XT2, SpotBox, SportsNet Hub; 2 DVCPRO; HDCAM, 2
DigiBeta
GV Trinix 448x512 HD video, 256x256 AES
SS24
53' expando
twin
HD
Both
15 Sony
17 Canon
as requested
GV Kayenne K-Frame
wired to support 3 EVS IPDirectors; 13 EVS, 1 SpotBox and 6 VTR, 1 6-ch. XT3 SpotBox,
6 6-ch. XT3 LSM, 3 Sport Net XHub3, 2 XF3 for archiving; Sony: 2 HDW-500 HDCam, 1
SRW-5500 HDCam and HDCam SR, 1 DVW-A500 DigiBeta
GV: 256x256 Trinix HD video, Apex audio (192x192 analog

stereo, 448x448 AES)
SS25
53' expando
twin w/carry-all
truck
HD
Both
12 Sony
12 Canon, 2 Fujinon
as requested
GV Kalypso Duo
EVS: 6 4-ch. XT2, XT2, 3 6-ch. XT2, SpotBox, SportsNet Hub; DigiBeta, 2 DVCPRO
172x160 HD-SDI video, 224x416 SD monitor router, 32x32

analog stereo, 224x224 AES, analog and AES internal
crossconversion capability
SS28
53' expando
w/B unit
HD
Triax
11 GV
Canon, Fujinon
as requested
GV Kalypso, 4M/E
EVS: 2 6-ch. XT2, 3 4-ch. XT2, SpotBox; 2 DigiBeta, DVCPRO, HDCAM
GV Trinix 160x128 HD, 256x256 SD; Concerto 256x256 AES

(mono), 256x256 analog
SS29
53' expando
twin
HD
Both
Calrec Artemis (64)
12 Sony
13 Canon
as requested
GV Kayenne, 4M/E
EVS: 3 6-ch. XT2, 2 6-ch. RO XT2, SpotBox, SportsNet Hub; DigiBeta; 2 DVCPRO
GV 288x480 Trinix HD
SS3
53' expando or
flypack
HD
Both
DiGiCo SD10B
Thompson LDK6000
8 Canon
as requested
as requested
Sony
GV: 1 K2 Solo, 2 K2 Dyno Summit
PESA 48x112 HD-SDI w/16x16 embededd and de-embedd,

External SD rack w/40x40 analog and 8x8 AES, MADI I/O,
PESA 64x64 AES, D>A and A>D conversion
SS32
53' expando
HD/1080p
Both
10 Sony
as requested
as requested
as requested
GV Kayenne Elite, 9M/E
EVS: 5 6-ch. XT3, 6-ch. XT3 SpotBox; 2 SRW dual-stream; DVCPRO; 2 Blu-ray
Evertz EQX w/integrated multiviewers (378 inputsx146

outputs plus monitoring outputs, 192x192 mono,192x192
AES, 4x4 MADI)
SSCBS
3 53' trailers
HD
Both
Calrec Apollo
Sony
Fujinon, Canon
as rquested
A-T, Senn.
GV Kayenne Elite
EVS: 2 12-ch. XT3 LSM, 4 8-ch. XT3 LSM, 1 6-ch. XT3 SpotBox, 5 XHub3 for LSM and
SpotBox,1 XF3, 4 IPDirector, 2 XTAccess
Evertz EQX/ EXE Hybrid routing system, EQX 576 Inputs x

540 Outputs (estimated); 192x192 Mono Analog, 96x96
AES, 35x35 MADI
Summit
53' expando
twin
HD
Both
up to 24 Sony
2 Canon, up to 20 Fujinon
as requested
GV Kayenne K-Frame
20 VTRs or 7 EVS as requested, 2 SpotBox
GV: Trinix (192x160 HD under Encore control), Apex

(544x544 AES/128x128 2-ch. analog)
Tango
53' expando
HD
Triax
Calrec Alpha
10 GV
12 Fujinon
as requested
Senn., Sony
GV Kalypso, 4M/E
EVS: 2 6-ch. XT2 LSM, 4-ch. RO XT2, 4-ch. XT2 LSM, 4-ch. XT2, SpotBox, wiring for 1
more EVS; GigE; HDW; 2 DigiBeta
GV: Trinix (256x256 HD/SD), Concerto (192x192

AES/128x128 analog)
Tempo
53' expando
HD
Triax
Calrec Omega
9 GV
10 Canon
as requested
Senn., Sony
GV Kalypso, 4M/E
EVS: 6-ch. XT2 LSM, 4-ch. XT2 LSM, 4-ch. RO XT2, 4-ch. XT2, SpotBox, wiring for 1
more EVS; GigE; HDW; XDCAM; 2 DigiBeta
GV: Trinix (128x256 HD, 32x32 TC 64-port), Concerto

(128x128 AES/96x96 analog)
TS2
53' expando
HD
Both
Calrec Alpha
12 Sony
Canon
as requested
Senn.
GV Kayenne K-Frame
1 GV 4-ch. K2 Summit; Sony: 2 SRW-5000, 1 HDW-M2000 HDCAM; EVS: 5 LSM XT3, 1

XFile3 (XF2) (with XFile software), 1 XS 4-ch. SpotBox; 2 Sony DVD burners;
XP-1
Sprinter
HD
Both
Yamaha
5 GV
Canon
as requested
Senn.
FOR-A MVS-1000
1 EVS XT 4-ch; others as requested
MAESTRO
40' expando
HD
Triax, fiber
6-12 Sony
Canon/Fujinon 86x
ChyronHego HyperX3
Senn., Sony, EV
GV Kalypso, 4M/E
EVS: 2 6-ch. XT LSM, XFile (XF2); HDCAM; DVD
128x128 video, 128x128 audio, 72x144 video mon
PRODIGY
40'
HD
Triax, fiber
Yamaha M7 (48/48)
6-8 Sony
Canon/Fujinon 75x/55x
ChyronHego HyperX2
Senn., Sony, EV
SONY MVS-8000, 2.5M/E
EVS: 1 6-ch. XT LSM, 1 4-ch. XT LSM, XFile (XF2); DVCPROHD, DVD
64x64 video, 64x64 audio, 72x144 video mon
OPUS
27'
HD REMI
Triax, fiber
Yamaha QL-5 (32/72)
6-8 Sony
Canon 76x
Senn., Sony, EV
Blackmagic ATEM, 2M/E
wired for 6-ch.
72/72 video
BUSKER
24' Sprinter
HD REMI
Triax
Soundcraft Expression (20/20)
4-5 Sony
Canon/Fujinon 76x/60x/50x
Senn., Sony, EV
wired for 6-ch.
40x40 video
SOLO
24' Sprinter
HD REMI
Triax
4-5 Sony
Senn., Sony, EV
wired for 6-ch.
40x40 video
TROUPER
24' Sprinter
HD REMI
Triax
4-5 Sony
Senn., Sony, EV
wired for 6-ch.
40x40 video
Triax
Yamaha M7CL (48 analog

inputs/24 configurable outputs)
6 GV 3000
4 Fujinon H, 5 Canon HH
Senn., Sony
GV Karrera, 2M/E
EVS 8-ch. XT3
Evertz Xenon (64x96 HD), GV Xenon (128x128 analog)

