Company Profiles - Cloud

Company Profiles - Cloud











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CoverII Mobile SportS production Yearbook 2007 / Company name

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SVG Advisory Board

The Sports Video Group is comprised of 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

more dialogue across different industry segments.

Chairman of the adViSory Board

Ken aagaard, cbS Sports, eVp operations and

production Services


adam acone, nHl, Vp, broadcasting and programming

Glenn Adamo, nFl Vp, Media operations and


Peter Angell, infront Sports and Media, production &

programming division director

Chuck Blazer, FiFa Marketing and tV, director

David Catzel, industry consultant

Joe Cohen, Htn, chairman and ceo

Don Colantonio, eSpn, Senior director, original

entertainment-Media packaging

Preston Davis, abc, president, broadcast operations

and engineering

Jim DeFillipis, Fox technology Group, SVp, television


Ed Delaney, YeS, network Vp, operations

Russell Gabay, Major league baseball international, Vp

and executive producer

Jerry Gepner, l5 Media Services, president

Steve Gorsuch, uSta billie Jean king tennis center,

director of broadcast operations

Steve Hellmuth, nba, eVp operations and technology

Ardell Hill, Media General, SVp broadcast operations

Robert D. Jordan, new York Jets, Vp design &


John Kvatek, university of central Florida athletics

association, director of Video Services

John Leland, iMG Media, Senior director, Video


Michael Meehan, nbc Sports, Vp

André Mendes, Special olympics Global information


Ken Norris, ucla, director of Video operations

Chuck Pagano, eSpn, cto

Del Parks, Sinclair broadcast Group, Vp of engineering

and operations

Patty Power, cbS college Sports network, SVp of


Paul Puccio, industry consultant

Russell Quy, iMG Media, Vp and executive producer

Scott Rinehart, naScar Media Group, director of

internal operations

Mike Rokosa, nba, Vp of engineering

Bob Ross, cbS, SVp east coast operations

Rich Routman, collegiate images, director of Sales and

business development

Tom Sahara, turner Sports, Senior director, it and

remote operations

Chuck Scoggins, pGa tour productions, Vp, operations

Bruce Shapiro, Speed, coordinating technical producer

Jack Simmons, Fox Sports, SVp, production

Don Sperling, new York Giants entertainment, Vp,

executive producer

Jerry Steinberg, Fox Sports, SVp, Field operations

Ernie Watts, turner Studios, Senior director, technical

ops, live events

Richard Wolf, abc, SVp, telecommunications & network

origination Services

Dave Zur, altitude Sports & entertainment, Vp


4 Mobile SportS production Yearbook 2009

Letter from the Editor

Despite the Economy, an

Industry Still Driving Forward:

Mobile Sports Production


When it came time to begin interviewing the industry’s

leading engineers, ceos, and decision-makers

for the 2009 SVG Mobile Production Yearbook, we originally

focused on some top-of-mind engineering topics, such as 1080p,

3d Hd, and the continuing transition to all-Hd production trucks.

that was in late august. Within weeks, though, those top-of-mind engineering

topics were left by the wayside as the mobile-production industry, like the

larger economy at large, found itself facing new challenges. the conversation

turned from the future to the near term. Will financing be available to finance

truck builds? How will the economic downturn impact the tV-network client

base and their contracts with remote-production-service providers? How will

the remote-production-industry survive?

those questions have made this year’s edition of the SVG Mobile production

Yearbook the most interesting and important ever. there are no easy

answers for anyone negatively affected by today’s seemingly endless news

crawl of layoffs, cutbacks, and bankruptcies. but the pages of this Yearbook

offer insight into how mobile-production companies big and small are finding

ways to move forward.

a quick perusal of the company profiles, for example, will reveal bullish

enthusiasm for an Hd transition that, for at least the next six months, will

have even more Hd trucks hitting the road.

Fortunately, it appears that those trucks won’t be searching for work, because

Hd demand is still on the rise. the only question is, to what extent?

More sports events will be covered in Hd, but what will be the nature of that

coverage, and what technical capabilities will be required?

the expectations of both mobile-production-service providers and their

clients seem to hint at a new day in sports-tV production that requires fewer

bells and whistles and puts the emphasis back on core technology.

of course, the nature of technological evolution requires that today’s

bells and whistles become tomorrow’s core technologies. Super-slow-mo

Hd cameras, eVS replay devices, 3d graphics, surround sound — all have

become an important part of telling the story of a sporting event.

We hope you enjoy this year’s edition of the SVG Mobile production Yearbook.

alongside the company profiles and industry trend stories, you’ll find

a Gearbase of remote-production trucks and their equipment, as well as a

directory of vendor services from our good friends at

there is little doubt that 2009 will be an interesting year for the industry.

as always, visit to keep up with the latest industry

headlines and news.

ken kerschbaumer

HD is not just what we do.

It’s who we are.

From the latest in digital recording media and HD displays, to

show-stopping HD cameras for live events, news, prime-time and

motion picture production. Look to Sony, where HD is in our DNA.


©2008 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifi cations are subject to change without notice.

Sony, HDNA and the HDNA logo are trademarks of Sony.

From the Co-Executive Directors

Jordan Envisions Broadcast-Friendly Stadiums

Paul G.




SVG owes a great deal to a great number of

people. our advisory board serves as an

ongoing consultancy to make sure our activities,

programs, conferences, and communications

are on the right track. and, as an industry

association, we are no greater than the sum

of our parts — which in this case includes our

members, many of whom devote a tremendous

amount of effort to making SVG a relevant industry

advocate for the creation, production,

and distribution of sports content.

in this Yearbook, we’d like to give a hearty

shout-out to one of our founding advisors. He

has been responsible for work we have conducted

that will have ongoing benefits to the

men and women who spend their lives on the

road, living and working for hours on end in

some mighty uncomfortable, unfitting, and

unsuitable environments in order to bring the

drama of sports to a world audience. He’s not

a mobile engineer, producer, or operations executive.

He builds stadiums.

robert d. Jordan, Vp, design & construction,

new Meadowlands Stadium, is the deeply involved

with the build-out of the new stadium in

the new Jersey Meadowlands that the new York

Jets and the Super bowl-champ new York Giants

will be sharing for many years to come. bob was

one of 10 executives who joined us around a table

in a cigar bar exactly three years ago this month to

hatch the game plan for SVG. at that time especially,

he was the odd man out among a collection

of sports broadcast, league, and mobile-production-truck

executives who helped us create the

entity that has brought you this Yearbook. then

again, bob had a unique vision.

He understood then, and continues to support

the belief now, that the stadiums and

arenas of the future will be more than houses

for fans, fast food, sponsor signs, and branded

paraphernalia. He believes that these multibillion-dollar

constructions are actually tV studios

where brilliant sports productions can be made

for any-size screen. and inherent in his concept

is that these mega-structures need to be suitably

designed for the 53-foot, multimilliondollar

studios on wheels that roll in and out to

create tV magic, tell stories, and support the

6 Mobile SportS production Yearbook 2009

broadcast contracts that support today’s sports


So bob listened and learned, and the future

home of the Jets/Giants will be a testament to

what he learned from spending many hours developing

the SVG Stadium design White paper,

which will not only contribute to the design of

one of the broadcast-friendliest stadiums in the

world but will help influence stadium and arena

designs around the world for many years to come.

every mobile-truck pro will appreciate the specs

that stadium architects working more closely with

the broadcast and production industry will be incorporating

into their plans in the future:

• Ever had to walk a mile to a bathroom after

many hours of sitting inside a truck and hoping

you can get back to the bench in time?

• Ever enjoyed the odor of sharing space with

dumpsters and compactors?

• Ever had to maneuver a tractor-trailer around

tight pillars, corners, and posts?

• What about satellite TV and camera sightlines,

power feeds, drinking water, cable connectivity,

access to internet, and fiber?

anyone who has worked in a mobile-production

truck knows the value of this level of detail.

and the SVG Stadium design White paper that

was unveiled formally this fall at the first annual

Sports Venue technology Summit in kansas city

helped inform more than 100 sports architects

about your day-in, day-out production requirements.

We’re continuing to work on a set of cad

specs and diagrams that they’ll be able to easily

drop into their drawings, too.

So, some day in the future, when you pull into

the parking lot of a stadium and think that you’ve

arrived in sports-production heaven and found

that the truck bay was designed for someone

who actually knows the realities of remote production,

you’ll know where it came from. thank

bob and those he worked with on the White

paper for recognizing the need for truck suppliers

and stadium designers to work more closely


paul G. Gallo Martin porter

We are in

a league

of our own

when it

comes to



Copa America 2007

Pan American Games 2007

World Cup Cricket 2007

EURO 2008

Beijing 2008

Count on our team for

World Cup 2010

For more information contact:

We covered every angle. So you can too.

Exceptional image quality. Extensive control. Canon’s line of professional 3CCD High

Definition camcorders incorporate Canon’s legendary optics and proprietary imaging

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8 Mobile SportS production Yearbook 2007 / Company name



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Mobile SportS production Yearbook 2007 / Company name 9

Table of Contents

publiSHed bY the


Video GrouP

260 Fifth ave., Ste. 600,

new York, nY 10001

tel: 212.481.8140,

Fax: 212.696.1783

Paul Gallo, executive director

martin Porter, executive director

tel: 516.767.6720

Ken Kerschbaumer,

editorial director

tel: 212.481.8140, Fax: 212.696.1783

rob Payne,

director of Sponsor development

Tel: 212.481.8131 •

Susan Qualtrough, Managing editor

Cristina ernst,

director of Special events

917 309 5174 •

riva danzig,art director

tel: 917.602.4588

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 the SVG to learn from each

other, turn vision into reality, implement

new innovations, while sharing experiences

that will lead to advancements

in the sports production/distribution

process and the overall consumer sports



• 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


• to facilitate a dialogue with

manufacturers, suppliers and

technology developers that will improve

the quality and profitability of sports


FEATURE articleS

15 Ceo roundtaBle

unexpected twists in the

road to hd Challenge mo-

bile-Production management

not long ago, the road ahead

in the transition to mobile Hd

production seemed clear. but 2008

and a myriad of financial challenges

have everyone wondering what

lies ahead.

25 truCK trendS

focus turns to mid-market

hd, Smoothing rough edges

With every major event now

produced in Hd, the pressure for

increased expansion into regional

and mid-level events is on.


36 alliance Productions

40 all mobile Video

46 Corplex

50 dome Productions

56 f&f Productions

62 Game Creek Video

68 imS Productions

74 lyon Video

80 mira mobile television

86 mobile tV Group

90 national mobile television

94 neP Broadcasting

100 Satellite digital tV

104 Sure Shot Productions

108 token Creek

114 trio Video

120 turner Studios

10 Mobile SportS production Yearbook 2009



Courtesy of

128 Crew Services:

regional listings

132 Crew Services:

alphabetical listings

136 Generators:

regional listings

144 Generators:

alphabetical listings

150 mobile Production units:

regional listings

158 mobile Production units:

alphabetical listings

162 Satellite trucks:

regional listings

166 Satellite trucks:

alpha listings

172 Mobile SportS


curious as to what gear leading

truck vendors rely on week after

week? the SVG Gearbase includes

equipment listings for 166 of the

mobile industry’s top Sd and Hd

remote-production vehicles.

188 SVG SponSor directorY &

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Photo Courtesy Fox Mobile truck; Game Creek Video, Hudson, NH

Real Broadcast Network (RBN), the leading global provider of live,

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One name says it all.

With more than 300,000 Osprey® video capture cards deployed globally, ViewCast® sets the standard in

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Building on the legendary quality of our Osprey technology, we continue to develop industry leading

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Our industry is changing, so we threw out traditional thinking when

designing our latest HD truck. This newly designed 53’ HD Expando

contains some of the most innovative and technically advanced

features of any mobile unit on the road today. Variable lift rising

production monitors, relegendable router control panels utilizing

full color RGB-LCD buttons, and push button SMPTE/Triax/SHED

camera connectivity with high sensitivity optical repeaters are just

a few of our new features. Combine that with an ergonomically

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feels more like a production studio rather than a television truck.

See more of IRIDIUM and the rest of the CORPLEX fleet at

or call Joe Scionti at 847-457-1534.

CEO Roundtable: Unexpected Twists

In the Road to HD Challenge

Mobile-Production Management

by carl lindemann

N ot long ago, the road ahead in the transition to mobile Hd

production seemed clear. by the end of last year, the transition’s

most difficult days, the pioneering days with expensive Hd gear and

complex technology seemed to be in the past.