Evertz EQX (170x134/192x192 AES, 96x96 analog)
K34
ROSS MOBILE
PRODUCTIONS
278
TRIAX, FIBER,
OR BOTH?
SS11
HD/SD/1080P
CAPABLE
DIMENSIONS/
TYPE
COMPANY
53' expando
NEP
Gearbase
SS10
AUDIO CONSOLE
(FADERS/
CHANNELS)
36' A, 35' B
HD
HD1
53' expando
HD/SD
Both
Calrec Omega w/Bluefin 2 (48)
HD2
53' expando
RKU2
27' combo
HD/SD
Triax
Calrac Artemis Light w/Bluefin 2 (56)
HD/SD
Fiber
Mackie (32 ch. )
ChyronHego HyperX3
Canon: 6 H, 4 HH
ChyronHego HyperX3
Senn., A-T, Sony
GV Kayenne, 4M/E
EVS: 2 6-ch. XT2+, 2 4-ch. RO XT2+, 4-ch. SpotBox, XFile3; HDCAM; DVCPRO;
DigiBeta
9 Sony
Canon: 6 H, 4 HH
ChyronHego HyperX3
Senn., A-T, Sony
EVS: 2 6-ch. XT3, 2 4-ch. RO XT3, 4-ch. SpotBox, XFile3; HDCAM; DVCPRO; DigiBeta
Evertz EQX (170x134/192x192 AES, 96x96 analog)
4 Hitachi
Fujinon: 2 H, 2 HH
Ross XPression
Senn., A-T
NewTek 3Play 425, AJA KiPro,
34x34
6 Ikegami HC-HDK95C
Canon: 3 60x, 3 22x
Ross: 2 XPression, 1
XPression GO!
Senn., EV, A-T
EVS: 1 6-ch XTnano, XFile3; 8-ch. Tightrope ZEPLAY
Ross: NK-3G72 scalable 72x72 3G HD/SD-SDI, NK-A64-HQ

stereo analog
9 Sony
Silver
23' Sprinter
SD
Triax
Soundcraft Expression 3 (30/64

analog inputs, 24 analog outputs/
18 AES inputs, 34 AES outputs)
Blizzard
20'
SD
Fiber
Behringer XL2400 (24 analog

inputs/6 aux sends/4 aux returns)
3 Panasonic HPx 500 P2
Fujinon: 1 70x, 1 36x, 3 20x
XPression GO!
Senn., EV, A-T
EVS: 1 6-ch. XTnano, XFile3; 1 8-ch. Abekas Mira
Digital Rapids SD TouchStream Web SDI, Blackmagic 16x16

Smart VideoHub
FIN3
24' Sprinter
HD
Both

18 AES inputs, 34 AES outputs )
5 Ikegami HDK-95C
Canon: 1 60x, 2 40x, 2 22x
XPression GO!
Senn., EV, A-T
Ross; NK-3G72 scalable 72x72 3G HD/SD-SDI, 1 NK-D64110 AES/EBU digital audio

Gearbase
TRUCK
NAME
279
Combo Production/Uplink
Production/Uplink
Combo
LIVE TV, SINCE 1979.

MLB World Series
Daytona 500
Breaking News in North America
Academy Awards Dancing With The Stars
The Masters
Kids Choice Awards
The Grammys
The Stanley Cup
NASCAR
SEC Football
The Bachelor
HBO Championship Boxing NBA
Championships
Live Nation/Yahoo! 365 Days of Concerts
Super Bowl
ESPY Awards
UFC
Jimmy Kimmel Live
Wicked Tuna
Survivor Finale
iPhone 6 Launch
Los Angeles Opera
NCAA Final Four
American Idol
E3 Convention
Americas Cup
Live from Daryls House
MTV Video Music Awards
Innovation
The
Standard
Showtime Championship Boxing
NCAA Final Four
Satellite Uplinks Studios/Production Capitol Television News Service Camera Crews
COMBO PRODUCTION/UPLINK TRUCK

Ross Carbonite switcher Sony PMW-500 cameras Ross XPression CG
Mirandas Telecast Copperhead Mackie 24 channel mixer
RTS with 12 discreet channels, IFB 46 single to multiview monitor
3000 Tac-6 fiber Ku HD transmission
PRODUCTION. EVENT MANAGEMENT. TRANSMISSION.
Others in
the Fleet
More trucks in more places.

PSSIGLOBAL.COM | 1-800-SATLINK
International
1629 S Street, Sacramento, CA 95811

www.pacsat.com
ON CALL 24 HOURS
HQ Front Desk (916) 446-7890 After Hours (916) 335-1649
SPORTS VIDEO GROUP
| 2006-2016
Celebrating 10 years of
advancing the creation,
production, and distribution
of sports content.
skhan@dclinc.net
(954) 236-2993
HD/SD/1080P
CAPABLE
TRIAX, FIBER,
OR BOTH?
GRAPHICS
MICROPHONES
SWITCHER, M/E,
STILL STORE
HD
Both

18 AES inputs, 34 AES outputs)
5 Ikegami HDK-95C
Canon: 2 60x, 2 22x
XPression GO!
Senn., EV, A-T
Ross: NK-3G72 scalable 72x72 3G HD/SD-SDI, NK-A64-HQ

stereo analog audio
HD
Both

analog inputs, 24 analog
outputs/18 AES inputs, 34 AES
outputs)
6 Ikegami HC-HDK95C
Canon: 3 60x, 2 22x
XPression GO!
Senn., EV, A-T
EVS: 2 6-ch. XTnano, XFile3
Ross: Carbonite Xtreme 144x144 3G HD/SD-SDI/ASI, 1

NK-A64-HQ stereo analog audio
40' combo/
expando
SD
Triax
Allen & Heath ML4000 (40)
8 Sony
8 Canon
Senn., Sony
Sony DVS 7350, 3.5M/E
EVS XT, 6 BVW-D75, DVW-500, Doremi
Sony DVS 64x64 serial component digital video (SDI), PESA

Cougar 32x32 (analog only)
40' combo/
expando
HD/SD/1080p
Both
Calrec Zeta (56)
8 Sony
10 Canon, 2 Fujinon
Senn., Sony
Sony MVS-8000, 3M/E
EVS: 2 XT2, 1 XFile; Sony: 2 HDW-S2000, 1 PDW1500, 1 XDCAM; 1 Panasonic

DVCPRO; 1 Fast Forward
GV NVision: 8288 3-Gig HD/SD video (252x288), 7512 TDM

audio (192x256 AES, 96x80 analog, 32x32 MAD)
DIMENSIONS/
TYPE
COMPANY
ROSS MOBILE
PRODUCTIONS
LENSES (HARD/
HANDHELD)
FIN4
24' Sprinter
FIN5
24' Sprinter
ExpandoLink
HDLA
HD Link
32' combo
HD/SD
Both
Yamaha 02R96 (24)
4 Sony
2 Canon
n/a
Senn., Sony
Sony MFS-2000, 1.5M/E
four open slots, multiple-format capable
32x32 PESA Cougar HD-SDI video, none digital/analog patch
Aspiration
42' expando
HD
Fiber
Vi4 (72 input ch., 36 outputs)
10 Hitachi HD5000
full complement
ChyronHego HyperX3, Ross

XPression, Deko
full kit
Sony MVS8000
determined per show
Both, 128x128
Inspiration
40'
HD
Fiber
Vi1 (48 input ch., 36 outputs)
8 Hitachi HD5000
full complement

XPression, Deko
full kit
Ross Vision II
determined per show
Both, 128x128
Fiber
Yamaha DM2000 (48 input ch.,

36 outputs)
6 Hitachi HD5000
full complement

XPression, Deko
full kit
Ross Carbonite 2M/E
determined per show
Both, 40x40
Origination
30'
HD
Blackjack
30'
HD
Fiber
Mackie Onyx 24.4
5 Sony D35-WS SDI Triax
full complement
none
full kit
Ross Carbonite 3M/E
determined per show
Both, 128x128
Elevation
40'
HD
Fiber
Vi3000 (64 inputs)
10 Hitachi HD5000
full complement

XPression, Deko
full kit
Ross Vision3, 3M/E
determined per show
Both, 72x72
Chippewa
53' expando
HD
Triax, single
mode
10 GV LDK 8000
6 H, 5 HH
ChyronHego HyperX3
GV Kayenne, 4.5M/E
EVS: 1 6-ch. LSM XT3, 1 8-ch. LSM XT3, 1 4-ch. RO XT3, SpotBox XS3; 2 AJA KiPro;
HDCAM; 2 DVCPRO
PESA: 256X (128x256 HD-SDI), PESA DRS (128x128

analog, 384x384 AES, 256x256 MADI, 256x256 embedded)
Sioux
53' expando
HD
Triax, single
mode
6 GV LDX-80
5 H, 5 HH
ChyronHego HyperX3
GV Karrera, 3M/E
EVS: 2 6-ch. LSM XT3, 1 4-ch. RO XT3; 2 AJA KiPro; HDCAM; DVCPRO
PESA: 256X (128x256 HD-SDI), DRS (128x128 analog,

256x256 AES, 256x256 MADI, 256x256 embedded)
Varsity
53' expando
HD
Triax
Calrec Sigma w/Bluefin (56

faders)
10 GV LDK 8000
6 H, 4 HH
ChyronHego HyperX3
GV Kalypso, 4M/E
EVS: 2 6-ch. LSM XT2, 1 4-ch. RO XT2, 4-ch. SpotBox; HDCAM; 2 DVCPRO
PESA (192x288 HD/256x256 analog, 256x256 AES)
HD-1
53' straight
HD
Triax
Calrec Sigma w/Bluefin (64/96)
Ikegami 790
4 H, 2 HH, 2 76x, 2 66x
ChyronHego HyperX2 2-ch.
Senn., A-T
GV Kayak, 3/ME
EVS: 1 LSM, 1 RO, 1 Xfile
Sierra 32x32
HD-2
53' straight
HD
Fiber
Calrec Omega w/Bluefin (56/48)
Ikegami Ex77
4 H, 2 HH, 66x, 55x
ChyronHego HyperX2 2-ch.
Senn., A-T
GV Kayak, 2M/E
Tightrope: 8-ch. ZEPLAY, 4-ch. ZEPLAY
Sierra 32x32
Blackmagic 16x16
HD-3
16' straight
HD
Fiber
Ikegami Ex77
2 H, 2 HH, 55x
ChyronHego SD single ch.
Senn., A-T
3 Play Hyperdecks
SD-1
42' straight
NTCS
Triax
LDK-10
4 H, 2 HH, 55x
ChyronHego SD 2-ch.
Senn., A-T
GV 3000, 3M/E, GV 700
EVS LSM/DSR 1000
Sierra 16x16
HD1
53' expando
HD
Both
10 Ikegami HDK 79 EC
Hard: 2 101x, 4 87x; HH: 3 2x,

1 4.5 Fuji
ChyronHego HyperX3
standard audio
GV Kayenne K-Frame
EVS: 2 6-ch. LSM XT2, 2 RO XT2, 4-ch. XS SpotBox; HDCAM, DVCPRO HD; DigiBeta;
FFV
Video HD 128x128, video SD 256x128, audio analog

128x128, AES 128x128
HD2
53' expando
HD
Both
10 Ikegami HDK 79 Ex
Hard: 1 101x, 5 87x; HH: 3 22x,

1 4.5 Fuji
ChyronHego HyperX3
standard audio
GV Kalypso Duo HD
EVS: 6-ch. LSM XT2, 4-ch. XT2, 2 RO XT2, 4-ch. XS SpotBox; HDCAM; DVCPRO HD;
DigiBeta; FFV
Video HD 256x128/audio analog 128x128, AES 128x128
YES
VIDEOLINES
TOKEN CREEK
TNDV
SDTV
Gearbase
# CAMERAS & MAKE
SPORTS
BROADCASTING
FUND
SUPPORTING OUR OWN

IN TIMES OF NEED...
To make a donation to the

Sports Broadcasting Fund,
mail checks to:
SVG Sports Broadcasting Fund
Bryant Bank, Attn: Heike Harris
1550 McFarland Boulevard N
Tuscaloosa, AL 35406
284
The sports-television industry is a family of talent,

creatives, techs, and crew who depend on each
other in the studio and the field and now, with the
SVG Sports Broadcasting Fund, at home. In a
business underpinned by a freelance workforce, it
is especially important that we develop a process
for helping out our peers and their families when
they are struck by serious misfortune.
Ken Aagaard,
SVG Broadcasting Fund Advisory Board
chairman
sportsbroadcastingfund.org
Gearbase
AUDIO CONSOLE
(FADERS/
CHANNELS)
TRUCK
NAME
Gensler is a global design firm comprised of architects, designers, planners, and

consultants who partner with clients on nearly 3,000 projects every year. With more
than 4,000 professionals networked across 46 locations, Gensler combines localized
experience with global perspective wherever new opportunities arise.
GENSLERS SPORTS + RECREATION practice focuses on

the design and planning of innovative professional, collegiate,
international venues and sports-anchored entertainment
districts. Gensler counts the NBA, NHL, NFL, MLB, MLS and
the Olympics community as long-time clients.
GENSLERS MEDIA practice has a notable history of

developing broadcast facilities within the sports world. Recent
project successes include Time Warner RSN in Los Angeles for
the Lakers and the Comcast RSN in Houston for the Astros and
Rockets. Additionally, the firm has recently worked with NBC
Sports, managing the design and construction of their new
300,000-square-foot sports production/broadcast facility in
Stamford, CT.
Contact: James E. Lee | Direct: 213.327.3114 | Cell: 347.628.2563 | james_lee@gensler.com
SVGSPONSORDIRECTORY / ADINDEX
PAGE
LEVEL
CONTACT
EMAIL
PHONE
3G WIRELESS
195
Mobile
Gordon Capaccio
GordonC@3gwireless.tv
410-969-3501
PAGE
LEVEL
CONTACT
EMAIL
PHONE
BSI (BROADCAST SPORTS