Hd mobile production was a viable business

with a solid track record, growing demand,

and expanding markets.

Sure, there was a financial challenge ahead,

with more than $500 million needed to convert

remaining Sd fleets to Hd. but getting

the second $500 million for Hd wouldn’t be

as hard as getting the first one. doubts about

investing in dead-end technologies had faded

as standards for Hd trucks became clear. investors,

too, were no longer betting on unproven


then 2008 happened. the wild spike in fuel

prices was the first shock to test the close ties

between vendors and their clients. now chaos

in the financial markets is raising the cost of financing

new Hd capacity. and an impending

recession is expected to lead to cuts in sportsproduction

budgets, providing additional


“this is very different from a year ago, and

it’s even different from three months ago,” says

nep broadcasting ceo lou borrelli. “the credit

markets are going through wholesale change.

credit will be harder to get and more expensive.

that will fundamentally change the balance

in the industry. How many vendors will

be in a position to get credit to service the remaining

segment of the market?”

For Game creek Video president pat Sullivan,

the fundamentals still apply despite the turbulence.

companies with good track records can

still find funding to take advantage of the opportunity

that Hd expansion provides.

“We not only have contracts in hand for

Hd services but also many years of proven

experience paying back our debts by serving

customers well enough to have renewed

contracts,” says Sullivan. “if you don’t have the

track record or the contracts to show to a financial

institution, it’s very, very challenging.”

Many vendors are rising to that challenge. For

token creek Mobile television president John

Salzwedel, working personal relationships with

The credit markets are going through wholesale change. Credit will

be harder to get [which] will fundamentally change the balance in the

industry. How many vendors will be in a position to get credit to

service the remaining segment of the market?”

— Lou Borrelli, CEO, NEP Broadcasting

Mobile SportS production Yearbook 2009 / continued on page 16 15

CEO Roundtable

CEO Roundtable

“If you don’t have the track record or the contracts to show

to a financial institution, it’s very, very challenging.”

—Pat Sullivan, president, Game Creek Video

a local bank has been a winning strategy.

“there’s more demand than supply for our

services, so we’re in a good position,” he says.

“Still, you have to get financial institutions to

understand the opportunity. We took a banker

to nab this year, had him meet clients, see

what the truck world is all about. He came away

with the right tools and information to go to his

board of directors to explain why this is a sound


the current financial crisis presents a peculiar

situation that runs at odds with business

basics. demand for more Hd production

capacity is overwhelming. the need for increased

supply to meet that demand will be

met somehow. but when and how?

“My sense is that people are in a defensive

posture,” says craig Farrell, general manager of

alliance productions. “no one is saying they’re

building multiple-four trucks. everyone’s taking

a little breather to see what happens.”

part of the uncertainty is due to the ripple

effects across the economy. a recession —

perhaps a deep one — seems all but certain

now. How badly will mobile production get

hit? entertainment audiences swell during

downturns, so that seems a positive sign. but

it isn’t that simple.

different media business models will fare

differently. For example, advertiser-driven

operations will see ad sales drop, and budgets

will have to be trimmed in response.

already, nbc universal’s $500 million budget

cut is an ominous sign of things to


You can’t squeeze any more blood from

this rock,” says nMt president Frank

coll. “We continue as an industry to

shoot ourselves in the foot by coming to the

aid of our customer base. Yes, our clients have

to deal with General Motors’ cutting advertising

by one-third, leaving them without the ad

revenues to support event fees. but we have

commitments to financial institutions. if the

price point is moved lower, you will see business


For trio Video president Jack Walsh, scrambling

to find financing has held a mirror up to

the industry.

“it’s ugly,” he says. “We’re finding it hard

to find the financing for what would be our

fourth Hd truck. We have rising costs across

the board, and bankers don’t see our numbers

working according to their formulas. What we

charge for a qualified engineer isn’t as much

as what you’re paying for the guy working on

your car. one banker said that we had to get

more or we could not supply more. He said

things will shift with our clients due to either

a shortage of Hd or good crews’ moving on to

other things.”

the squeeze on both ends — higher

costs for investment capital to expand Hd

“We took a banker to NAB this year, had him meet

clients, see what the truck world is all about. He came away

with the right tools and information to go to his board of directors

to explain why this is a sound investment.”

—John Salzwedel, president, Token Creek Mobile Television

16 Mobile SportS production Yearbook 2009 / continued on page18

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CEO Roundtable

“We build to facilitate our broadcast partners: another

contract, another truck. We totally finance ourselves and

have never built a mobile unit on credit.”

—Mary Ellen Carlyle, SVP/GM, Dome Productions

services combined with broadcast budget

cuts — will likely force a reexamination of

the ties that bind vendor to client and vice

versa. dome productions and Mobile television

Group operate with alternative business

models in which broadcaster clients are

also owner/investors. is this the wave of the


“We build to facilitate our broadcast partners:

another contract, another truck,” says

Mary ellen carlyle, SVp/GM of dome productions.

“We totally finance ourselves and have

never built a mobile unit on credit.”

Thinking Small

Some relief from the credit and cost crunch

may come from opting for smaller trucks. even

in a strong economy, this would make sense as

the market for Hd services expands from a-list

events to meet the particular needs of the mid


“So far, the transition from Sd to Hd has

focused on big trucks,” says Sure Shot transmission

president denny kunce. “it had to be

done, and done in a hurry. there hasn’t been

time to address the midsize beat. it’s just

starting with the regional networks.”

MtVG general manager phil Garvin has taken

a lead role in developing smaller units to

meet his client’s regional needs. part of this

is the natural growth and expansion of the


We’re seeing that different markets

have different needs, and we have to

offer a variety of services from large

trucks with 10 cameras to smaller, six-camera

trucks as well as dual-feeds,” says Garvin. “the

Hd world is maturing, offering a variety of options

for both home and visitors.”

the key is to match the rig to the job. What’s

the best match? opting for less can be more

— as long as it isn’t too little.

“Smaller trucks can save money,” says SdtV

owner Mark Yancy. “For one thing, they set up

quicker; you can be ready to go in an hour. a

typical tractor-trailer can take an hour just to

park. Still, smaller trucks can leave you painted

in a corner. You get there, and they need more.

and everybody likes more elbow room.”

the increasing call for smaller, less expensive

trucks has to work with the vendor’s business

model. that can also lead to new tensions.