INTERNATIONAL)
271
Corporate
Peter Larsson
Peter.Larsson@BSintl.com
410-564-2600
BURST
188
Corporate
Paul Levy
paul@burst.us
617-977-9500
Mobile
Kevin Husband
k.husband@calhounsat.com
305-655-2629
3PLAYMEDIA
221
Corporate
Josh Miller
josh@3playmedia.com
617-764-5189
x102
AB ON AIR
207
Corporate
On Sobol
on.sobol@abonair.com
[972] 9 744 0055
ABEKAS
49
Premier
Junaid Sheikh
junaid@abekas.com
650-470-0900
CALHOUN SATELLITE
COMMUNICATION
ADOBE SYSTEMS
50
Premier
Dennis Radeke
dradeke@adobe.com
732-942-0577
CALREC AUDIO
25
Premier
Kevin Emmott
kevin.emmott@calrec.com
[44] 1422 842159
ADORAMA
75
Corporate
Charles Markovits
charlesm@adorama.com
646-758-8527
220
Corporate
Joe Castellano
jcastellano@canare.com
973-837-0070
ADTEC DIGITAL
51
Corporate
Ron Johnson
ronj@adtecinc.com
615-256-6619
CANARE CORPORATION
OF AMERICA
AERIAL VIDEO SYSTEMS
264
Mobile
Argyle Nelson
argyle@aerialvideo.com
818-954-8842
CANON BROADCAST
107
Platinum
Broadcast and
Studio Lenses
cinemaeos@cits.canon.com
800-423-5367
AERNOW
206
Mobile
Darcy Lorincz
dlorincz@aernow.com
480-384-0898
AJA VIDEO SYSTEMS
16
Premier
Christina Oliver
christinao@aja.com
530-271-3326
CAT ENTERTAINMENT
SYSTEMS
240
Mobile
Phil Wessels
phil.wessels@ringpower.com
904-494-7550
AJT SYSTEMS
20
Premier
Ronald Linares
rlinares@ajtsystems.com
954-776-4591
CBT SYSTEMS
Mobile
Darrell Wenhardt
darrell@cbt-net.com
858-536-2927
ALDEA
67
Corporate
Daniel Gonzalez
daniel.gonzalez@aldea.tv
514-461-4136
CHESAPEAKE SYSTEMS
Mobile
Nick Gold
nick@chesa.com
410-400-8932
ALL MOBILE VIDEO
247
Mobile
Eric Duke
eduke@amvchelsea.com
212-727-9862
CHYRONHEGO
46
Premier
Mark Gederman
mark.gederman@chyronhego.com
631-845-2069
ALLIANCE PRODUCTIONS
24
Platinum
Craig Farrell
Craig@allianceproductions.com
501-219-2653
CINESYS-OCEANA
194
Mobile
Mike Winkelmann
sales@cinesysinc.com
ALPHA VIDEO
182
Mobile
Jeff Volk
jeff.volk@alphavideo.com
952-841-3311
866-905-2050
x110
AMAZON WEB SERVICES
C2
Platinum
Ian McPherson
Ianmcp@amazon.com
650-773-4943
CISCO
23
Premier
Michael Caponigro
mcaponig@cisco.com
408-527-6111
AMST BY KENTUCKY
TRAILER
CLARK MEDIA
229
Mobile
Gary Snyder
garys@clarkmedia.com
610-694-9800
258
Mobile
MaryBeth Tomes
mbtomes@kytrailer.com
888-598-7245
CLEAR-COM
99
Premier
Judy Cheng
judy.cheng@clearcom.com
510-337-6676
ANIXTER, INC.
62
Corporate
Jon Roberts
jon.roberts@anixter.com
310-795-2600
CLICK EFFECTS
70
Premier
Scott Sheppard
ssheppard@clickeffects.com
APM MUSIC
211
Corporate
Sharon Jennings
Sjennings@apmmusic.com
323-461-3211
615-460-7330
x113
ARCTEK SATELLITE
PRODUCTIONS
COACHCOMM
208
Corporate
Gary Rosen
gary.rosen@coachcomm.com
818-264-9730
277
Mobile
Todd Hanks
thanks@arcteksat.com
612-623-1986 x7
COBALT DIGITAL
78
Premier
Bob McAlpine
Bob.McAlpine@cobaltdigital.com
631-651-2713
Mobile
Whit Jackson
whit.jackson@arris.com
415-662-1049
COMMUNICATIONS
ENGINEERING INC.
218
Mobile
Lore Potoker
lpotoker@commeng.com
703-550-5800
x3412
COMREX CORPORATION
219
Corporate
Chris Crump
ccrump@comrex.com
978-784-1776
CP COMMUNICATIONS
241
Mobile
Kurt Heitmann
kurt.heitmann@cpcomms.com
914-345-9292
CRAWFORD MEDIA
SERVICES
176
Corporate
Eric Williams
ewilliams@crawford.com
678-536-4868
ARRIS
ARTEL VIDEO SYSTEMS
57
Premier
Joanne Pederson
sales@artel.com
978-263-5775
ARVATO SYSTEMS
179
Corporate
Eivind Sandstrand
esandstrand@arvatosystems.com
360 567-8465
ASPERA, AN IBM
COMPANY
37
Premier
Francois Quereuil
francoisq@us.ibm.com
510-849-2386
x207
AT&T
Platinum
Scott Beckett
sb9485@att.com
214-647-0486
ATEME
63
Corporate
Dan Ambauen
d.ambauen@ateme.com
916-799-7335
AUDIO-TECHNICA
217
Corporate
David Marsh
dmarsh@atus.com
330-686-2600
AVECO
14
Premier
Jim O'Brien
jim.obrien@aveco.com
818-292-1489
AVID
Premier
Chuck Davidson
chuck.davidson@avid.com
978-640-3544
AVPRESERVE
181
Corporate
Chris Lacinak
chris@avpreserve.com
917-475-9630
AZZURRO GROUP
52
Mobile
Mark Lowden
mlowden@azzurrogroup.com
201-767-0850
BECKTV
234
Mobile
Fred Wright
fwright@becktv.com
972-505-8941
BEXEL GLOBAL
BROADCAST SOLUTIONS
47
Platinum
Gregory Bragg
gbragg@bexel.com
818-565-4313
BLACK BOX NETWORK

SERVICES
101
Corporate
Bill Frazier
bill.frazier@blackbox.com
724-873-6557
BLACKMAGIC DESIGN
17
Platinum
Bob Caniglia
bobc@blackmagicdesign.com
408-954-0500 x319
BOLAND
COMMUNICATIONS
80
Corporate
Gary Litwin
gary@bolandcom.com
949-465-9911
BOOLEAN CONSULTING
Corporate
Peter Horoszowski
peter@boolean.tv
917-720-8956
BRIGHTCOVE
Corporate
Alexis Smith
asmith@brightcove.com
480-214-6450
Corporate
Christina Carroll
christina@bgs.cc
Corporate
Florian Myrus
Mobile
Jim Eady
BROADCASTERS GENERAL
STORE
227
BROAMAN
BSI (BROADCAST SERVICES
INTERNATIONAL)
288
SVG SPONSOR
223
CROWN CASTLE
126
Corporate
Denny Albertini
Denise.Albertini@crowncastle.com
724-416-2190
CSP MOBILE
245
Mobile
Len Chase
len@cspmobile.com
207-282-9680
CTG
209
Mobile
Josh Shibler
Josh@ctgatlanta.com
404-352-3000
DAKTRONICS
193
Corporate
Sales
sales@daktronics.com
800-325-8766
DALE PRO AUDIO
121
Corporate
Michael Descoteau
miked@daleproaudio.com
857-756-6980
DALET
214
Corporate
Robin Kirchhoffer
rkirchhoffer@dalet.com
212-269-6700
DDN STORAGE
109
Corporate
Laura Thommen
lthommen@ddn.com
818-700-4053
DELTATRE
202
Corporate
Carlo De Marchis
carlo.demarchis@deltatre.com
[39] 011 384