“We hear a lot from networks that would

like us to build something smaller,” says corplex

president Scott West. “but we have to drill

down to understand what “smaller” means to

them. What it usually means is that they want

full, big-truck functionality at a small-truck

price. lower dollars means, it’s got to be a volume

business. You burn people up running

crazy from simple day ins and outs.”

Filling the Gap With SD 16:9

depending on consumer confidence, demand

for Hd may soon explode with the digi-

“So far, the transition from SD to HD has focused on big trucks. It

had to be done, and done in a hurry. There hasn’t been time

to address the midsize beat. It’s just starting with the

regional networks.”

—Denny Kunce, president, Sure Shot Transmission

18 Mobile SportS production Yearbook 2009 / continued on page 20

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and Creative Suite are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries.

CEO Roundtable

“We hear a lot from networks that would like us to build something

smaller. What [that] usually means is that they want full, big-truck

functionality at a small-truck price.” — Scott West , president, Corplex

tal switchover and falling prices on widescreen

tVs. if financial chaos keeps Hd-production

capacity constrained, Sd 16:9 upconverts may

fill the shortfall.

“this may extend the viability of Sd trucks

that are 16:9-capable. Some regional clients

may stay in the Sd world. For some, getting a

quasi-Hd production with an Sd widescreen

upconvert will do,” says Frank taylor, general

manager, Mira Mobile.

For some, opting for quasi-Hd is not so much

a choice as a last resort, especially during the

spring and fall, when demand for Hd far outstrips

the supply. of course, there are advantages

for vendors able to continue to generate

revenues with Sd trucks that are paid for. While

it may satisfy consumers simply looking to fill

the widescreen, the long-term cost for content

owners may be in not having archives in full Hd.

“if there’s no Hd truck available, clients have to

settle for something,” adds F&F productions SVp

ryan Hatch. “We’ve seen a few times when what

was to be an Hd show was produced in Sd 16:9

because the client had to settle for something.”

Graphics Improvements

despite the dour news in the overall economy,

one area seems to have brightened for

many vendors: graphics systems.

“We’ve seen a great change here: from an

intolerable situation for a very good one,” says

Game creek’s Sullivan. “chyron really stepped

up to the plate.”

Says Hatch, “things have settled down. everyone

was ready to throw their hands in the

air, but now we’re not getting as many calls

[about problems] on the weekends.”

While the situation has improved, some

seem to have soured on the idea that the rap-

20 Mobile SportS production Yearbook 2009

idly changing graphics technology really fits

the mobile-production business model.

“Graphics continues to be a challenge, and

i’d prefer to spend money on other things,”

says West. “i hope never to own another graphics


The Outlook for a 3D Future

the greatest fear for mobile vendors is

a sudden shift in technology that undermines

their long-term returns from recent

720p/1080i Hd investment. last year, 1080p

loomed in the distance with 3G routers and

other such high-bandwidth–capable gear

coming to market. What has happened since

is an interesting, unexpected twist. the same

infrastructure for 1080p may be put to better

use with the emerging 3d technology. it is

not clear what shape this will take. it may become

a completely separate, parallel production

alongside the “standard” Hd and find an

audience beyond broadcast. as a “premium”

product, 3d may open additional opportunities

rather than cannibalize the existing Hd


“3d has a lot of potential applications, but

you really have to consider what 3d provides.

it shows its strength in low-angle shots, but

stuff up high doesn’t do much,” says borrelli.

“this may take off as a specialty product in

digital theaters.”

Many vendors are keeping a close eye on developments

here. at least one is ready to move

ahead as soon as possible.

“We don’t see any demand for 1080p, but

we do see a ton of interest in 3d,” says Garvin.

“We don’t have all the technology in place as

yet but have a strong desire to build our first

3d truck in 2009.”

Mobile SportS production Yearbook 2007 / Company name 21




Eric Duke Lenny Laxer Tom D’Angelo Michael Negri






Truck Trends: Focus Turns To

Mid-Market HD, Smoothing Rough Edges


vendor is

trying to see how

to scale down an

HD truck to meet

the price point

that networks

have in mind.”

— George Hoover,


of engineering

A t long last, 720p/1080i broadcast is settling in for what looks to be

a long run. With every major event now produced in Hd, the pressure

for increased expansion into regional and midlevel events is on.

defining the sizes and configurations of these rigs to take on the new

turf remains open, but the core technology is well defined.

Meanwhile, evolutionary advances in routers,

converters, lcd technology, and surround sound

continue to bring incremental improvements

while smoothing out rough edges. and the curtain

is finally coming down on the 4:3 Sd age, with

the digital switchover slated for this winter. it has

been an amazing 60-year run. the 720p/1080i era

likely won’t be that long, given the fast pace of

innovation and the enticing enhancements like

3d already in view. even so, today’s generation of

mobile-production professionals may be able to

rest easy that today’s Hd standards have many

productive years ahead.

Defining the Middle-Market

Mobile Unit

it has now been some 10 years since the very

first Hd trucks blazed the trail taking the industry

to where it is today. in that time, the specs for what

constitutes a “standard” 53-foot mobile unit have

become clear, easing interoperability between

vendors and crews. now, as Hd expands into the

middle market, the next frontier is to define the

trucks serving those needs.

“every vendor is

trying to see how

to scale down an

Hd truck to meet

the price point that

networks have in

mind to service

their regional and

college-sports business,”

says George

NEP NCP 10 production


Hoover, nep Vp of engineering. “We need to come

to consensus on how this translates into the physical

space, the number of operators. the networks

have a ‘brand’ look; what capabilities are required

to match that look?”

With big trucks, the defining factors are clear:

maximum size and weight limits imposed by federal

regulations. How much Hd gear can you cram

into a 53-foot trailer and keep it under 80,000

pounds? in the middle market, the basic design

parameters are up for grabs. For starters, “midsize”

could mean anything from 53 feet on down.

Game creek’s northstar, a 53-foot Hd with expando,

is an example of where the high end

starts to trim down.

“northstar was our nod to going midsize,” says

Jason taubman, Game creek Vp of design and

new technology. “We ditched the b unit and filled

it to the brim with gear right up to the maximum

weight. We still need to slot it into doing other

[larger] events as necessary. You walk a line to

travel solo but also do bigger stuff.”