18344
DELUXE ENTERTAINMENT
215
Corporate
Allyson Riordan
allyson.riordan@bydeluxe.com
212-824-5386
DIGICASTER AND
DIGITAL COMM LINK,
INC.
283
Mobile
Said Khan
SKhan@dclinc.net
954-236-2993
DIGICO
83
Premier
Jack Kelly
jackk@g1limited.com
516-249-1399
DIVERSIFIED SYSTEMS
119
Mobile
Duane Yoslov
dyoslov@divsystems.com
408-969-1972
DNA STUDIOS
268
Mobile
Sam Schrade
sam@dnawebs.com
281-802-8000
DOLBY
28
Platinum
Mary Stevens
mary.stevens@dolby.com
212-767-1700
201-650-7653
DOME PRODUCTIONS
269
Mobile
Mary Ellen Carlyle
mcarlyle@domeprod.com
416-341-2022
f.myrus@broaman.com
[49] 89 8999 640
DRS TECHNOLOGIES
Mobile
Andrea Krumpelman
akrumpelman@drs.com
859-372-8295
jim@bsi-tv.com
905-332-2171
Corporate
Mark Seigle
Mark.Seigle@dts.com
425-522-0709
DTS
123
SVG Sponsor Directory / Ad Index
SVG SPONSOR
289
EEG ENTERPRISES
PAGE
LEVEL
CONTACT
EMAIL
PHONE
SVG SPONSOR
PAGE
LEVEL
CONTACT
EMAIL
PHONE
203
Corporate
Eric McErlain
ericm@eegent.com
516-293-7472
x502
IMMEDIATV
131
Corporate
Mike Galli
mgalli@immediatv.com
408-496-1256
IMS PRODUCTIONS
256
Mobile
Robby Greene
rgreene@imsptv.com
317-492-8710
971-270-0320
INERTIA UNLIMITED
41
Premier
Jeff Silverman
jeff@inertiaunlimited.com
802-368-2591
Mobile
Tom McGowan
tom.mcgowan@imtglobalinc.com
818-761-9770
ELEMENTAL
TECHNOLOGIES
39
Premier
Henry Canizares
henry.canizares@
elementaltechnologies.com
EMC
105
Corporate
Jeff Grassinger
jeff.grassinger@isilon.com
206-315-7598
ENCOMPASS DIGITAL
MEDIA
INTEGRATED MEDIA
TECHNOLOGIES
184
Corporate
Keith Kozicki
kkozicki@encompass.tv
678-421-6830
ISTREAMPLANET
129
Corporate
Jennifer Baisch
JBaisch@istreamplanet.com
702-492-5956
Corporate
Paul Hamm
paulh@endavomedia.com
877-843-7242
x801
JB&A
133
Corporate
Jeff Burgess
jeff@jbanda.com
415-256-2800
JONES MOBILE
TELEVISION
270
Mobile
Bob Derryberry
bobd@jmtv.com
501-376-1993
JOSEPH ELECTRONICS
95
Premier
Yohay Hahamy
yohay@josephelectronics.com
847-501-1584
ENDAVO MEDIA
ERICSSON
59
Premier
Anne-Louise Buick
Anne-Louise.Buick@ericsson.com
[44] 23 8048 4041
EUROVISION
Platinum
Jim Scott
jim.scott@eurovision.net
973-650-9577
EVERTZ
29
Premier
Joe Cirincione
joe@evertz.com
818-558-3910
EVS
44
Premier
Greg Macchia
g.macchia@evs.com
973-575-2111
244, 275
Mobile
George Orgera
GeorgeO@fandfhd.tv
727-530-5000
Corporate
Theodore Garcia
theodore.garcia@filmtrack.com
818-766-2607
F&F PRODUCTIONS
FILMTRACK
FILMWERKS
INTERNATIONAL
253
Mobile
Michael Satrazemis
michaels@filmwerksintl.com
910-675-1145
FIS BLUE
92
Corporate
Derek Curtis
dcurtis@fisblue.com
315-768-8179
FLETCHER SPORTS
97
Corporate
Dan Grainge
dan@fletch.com
312-932-2704
FOCUSRITE
231
Corporate
Kurt Howell
Kurt.Howell@focusrite.com
615-545-3934
42,187
Corporate
Jay Shinn
shinn@for-a.com
201-668-1122
FORSCENE
89
Corporate
Candice Rose
ctr@forbidden.co.uk
[44] 20 8879 7245
FRAUNHOFER
225
Corporate
Robert Bleidt
robert.bleidt@dmt.fraunhofer.org
408-573-9901
FOR-A
117
Premier
Craig Yanagi
cyanagi@us.jvckenwood.com
800-252-5722
274
Mobile
Bill Kaufman
bill.kaufman@kaufmanbroadcast.com
314-533-6633
KODIAK MOBILE
TELEVISION
252
Mobile
David Kearnes
david@kodiakmobile.tv
918-925-9877
L-S-B
96
Corporate
Mark Whitman
mark.whitman@lsb-usa.com
413-770-1576
LAWO
87
Premier
Don Bird
don.bird@lawo.us
818-292-2541
LEVEL 3
Platinum
Jessica Brandt
jessica.brandt@level3.com
720-387-3565
LEVELS BEYOND
108
Corporate
Christy King
cking@levelsbeyond.com
720-459-3008
LH COMPUTER SERVICES
140
Mobile
Doug Cole
dcole@lhcomp.com
954-752-5805
LIMELIGHT NETWORKS
40
Premier
Janice Merk
jmerk@llnw.com
602-850-5385
LINEAR ACOUSTIC
43
Premier
Chris Shaw
chris.shaw@telosalliance.com
925-216-8846
LITTLE BAY BROADCAST

SERVICES
224
Mobile
Brian Raynes
brian@littlebay.tv
603-534-5600
LIVEU
185
Corporate
Joe DAmico
Joe@liveu.tv
201-742-5229
x163
LTN GLOBAL
COMMUNICATIONS
143
Corporate
Missy Gralish
mgralish@ltnglobal.com
412-996-9350
LYON VIDEO
246
Mobile
Chad Snyder
chad@LyonVideo.com
614-319-4071
MARKERTEK/TOWER
PRODUCTS
58
Premier
Gregory DeCelle
greg@towerpower.com
845-246-2357
MASERGY
136
Corporate
Dan Boland
dan.boland@masergy.com
630-632-2062
137
Corporate
Joe French
Joe.french@masstech.com
321-255-3653
Corporate
David Herfert
dherfert@medialinks.com
860-206-9163
FUJIFILM/FUJINON
21
Platinum
Thom Calabro
tcalabro@fujifilm.com
973-686-2409
FX DESIGN GROUP
189
Corporate
Bonnie Barclay
bbarclay@fxgroup.tv
407-573-0541
GAME CREEK
239
Mobile
Pat Sullivan
sullgame@aol.com
603-821-2205
GEARHOUSE BROADCAST
232
Mobile
Marc Genin
mgenin@gearhousebroadcast.com
818-955-9449
GENSLER
286
Mobile
James Lee
james_lee@gensler.com
212-492-1613
GEPCO/GENERAL CABLE
103
Corporate
Mike Vivian
mvivian@generalcable.com
256-361-6993
GERLING & ASSOCIATES
113
Corporate
Fred Gerling
fredg@gerlinggroup.com
740-965-2888
GLOBECAST
226
Corporate
Eddie Ferraro
eddie.ferraro@globecast.com
212-373-5144
Platinum
David Cohen
david.cohen@grassvalley.com
215-837-8699
MASSTECH INNOVATIONS
INC.
Corporate
Scott Katzenoff
scott@haivision.com
516-669-0003
MEDIA LINKS
13,42
Platinum
Katy TemplemanHolmes
Katy.Templeman-Holmes@harman.
com
818-920-3295
HARMONIC
19
Premier
Ken Harper
ken.harper@harmonicinc.com
408-490-6645
HGST
68
Premier
Brad Meyer
Brad.Meyer@HGST.com
408-573-5344
HIGH POINT SOLUTIONS
199
Corporate
Rich McDonald
rmcdonald@highpoint.com
973-940-6516
HITACHI KOKUSAI
91
Corporate
Sean Moran
sean.moran@hitachikokusai.us
516-921-7200
x431
IHSE USA
116
Corporate
Dan Holland
dholland@ihseusa.com
IKEGAMI ELECTRONICS
36
Premier
Teri Zastrow
ILLUMINATION
DYNAMICS
263
Mobile
IMAGE VIDEO
81
IMAGEN
128
GRASS VALLEY
HAIVISION
HARMAN PRO
290
JVCKENWOOD
KAUFMAN BROADCAST
MEDIA180.TV
276
Mobile
Pascal Souclier
pascal.souclier@media180.tv
[33] 6 84 52 62 41
METROVISION
250
Mobile
Jim McGillion
jim@metrovision.tv
212-989-1515
MICROSOFT
122
Corporate
Jason Suess
jasonsue@microsoft.com
425-706-9343
Mobile
Eric Riley
Erileymps@aol.com
614-864-7900
MOBILE PRODUCTION
SERVICES
MOBILE TV GROUP
251
Mobile
Philip Garvin
pgarvin@coloradostudios.com
303-542-5555
732-738-8780
MOEBAM! VENUE MEDIA

SERVICES
213
Corporate
Rick Price
rprice@moebam.com
407-476-9390
tzastrow@ikegami.com
201-368-9171
MPE
190
Corporate
Tim Okon
tim@mpenyc.com
212-245-0969
Rich Williams
rich@illuminationdynamics.com
818-686-6400
MULTIDYNE
74
Premier
Frank Jachetta
frank@multidyne.com
516-671-7278
Corporate
Zach Wilkie
zwilkie@imagevideo.com
416-750-8872
x228
NAC IMAGE
TECHNOLOGY
153
Corporate
Andy Hayford
ahayford@nacinc.com
[44] 1628 509 001
Corporate
Ian Mottashed
ian.mottashed@imagenevp.com
[44] 1954 262059

212-303-4222
203-500-4099
IMAGINE
COMMUNICATIONS
C4
Platinum
Rich Zabel
rich.zabel@imaginecommunications.
com
IMATION NEXSAN
73
Premier
Seth Cohen
scohen@imation.com
NEMAL
84
Corporate
Benjamin Nemser
bnemser@nemal.com
305-899-0900
NEP BROADCASTING
238
Premier
George Hoover
george.hoover@nepinc.com
800-444-0054
NERVVE
139
Corporate
Stephanie Bailey
sbailey@nervve.com
703-856-3500
NET INSIGHT
141
Corporate
Per Johansson
per.johansson@netinsight.net
703-945-3739
NEULION
120
Corporate
Chris Wagner
Chris.Wagner@neulion.com
516-622-8357
SVG SPONSOR
291
NEVION
PAGE
LEVEL
CONTACT
EMAIL
PHONE
132
Corporate
Mike Root
ussales@nevion.com
805-247-8560
PAGE
LEVEL
CONTACT
EMAIL
PHONE
SNELL ADVANCED MEDIA
56
Premier
John Shike
John.Shike@s-a-m.com
650-703-4906
NEWTEK
31
Platinum
Philip Nelson
pnelson@newtek.com
210-863-0360
SONOVTS
295
Mobile
Franz Olbert
Franz.Olbert@sonovts.de
[89] 419 671 114
NURAY DIGITAL
147
Corporate
Rick Ray
rick@nuraydigital.com
843-815-4041
SONY
Platinum
Chris Sullivan
Chris.Sullivan@am.sony.com
201-670-6548
OMNIGON
127
Corporate
Joanna Solowey
joanna.solowey@omnigon.com
646-480-2348
SOS GLOBAL EXPRESS
27
Premier
Fernando Soler
fsoler@sosglobal.com
800-628-6363
ONE WORLD SPORTS
145
Corporate
Jodi Morelli
jodi.morelli@global-mediamarketing.
com
203-249-2839
SPECTRA LOGIC
149
Corporate
Hossein ZiaShakeri
hosseinz@spectralogic.com
800-833-1132
ORACLE
152
Corporate
Andy Hurt
andy.hurt@oracle.com
303-867-0723
Corporate
Jonathan Kelly
jkelly@orgstrategies.com
571-499-0101
Mobile
Steve Mallory
pacsatboss@pacsat.com
916-446-7890
Corporate
Michael Tortorello
michael@panasas.com
908-295-5255
ORGANIZATIONAL
STRATEGIES, INC.
PACSAT
281
PANASAS
PANASONIC
115
Premier
Carter Hoskins
carter.hoskins@us.panasonic.com
770-619-1779
PESA
85
Corporate
Randy Lloyd
rlloyd@pesa.com
214-856-5351
PHIZZLE
151
Corporate
Jeff Ryznar
jryznar@phizzle.com
216-310-6948
Corporate
Jim Pace
jpace@plus24.net
323-855-1404
Premier
Lori Mulder
lorim@powernoodle.com
226-333-9006
PLUS24
POWERNOODLE
PRG
155
Corporate
Brian Edwards
bedwards@prg.com
818-252-2630
PRIMESTREAM
157
Corporate
Robert Lisman
rl@primestream.com
305-625-4415
Corporate
Steve Rotz
srotz@productionhub.com
877-629-4122
PRODUCTIONHUB
SPORTRADAR US
Corporate
Nick Stamm
n.stamm@sportradar.com
612-207-8916
SPORTVISION
175
Corporate
Jeff Jonas
jeffj@sportvision.com
414-727-2105
STATS LLC
287
Corporate
Herrman Taraporewalla
htaraporewalla@stats.com
847-728-4463
SWIFTSTACK
178
Corporate
Mario Blandini
mario@swiftstack.com
925-759-5537
T2 COMPUTING
183
Corporate
Chris Payne
cpayne@t2computing.com
212-929-3645
TATA COMMUNICATIONS
187
Corporate
David Moore
david.moore@tatacommunications.com
704-806-6679
TEDIAL
64
Premier
Jay Batista
Jay.batista@tedial.com
424-645-5300
x602
TEKTRONIX
124
Corporate
Michael Brett
michael.brett@tektronix.com
503-627-5888
TERADEK
77
Premier
Andrew Ng
andrew.ng@teradek.com
888-941-2111
x130
Corporate
Bobby Stevens
b.stevens@thespaceconnection.com
818-754-1100
x212
THE SPACE CONNECTION