Given its success with northstar, Game creek

Mobile SportS production Yearbook 2009 / TRUCK TRenDS continues on page 26 25

Truck Trends 2009

Truck Trends 2009

will be adding a twin to it to broadcast celtic

games for comcast new england.

What’s the next step to scaling down, and how

far can that go? that’s an open question.

“What makes for the right truck here? does

that mean it is shorter, has a smaller expando, less

equipment?” asks craig Farrell, general manager

of alliance productions. “everyone wants to find a

client that will bite the bullet and say what will do

it. everyone says they want a 53-foot Hd expando,

but what do they really need?”

ideally, across-the-board savings from going

small can add up, from capital investment to

a wide range of operating costs. one closely

watched model is MtVG’s 48-foot regional rigs

designed to meet specific needs. the benefits

come in small measure and over the long haul.

“We’re only carrying a little less equipment going

to 48 feet from 53 feet, shaving some 5,000-

7,000 pounds in weight,” says phil Garvin, MtVG

general manager. “that can save ½-1 mile per

gallon [in fuel efficiency], and that adds up significantly.”

combining uplink capabilities, too, can save

weight and money. SdtV ceo Mark Yancy claims

the bragging rights to developing this hybrid concept

and bringing it into the Hd era. His 32-foot

Hdla unit is a pint-size repackaging of big-truck

technology plus a dish.

“i’ve been perfecting this idea for 20 years, and

now we’re seeing lots of companies mirroring

this,” he says. “What keeps us in business is that we

can do a project with eight people. We pack a big

punch for less dollars.”

Sure Shot transmission, too, combines uplink

capabilities but is opting for a larger, 40-foot box.

Corplex Iridium tape-control room

according to chief engineer timothy dailey, this

is the right size to simplify over-the-road hassles

dealing with differing state requirements.

“in connecticut, you can have a 53-foot truck

without a permit,” he says. “ohio has a maximum

size of 40 feet without needing a permit. When

you get a call, the truck has to roll. Forty feet is legal

everywhere, so you can get going.”

another important aspect is getting the manufacturers

on board to develop products for this

market. So far, smaller trucks simply shoehorn bigtruck

tech into a smaller box. eventually, an “Hd

lite” lineup will play an important part in shaving

costs. the open question is whether the economic

slowdown will stall the development of such new


Workflow Improvements

although the big picture for 720p/1080i production

is clear, the details continue to be refined.

as radically different new products become less

frequent, the focus turns to finding workflow

gains in managing the it infrastructure. dave

Greany, corplex Vp, operations & engineering,

has thought through one of the perennial bottlenecks

and, working with evertz, has come up with

a different approach. the idea is simple: find a better,

more efficient way to label what goes where

from the router.

“on a job, operators can spend as much as a

day and a half making labels for buttons. Why not

build re-legendable buttons into a router panel

design?” asks Greany. “this is highly intuitive. You

don’t need a chart on the wall to figure out what

is where.”

the end result, he explains, is a fundamental im-

26 Mobile SportS production Yearbook 2009 / TRUCK TRenDS continues on page 28

“On a job, operators can spend as

much as a day and a half making

labels for buttons. Why not build

re-legendable buttons into a router

panel design?”

— Dave Greany, Corplex, VP,

Operations & Engineering,

“Everyone wants

to find a client

that will bite the

bullet and say

what will do it.

Everyone says

they want a 53foot

HD expando,

but what do they

really need?”

—Craig Farrell,

Alliance Productions,



CALRECMY08 20/10/08 16:36 Page 1



There’s no more demanding environment than mobile

television, so it’s not surprising that demanding production

companies, coast-to-coast, choose Calrec consoles time

after time.

Whatever the competition, Calrec are runaway leaders in the

sports field. We’re in action at every Major League NFL game

and there are more Calrec consoles in HD remote trucks in

the US than any other make.

From auto racing to athletics, baseball to basketball, ice hockey,

football and soccer…we’ve got it covered. And, thanks

to our award-winning Bluefin HDSP, it’s all in glorious, 5.1

surround sound.

If you share our passion for sports, find out more at

Putting Sound in the Picture

Truck Trends 2009

provement in getting things done. also, setups

can be stored, so that carrying out repeat jobs is

just a matter of calling up the information from

memory. this is akin to the revolution in a pointof-sale

system’s keys that can be programmed to

items rather than generic alphanumeric assignments:

when someone wants a big Mac, you hit

the big Mac key instead of having to enter the

price each time. this adds up to hours of effort

saved over time — and increased accuracy.

another perennial challenge is keeping track

of software versions and revisions on an increasing

array of equipment from cameras to routers

to switchers to graphics gear. F&F productions

engineering Vp bill Mckechney has been developing

a new approach to systematizing this task.

“everything now is software-driven,” he explains,

“and every manufacturer seems to have

a different approach to updates and revisions.

We’re loading and unloading software to give

clients the version they want. We’re developing

a database to make it easier to do updates in the

field. compiling all this information really needs

to be done and saves lots of time spent on this.”


like 4:3, crt technology is about to vanish

from trucks. the move to lcd panels has been

under way for some time and will soon be complete.

consumer-grade panels for non-critical

use is now the norm, and high-end units capable

of critical monitoring are finally gaining currency.

the drive here is coming from the looming end

of glass: roHS (restriction of Hazardous Substances)

standards make leaded-glass tubes, like

leaded gasoline, a part of the past.

F&F Productions CTX-15

audio room

“it’s hard to find a video guy who prefers to use

an lcd for critical viewing,” says Game creek’s

taubman. “until the [old stock of crts] becomes

completely unavailable, we’ll keep having people

ask us to put in crts. in 2006, roHS kicked

in. Sony made their last batch just before then.

When those are gone, they’re gone.”

the relatively high price of the high-end panels

is problematic, although the price/performance

ratio is quickly improving. this gives a powerful

incentive for mobile-production vendors to hold

on to legacy gear until pricing comes down for

the unleaded alternatives.

“in tango truck, i have a pair of Sony monitors

up front that cost $38,000 each,” says carl roszczybiuk,

trio Video director of engineering. “the

expectation of the industry is that, in time, the

price will go down and the quality will improve.

First-Generation HD

Upgrades Due

one indication of where we are in the

720p/1080i era is that the first-generation Hd

trucks are increasingly due for a refresh and upgrade.

“our oldest Hd truck went on the road in September

1999 and, after 10 years, is set for a major

overhaul,” says nMt president Frank coll.