THE STUDIO - B&H
65
Premier
The Studio Team
thestudio@BandH.com
800-947-9962
THE SWITCH
53
Premier
Christian Kneuer
christian.kneuer@theswitch.tv
212-239-3715
THE SYSTEMS GROUP
200
Mobile
Chris Mehos
cmehos@tsg-hoboken.com
201-795-4672
THE TIFFEN COMPANY
177
Corporate
Raymond Blumenthal
rblumenthal@tiffen.com
631-609-3225
THINKLOGICAL
93
Corporate
Richard Cooper
info@thinklogical.com
800-291-3211
TIGHTROPE MEDIA
SYSTEMS
201
Corporate
Steve Israelsky
steve@trms.com
866-866-4118
TOKEN CREEK
257
Mobile
John Salzwedel
john@tokencreek.com
866-866-4118
TSL PRODUCTS
172
Corporate
Anoushka Farouk
anoushka.farouk@tsl.co.uk
[44] 1628 564049
TVU NETWORKS
160
Corporate
Eric Chang
echang@tvunetworks.com
650-288-0843
212
Mobile
Bruce Long
Bruce.Long@unity-si.com
905-707-3801
PROGRAM PRODUCTIONS
233
Mobile
Robert Carzoli
rcarzoli@programproductions.com
630-282-0155
PROMISE TECHNOLOGY
32
Premier
Jeff McNall
jeff.mcnall@promise.com
408-228-1471
PRONOLOGY
161
Corporate
Paul Dellafiora
pdellafiora@pronology.com
212-273-0515
PROSHOW
262
Mobile
Tim Lewis
timlewis@proshow.com
604-293-1771
PSSI/STRATEGIC TV
280
Mobile
Clayton Packard
cpackard@pssiglobal.com
310-575-4400
Premier
Brett Goodwin
brett@qumulo.com
206-801-6793
Platinum
Lea Kozin
Lea.Kozin@Quantum.com
949-725-2134
QUANTUM5X SYSTEMS
163
Corporate
Paul Johnson
pjohnson@q5x.com
519-675-6999
RAINBOW BROADBAND
C3
Corporate
Joe Antine
jantine@rainbowbroadband.com
212-201-1248
Platinum
Jeff Heimbold
j.heimbold@realitychecksystems.com
323-465-3900
UNITY SYSTEMS
INTEGRATION
RED DIGITAL CINEMA
111
Premier
Brian Henderson
brian.henderson@red.com
213-463-0808
UTAH SCIENTIFIC
88
Corporate
Chris Harmon
charmon@utsci.com
801-575-3233
RIEDEL
COMMUNICATIONS
35
Premier
Joyce Bente
joyce.bente@riedel.net
818-559-6905
VER
12
Platinum
Howie Rosenthal
hrosenthal@verrents.com
818-956-1444
Mobile
Richard Glandorf
rhglandorf@mac.com
973-879-1096
VERIZON DIGITAL MEDIA

SERVICES
55
Premier
Jeff Casey
jeffrey.casey@verizon.com
908-559-2036
VISTA WORLDLINK
171
Corporate
Joshua Liemer
jliemer@vistaworldlink.com
954-838-0900
x210
VITEC
71
Premier
Geol Yeadon
geol.yeadon@vitec.com
650-230-2563
VIZRT
10
Platinum
Isaac Hersly
ihersly@vizrt.com
646-746-0010
VOGOSPORT
197
Corporate
Carolyn Archambault
c.archambault@vogosport.com
450-521-3803
WAZEE DIGITAL
100
Corporate
Laurie Bell
Laurie.Bell@wazeedigital.com
303-953-5165
WOWZA MEDIA SYSTEMS
61
Premier
Chris Hogan
Chris.Hogan@wowza.com
720-259-7549
WTVISION
196
Corporate
Mario Sousa
mario.sousa@wtvision.com
305-202-0631
YAMAHA COMMERCIAL
AUDIO SYSTEMS
205
Corporate
Paul Furtkamp
pfurtkamp@yamaha.com
714-522-9011
YES PRODUCTIONS
259
Mobile
Jim Moriarty
jim@yesproductions.com
504-840-4891
QUMULO
QUANTUM
REALITY CHECK SYSTEMS
ROBOVISION
292
SVG SPONSOR
ROCK-IT CARGO
164
Corporate
Kevin Delia
kevind@rockitcargo.com
516-825-7356
ROSS VIDEO
33
Premier
Steve Romain
sromain@rossvideo.com
613-652-4886
x4328
RR MEDIA
165
Corporate
Susanna Mandel
Mantello
Susanna.Mantello@rrmedia.com
570-251-0228
RT SOFTWARE
156
Corporate
Ryan Lester
ryan.lester@rtsw.co.uk
[44] 20 7168 8820
SCALE LOGIC
135
Corporate
Robert Herzan
bherzan@scalelogicinc.com
612-260-6437
SCHEDUALL
167
Corporate
Dave Black
dblack@scheduall.com
727-776-9997
SDTV
265
Mobile
Mark Parikka
operations@sdtv.com
619-293-7777
SENNHEISER
168
Corporate
David Missall
dmissall@sennheiserusa.com
774-253-1036
SES
69
Premier
Richard Lamb
richard.lamb@ses.com
[31] 70 306 4211
SGL BROADCAST
76
Premier
Doug Wynn
doug.wynn@sglbroadcast.com
608-345-1568
ZAYO GROUP
191
Corporate
Mike Emerson
mike.emerson@zayo.com
720-590-6882
SHURE
112
Corporate
Jose Rivas
rivas_jose@shure.com
847-600-2000
ZIXI
144
Corporate
Eric Bolten
eric@zixi.com
978-853-8482
SIGNIANT
170
Corporate
Meg Cater
mcater@signiant.com
781-221-4041
SMT
159
Corporate
Don Tupper
d.tupper@smt.com
919-354-4799
SVG SPONSOR
293
Keeping our crews safe...

Sign up today and begin taking FREE training and
educational courses designed to make your career
safer, better, and more rewarding:
www.spsgonline.com
GROUP MEMBERS:
MEMBERS:
GROUP
PRODUCED IN
IN ASSOCIATION
ASSOCIATION WITH
WITH
PRODUCED
Sports Video Group is the No. 1 information and

networking source for professionals who
produce and distribute sports video content.
SVG
Mobile
Stay ahead of the latest news
and events with SVG Mobile.
WHEN IT COMES TO TECHNOLOGY,

SPORTS TELEVISION LEADS THE WAY
Were proud to represent those professionals who enrich the fans experience, break new barriers,
and establish new standards for all forms of live television, mobile, and broadband entertainment.
SVGs advocacy, communication, education, and market development activities
are made possible by the following sponsors:
PLATINUM SPONSORS
Alliance
PRODUCTIONS