Most of the freshening up involves monitoring

and improving up- and cross-conversion. dropping

prices and improved functionality promise

excellent value to these upgrades.

“You used to need four pieces of equipment to

do what a single piece of gear can do now,” says

alliance productions’ Farrell. “this allows us to get

more gear into a single truck.”

28 Mobile SportS production Yearbook 2009 / TRUCK TRenDS continues on page 24

“Everything now is software-driven,

and every manufacturer seems to

have a different approach to updates

and revisions.”

—Bill McKechney, F&F Productions,

VP of engineering

“It’s hard to find

a video guy who

prefers to use an

LCD for critical



Taubman, Game

Creek, VP of design

and new


Truck Trends 2009

also, some suppliers are looking for alternatives

to established choices to save money and

increase manufacturer diversity.

“We are particularly interested in investigating

alternatives to the clip-playing devices in Hd,” says

bill duncan, Mira Mobile director of engineering.

“the eVS Spotbox is the accepted solution now.

there’s a number of different devices that offer the

functionality and quality at a lower cost. i believe

there are alternatives in that particular segment to

what eVS does. they have a corner on the market,

and their equipment comes at a premium. it may

not be necessary to pay that premium in every


Still, such upgrades can be a double-edged

sword for vendors.

“We are our own worst enemy,” says Game

creek’s taubman. “We keep putting out new,

more capable trucks that make our old ones seem


Making 5.1 Better

Vendors do look for further improvements in

some areas — particularly 5.1 audio.

“there’s still a lot of confusion [with surround

sound],” says token creek Mobile television president

John Salzwedel. “there’s no real standard as

to how it is supposed to work. it is going to take a

group of people — vendors, networks, truck providers

— to sit down and work out standardization.

that needs to come from the top down.”

also, there’s a need for some basic tools to bring

surround sound into the realities of live sound.

“5.1 was never intended as a live format; it’s a

post-production environment,” says nep’s Hoover.

“We have yet to provide our mixers the tools for

30 Mobile SportS production Yearbook 2009

Mira Mobile front bench

real-time changes to their mix to match the picture.

When you cut from the high, wide shot to

the close-up of the huddle, how does that audio

image change to match?”

A 3D Future?

as the buzz over 3d grows, many mobileproduction

vendors are ahead of the learning

curve so that, when the time is right, they’ll be

able to take advantage of the opportunity. nMtV

has plans for a 3d truck in 2009, but only one vendor

surveyed this year had any hands-on experience.

dome productions had the occasion to gain

such experience in a 3d production of last spring’s

world hockey tournament, the iiHF World championship,

europe’s version of the Stanley cup.

“a european client asked us to participate in

producing the finals in 3d,” says Michael Johnson,

director of engineering, dome productions.

“We brought one of our trucks, and they positioned

our cameras on their 3d rigs. the magic is

the mount. there are limits, like not being able to


the 3d production was separate from a regular

Hd production carried out by another dome

truck. the game was shot from three camera positions:

a main game camera, one low, and a high

position. a single station was created to monitor

the 3d. unfortunately, the results were bogged

down with transmission troubles.

“despite many efforts to try to broadcast

this or at least ship it back to europe, because

of all the other traffic, it was not possible,” says

Johnson. “Still, i am sure there is much more to

come from 3d.”

“We are particularly interested

in investigating alternatives to

the clip-playing devices in HD.”

— Bill Duncan, Mira Mobile,

director of engineering

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mobile sports



the mobile-production industry’s

continued transition to HDTV-capable

vehicles, through new builds and

upgrades, continues. That trend is

evident on the following pages, where

you’ll find profiles of some of the largest

companies in the business and their

latest production trucks.

New this year is an editorial approach

that focuses on specific trucks within

a company’s fleet, indicating the

engineering philosophy and technology

decisions that shaped the truck’s design

and capabilities.

This year’s edition covers 17 companies,

providing an overview of the market

and the construction and design trends.

New to the yearbook (though not new

players in the market) are innovators

and market leaders IMS Productions,

Lyon Video, and Sure Shot.

As always, the information listed in

these profiles is subject to change. So be

sure to make use of the contact information

within each to find out the latest improvements

and enhancements to the

equipment listings..

Mobile SportS production Yearbook 2009 35



This year marks the 10th anniversary

of alliance productions in

its unique role as a strategic collaboration

of remote-broadcast companies.

by its own description, it is not

a booking agent or clearinghouse

for trucks but an owned-and-operated,

self-supporting marketing

and event-coordination cooperative

of the top mobile providers in

north america.

What’s the added value that

alliance productions brings to its

members? For general manager

craig Farrell, what’s at the top of

the list is core to every mobile

production company: utilization.

“What we bring to our members

is a better utilization of the fleet,”

says Farrell. “We have jugglers to

squeeze one more show out of, say,

corplex’s iridium.”

Farrell says 30%-40% of what

alliance does is adjust truck dates

for clients to better use the units.

“With such logistics, it is easier to

deal with 10 trucks rather than just

one,” he says. “You can shuffle things


of course, improved utilization

brings across-the-board benefits,

starting with increased profitability.

better balance sheets make for

financing to grow the Hd business’s

increasing capacity.

increased utilization is more critical

than ever during this phase of

the Hd rollout. With demand outstripping

supply, maximizing existing

resources is essential.

“the crunch time is pretty soon

going to be all the time,” explains Farrell.

“[by September], we’d seen re-

36 Mobile SportS production Yearbook 2009

quests for Hd mobile units in december,

January, and February when no

Hd units were available. the perfect

storm is, all nHl, all nba teams, eSpn,

and the rest all want to do Hd, and

there’s no way that’s going to work.”

that’s what happened this fall

with the overlap of baseball, hockey,

and football: there were not enough


“that’s carrying on through

winter, and it will hit again in the

spring,” says Farrell. “the first few

weeks of april won’t be pretty.

it’s even a problem just filling

contractual work. When contracts

overlap, what do you do? You make

a lot of calls begging and pleading.”

in business fundamentals, these

should be fat times for the industry.

burgeoning demand for precious

high-tech services should command


“the economy is front-of-mind

for everyone in the business now,”

says Farrell. “Yes, everyone stays

home during down times and

watches more tV. as yet, advertising

budgets haven’t been hurt as

badly as they could be. but in a few

months, we’ll start to see a trickledown

effect. What that means is,

some shows will shrink a little and

use less cameras and crew.”

another option for addressing

shrinking budgets and limited demand

is 16:9 upconversion.

“We thought that there would

be a point in the transition to Hd

where 16:9 Sd would be a stopping

place,” says Farrell. “instead, we went

straight to Hd. there may be a step

back to that now.”




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All MobIlE VIDEo

All Mobile Video’s crossroads truck made

the leap to Hd this past august, giving the

company five Hd units. “We’re still trying to get

it painted as it’s been really busy,” says all Mobile

Video president eric duke.

the truck is a smaller version of the company’s

titan Hd truck. it can handle up to 16 Sony Hdc-

1500/Hdc-100 multiformat Hd cameras with

Fujinon lenses (titan scales up to 24 cameras).

it also has a kaleido-x multiviewer and smaller

pesa 128x128 routing switcher and Studer Vista

8 audio board than titan. a Sony MVS-8000a

multiformat production switcher, an eVS server,

and Sony tape machines are also on board.

all Mobile Video’s move to Hd will continue

as the market demands, and the company

will continue to upgrade equipment within

its existing fleet as needed, duke says. “We’re

continually updating with equipment like upconversion

gear for different Hd formats and

crossconversion gear.” retrofitting trucks with

flat-screen panels and multiviewers also is an

on-going process.

although large-scale shows are cutting

back by using fewer cameras or eVS units,

duke believes an uptick in smaller Hd shows

will require a new generation of all Mobile Video

units. college sports and other shows that

require only five or six cameras are “the way

the market is going,” he says.

Smaller doesn’t mean cramming a production

staff into a 25-foot trailer. “the production

staff will still want their space,” he explains.

“What they’ll want is a 50-foot straight truck

with a good audio room and a tape area. it’s

not expensive compared with an expando,

and it doesn’t have the weight issues because

it won’t be doing 15-camera shows.”

that doesn’t mean the company is shifting

away from the big shows. the company

received a technical emmy for its production

work for the Metropolitan opera movie-theater

simulcasts and also had trucks at both the republican

and democratic national conventions.

“delivering sports events to theaters is an expensive

proposition, but the leagues are playing

with the concept,” says duke. “it has to be done

correctly; otherwise, the fans have a losing experience.

three-dimensional Hd is also playing

a role, but it needs to become more broadcastfriendly

[in terms of production costs].”

the challenge for all Mobile Video and all

production-truck companies is to increase Hd

capability, whether through more gear or new

trucks, at a pace that matches market demand.

“right now, we have enough camera inventory

floating around that we can move them

between trucks, and the same thing

for eVS units and tape machines,” says

duke. “and we’re slowly converting

our trucks and phasing out standarddefinition

trucks. in fact, today, it’s

almost more work to do a show in

standard-definition because we need

to move in tape machines.

He also expects the analog shutoff

next February to drive more Hd operations.

“our studio work will continue

to move to Hd, as syndicated

programming is still in the standarddefinition

world,” he says. “and more

college games are going Hd.”

40 Mobile SportS production Yearbook 2009 / continued on page 42



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tel: 212-727-1234

Fax: 212-255-6644



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All MobIlE VIDEo continued from page 40



Sony MVS-8000a multiformat production switcher

Sony MVe-8000a multiformat dMe effects processor


up to 24 Sony Hdc-1500 / Hdc-1000 multiformat

Hd cameras

Fujinon xa101x8.9 lenses

Fujinon xa87x13 Super lenses

Fujinon xa87x9.3 lenses

Fujinon Ha22x7.8 lenses

Fujinon Ha13x4.5 wide-angle lenses

42 Mobile SportS production Yearbook 2009


up to 24 Sony HdcaM Sr, HdcaM or digitalbetacam



Studer Vista 8 digital audio console with 96 mic/line

inputs, 80 pairs of aeS inputs

56 bidirectional Madi i/os (plus 56 more for

connection with daSH multitrack machines)

iZ technology 24 track radar hard-drive recorders


Titan production area

Titan audio room


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. ©2008 SES AMERICOM. All rights reserved.



Corplex launched its second Hd truck, iridium,

in august and has plans for a third

ready to go forward for fall 2009. despite the

current financial turbulence, there’s a mad

dash to catch up with demand for Hd services

across the industry.

“doing two new trucks back to back in consecutive

years is a bit of a stretch [financially],”

says corplex president Scott West. “the credit

market has gotten tight lately, but smaller

companies are all getting it done, one truck at

a time. We’re all seeing an incredible demand

throughout the business, from network a-level

and regional events and even small, threeto

four-camera jobs.”

iridium follows on the heels of platinum.

like its predecessor, it is what has become the

accepted standard for large Hd units: a fullsize,

53-foot truck paired with a support b unit,

Zinc. iridium has 10 Sony Hdc-1500 multiformat

cameras, a Grass Valley kalypso switcher,

a calrec Sigma bluefin audio console, and eVS

xt[2] lSM Hd servers. the it infrastructure is

an evertz eQx video router and nvision 7512

audio router.

With such high-end gear becoming increasingly

standard, mobile-production vendors

are turning to innovation to distinguish their

offerings. on the equipment end, corplex has

gone forward with the first installation of what

Vp of operations & engineering dave Greany

sees as a fundamental advance in truck technology:

a configurable control panel for the

video router. the system, developed by evertz

working closely with Greany for the iridium

build, saves the need for crews to spend valuable

time printing labels to identify what is

where with each new setup.

“this is what the industry has needed for

10 years,” says Greany. “evertz approached us

on this and has worked through the bugs and

developed the methodology. the response

has been overwhelmingly positive. Still, lots of

people have taken a wait-and-see attitude because

there are first-run panels and software.

You’re going to have issues. evertz has been

very responsive and supportive throughout.

they hit the mark with better than 95 percent

hammered out right out of the box, with many

fixes and improvements since.”

the new control interface is a re-legendable

72-button panel with each button rGb backlit

for color-coding. evertz built it to corplex’s

specs and wrote the software to control it.

“in the past five years, shows have become

so much bigger and more complicated than

in the past,” explains Greany. “Still, you’ve got

the same number of engineers handling the

increased workload. this enables the operator

in the truck to help themselves.”

Since the “standard” for large Hd trucks has

become well defined, what’s the incentive to take

risks out on the leading edge of technology? to

corplex, it’s the only way to keep moving forward.