C 70 M 100 Y 28 K 16
Process Black
C 0 M 0 Y 0 K 100
PREMIER SPONSORS
ABEKAS ADOBE AJA AJT SYSTEMS ARTEL VIDEO SYSTEMS ASPERA AVECO AVID CALREC AUDIO CHYRONHEGO CISCO CLEAR-COM
CLICK EFFECTS COBALT DIGITAL DIGICO ELEMENTAL TECHNOLOGIES ERICSSON EVERTZ EVS HARMONIC HGST IKEGAMI ELECTRONICS
IMATION NEXSAN INERTIA UNLIMITED JOSEPH ELECTRONICS JVCKENWOOD LAWO LIMELIGHT NETWORKS LINEAR ACOUSTIC MARKERTEK
MULTIDYNE NEP ORAD PANASONIC POWERNOODLE PROMISE TECHNOLOGY QUMULO RED DIGITAL CINEMA RIEDEL ROSS VIDEO
SAM (SNELL ADVANCED MEDIA) SES SGL BROADCAST SOS GLOBAL TEDIAL TERADEK THE STUDIO B&H THE SWITCH
VERIZON DIGITAL MEDIA SERVICES VITEC WOWZA MEDIA SYSTEMS
CORPORATE SPONSORS
3PLAYMEDIA AB ON AIR ADORAMA ADTEC DIGITAL ALDEA ANIXTER APM MUSIC ARVATO SYSTEMS ATEME AUDIO-TECHNICA AVPRESERVE
BLACK BOX NETWORK SERVICES BOLAND COMMUNICATIONS BOOLEAN CONSULTING BRIGHTCOVE BROADCASTERS GENERAL STORE BROAMAN
BSI (BROADCAST SPORTS INTERNATIONAL) BURST CANARE CORPORATION COACHCOMM COMREX CORPORATION CRAWFORD MEDIA SERVICES
CROWN CASTLE DAKTRONICS DALE PRO AUDIO DALET DDN STORAGE DELTATRE DELUXE ENTERTAINMENT DTS EEG EMC
ENCOMPASS DIGITAL MEDIA ENDAVO FILMTRACK FIS BLUE FLETCHER SPORTS FOCUSRITE FOR-A FORSCENE FRAUNHOFER FX DESIGN GROUP
GEPCO/GENERAL CABLE GERLING & ASSOCIATES GLOBECAST HAIVISION HIGH POINT SOLUTIONS HITACHI KOKUSAI IHSE USA IMAGE VIDEO
IMAGEN IMMEDIATV iSTREAMPLANET JB&A LEVELS BEYOND LIVEU L-S-B LTN GLOBAL COMMUNICATIONS MASERGY MASSTECH INNOVATIONS
MEDIA LINKS MICROSOFT MOEBAM! MPE NAC IMAGE TECHNOLOGY NEMAL NERVVE NET INSIGHT NEULION NEVION NURAY DIGITAL OMNIGON
ONE WORLD SPORTS ORACLE ORGANIZATIONAL STRATEGIES, INC. PANASAS PESA PHIZZLE PLUS24. PRG PRIMESTREAM PRODUCTIONHUB
PRONOLOGY QUANTUM5X RAINBOW BROADBAND ROCK-IT CARGO RR MEDIA RT SOFTWARE SCALE LOGIC SCHEDUALL SENNHEISER SHURE
SIGNIANT SMT SPECTRA LOGIC SPORTRADAR US SPORTVISION STATS SWIFTSTACK T2 COMPUTING TATA COMMUNICATIONS TEKTRONIX
THE SPACE CONNECTION THE TIFFEN COMPANY THINKLOGICAL TIGHTROPE MEDIA SYSTEMS TSL PRODUCTS TVU NETWORKS UTAH SCIENTIFIC
VISTA WORLDLINK VOGOSPORT WAZEE DIGITAL WTVISION YAMAHA ZAYO GROUP ZIXI
MOBILE/INTEGRATOR SPONSORS
3G WIRELESS AERIAL VIDEO SYSTEMS AERNOW ALL MOBILE VIDEO ALPHA VIDEO AMST BY KENTUCKY TRAILER ARCTEK SATELLITE PRODUCTIONS
ARRIS AZZURRO GROUP BECKTV BROADCAST SERVICES INTERNATIONAL CALHOUN SATELLITE COMMUNICATION CAT ENTERTAINMENT SERVICES
CBT SYSTEMS CHESAPEAKE SYSTEMS CINESYS OCEANA CLARK MEDIA COMMUNICATIONS ENGINEERING INC. CP COMMUNICATIONS CROSSCREEK
CSP MOBILE CTG DIGICASTER AND DIGITAL COMM LINK DIVERSIFIED SYSTEMS DNA STUDIOS DOME PRODUCTIONS DRS TECHNOLOGIES
F&F PRODUCTIONS FILMWERKS INTL GAME CREEK VIDEO GEARHOUSE BROADCAST GENSLER ILLUMINATION DYNAMICS IMS PRODUCTIONS
INTEGRATED MEDIA TECHNOLOGIES JMTV KAUFMAN BROADCAST KODIAK MOBILE TELEVISION LH COMPUTER SERVICES LITTLE BAY LYON VIDEO
MEDIA180 METROVISION MOBILE TV GROUP MPS PACSAT PROGRAM PRODUCTIONS PROSHOW PSSI/STRATEGICTV ROBOVISION SDTV SONOVTS
THE SYSTEMS GROUP TOKEN CREEK UNITY SYSTEMS INTEGRATION YES PRODUCTIONS
ADVANCING THE CREATION, PRODUCTION, & DISTRIBUTION OF SPORTS CONTENT
WWW.S PO RTSVI D EO.O R G
Upgrade Today
POWERFUL
INTERNET
POWERFUL
BUSINESS
Over TEN YEARS of powering
successful New York City businesses

INTERNET
PHONES
MANAGED SERVICES
SPECIAL EVENTS
rainbowbroadband.com
1-800-747-1830

MobileSportsProductionYB2016 PDF

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

MobileSportsProductionYB2016 PDF

Uploaded by

Copyright:

Available Formats

2016

FEATURING THE TENTH ANNUAL

VENDOR SERVICES DIRECTORY

THE COMPLETE GUIDE TO

Cloud Solutions for the

AWS supports leading security

TRUE INNOVATION TAKES GUTS.

Fast plays deserve

01-13-2015 01:00 EST (7 h)

AT&T Global Video Services

Support for mobile devices, laptops and desktops

Self Service Provisioning

Contact 800.221.7680 or ATTGlobalVideo@list.att.com to learn more!

CUSTOM SOF T WARE

The competitions coming. We can help you stay ahead.

Youre in a tough race. New technologies.

Now get vertically accurate IP switching

Vice President, Broadcast Infrastructure

260 Fifth Ave., Ste. 600

Paul Gallo, Executive Director

Martin Porter, Executive Director

146 Illumination Dynamics

REMOTE SERVICES PROVIDERS

82 Game Creek Video

169 VENDOR SERVICES DIRECTORY

Details of equipment found in nearly 200

MOBILE SPORTS PRODUCTION YEARBOOK 2016

Copyright 2015 NBAE (Photo by Bill Baptist/NBAE via Getty Images)

WHEN THE NBA WANTS TO DELIVER

OUR GLOBAL HD NETWORK PROVIDES

For more information on what EUROVISION can do for you, contact

Level 3 Vyvx Internet Access provides reliable

Level 3 Vyvx has been delivering broadcast-quality video for more

The Ultimate Sports Graphics

Contact Vizrt to learn more. www.vizrt.com

The Sports Video Group Advisory Board comprises leading industry

Ken Aagaard, CBS Sports, EVP, Operations and Production

MOBILE SPORTS PRODUCTION YEARBOOK 2016

IP or Not IP? When

From Board Room to Stadium

YOUR BROADCAST RENTAL RESOURCE

CAMERAS All formats

FULL LINE OF VTRs and TAPELESS

AUDIO and FIBER A vast inventory of fiber products

For further information please contact rentals@verrents.com

LOCATED THROUGHOUT THE US, CANADA & EUROPE

800-794-1407 WWW.VER.COM for a complete equipment listing

2015 HARMAN International Industries, Incorporated. All rights reserved. AKG is a

When it comes to the serious processing power and bulletproof-reliabilty

Compact control surface - up to 52 faders

Expanded control surface - up to 72 faders

Infinity Core - now available in

Automate Any Way You Want

News Studio MCR

The only multi-studio production automation

News and Sports live production workflow

23 Years of Automation Innovation

Remote-Production Leaders Sound Off

Mary Ellen Carlyle

MOBILE SPORTS PRODUCTION YEARBOOK 2016

Our New Fall Lineup

HDMI to SDI with Region of

146 Illumination Dynamics