“the router is key; it’s the heart of the truck,”

Greany says. “anytime you go off the standard

choices, like pesa or Grass Valley, and go with

someone who has not done a routing-control

system, that is a risk. talking to my peers, everybody

got the concept [of the new control

panel], but no one wanted to be the first. We

have to be out on the front end to get the

quality that our broadcast partners want.

We have to take some risks. Staying stagnant

doesn’t cut it in an industry where we’ve seen

fundamental changes in the technology over

the past two years.”


203 northfield rd.

northfield, il 60093-3311

tel: 847.784.9700

Fax: 847.784.9701

46 Mobile SportS production Yearbook 2009 / continued on page 48

Iridium control room

Adder II

Audio Excellence


CWDM/HD Transport


HD/SDI Solutions

© 2008 Telecast Fiber Systems. All rights reserved. All trademarks are the property of Telecast Fiber Systems.

Not in our business.

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Camera-back Interfaces


CoRPlEx continued from page 46



Grass Valley kalypso production switcher; 90 input,

6 xForm engines, doubletake, klipcache, 2 chroma

keyers, Still Store, Spectra effects

dveous Mx dual twin dVe

lance design tdc-100 remote control


10 Sony Hdc1550 cameras (wired for 18)

12 telecast camera triax / Fiber Switch and optical


2 canon xJ 100 x 9.3

5 canon xJ 86 x 9.3bie

6 canon HJ 22e x 7.6b

2 canon HJ 11 x 4.5 wide angle

Sony HdW-700 Hd / panasonic p2 Hd enG kit and p2


2 Vinten Vector 950 active heads

5 Vinten Vector 700 heads

7 Quickset tripods

8 cartoni enG tripods

Iridium control rooms: audio (top) and tape (center and bottom)

48 Mobile SportS production Yearbook 2009


Wired for 10 eVS xt 2 6 ch Servers + 4 ch Spotbox

two 6-channel eVS lSM xt 2 units

two 4-channel eVS xt 2 replay only

4-channel Spotbox

Wired for 8 Vtr slots; equipped with 2 x HdW-M2000

HdcaM and 1 dVW-a500 digibeta


calrec Sima 64 Fader audio console with bluefin; 96

Mic/line inputs; 64 analog line outputs; 96 Madi i/o



nvision audio router 992x928 configued mono

evertz eQx routing/control Hd router 396 x 756


rtS adam Matrix intercom, 96 ports

5 kp-12 panels



Toronto-based dome productions continues

with its Hd transition and expansion,

giving the green light to a sixth Hd truck that

will be ready for the road by May. Much of the

increased capacity is intended to serve the Hd

sports needs of its owners, ctV Specialty television

and rogers broadcasting. also looming

is an all-hands-on-deck for the 2010 Vancouver

Winter olympics. dome will be providing

five Hd trucks to handle multiple events for

the host broadcaster’s international feed, including

hockey, figure skating, and curling.

“We were going to have Hd6 for october

2009, but our broadcast partners have upped

the ante on Hd events, so we’ve advanced the

project to a May delivery,” says Mary ellen carlyle,

SVp/GM, dome productions. “We would

like to have that truck operational now, but it

takes nine months.”

keeping up with demand at that pace hasn’t

been enough. after the company’s most recent

ground-up Hd truck, Spirit, was launched last

year, a converted Sd Sdi digital expando helped

take up the slack. tribute had been on the road

since 2000 and was ready for the upgrade.

“We integrated an Hd layer replacing lots of

the digital video distribution,” says director of

engineering Mike Johnson. “Much of the audio

and the monitor wall stayed the same. Getting

this going has helped us satisfy a capacity for

Hd, and we were able to accomplish this in just

2½ months.”

retrofitting an existing Sd unit with Hd

capacity involves some tradeoffs. Here, surround-sound

audio and crt monitors lay in

the balance.

“it is not always the best thing to modify

trucks, but this worked out well,” says Johnson.

“the challenge has been carrying this from analog

to aeS audio. We were able to bring some

aeS capabilities over, but taking the complete

aeS signal path over is problematic.”

in the meantime, tribute is ready to handle

much of the Hd work. the only drawback with

the retrofitted surround sound is that packaged

pieces are stereo only.

“it can handle 5.1 live but does not support

packaging it for tape replay,” says Johnson.

“We may revisit this later, possibly utilizing a

dolby e solution.”

the other tradeoff is tribute’s legacy crt


“this is a key feature of an Hd truck: the lcd

monitor wall,” Johnson explains. “You may not

like the quality of an individual lcd display,

but the large-scale pictures and overall presentation

and flexibility are powerful. Yes, tribute

still has the crt wall, but these upgrades

give this unit great longevity. We made an investment

in the Sd truck, and now that is carrying

over to Hd.”

For tribute, the changeover to Hd follows

the client. it is used for all of

the San diego padres’ easternseaboard

games as well as for

the toronto blue Jays. now that

coverage is coming to Hd with

the same truck used for Sd com-

ing along, too. there are many,

many more Hd events coming

into the pipeline, including the

start of a seven-year contract

for all 72 games of the canadian

Football league season.

“tribute is a workhorse and

helps us deal with the event

load,” says Johnson. “With this

and Hd6, we’re just expanding

capacity to meet the demand.”

50 Mobile SportS production Yearbook 2009 / continued on page 52

50-foot Tribute


rogers centre Gate 13

1 blue Jays Way, Ste. 3400

toronto, on M5V 1J3

tel: 416.341.2001

Bureau de Montréal

5647 Ferrier Mont-royal,

Qc H4p 1n1

tel: 514.731.3663


DoME PRoDUCTIoNS continued from page 50



GVG kalypso Hd 4 M/e switcher w/ 90 inputs;

6 transform engines; doubletake Split M/e

abekas Mx dual twin channel Hd dVe

chyron duet Hd/Sd Hyperex

clipstore Mxc Sd/Hd for replay eFx


eVS Hd xt2 lSM 6-channel server

eVS Hd xt2 lSM 4-channel server

eVS Hd xt2 ro 4-channel w/SS-Mo

eVS xFile

Sony HdcamSr SrW-5500 Vtr

dVW-M2000 digital betacam

two dVd recorder/player

Wired for 10 Vtr and 4 eVS


9 Sony Hdc-1500 cameras; 1080i/720p/24p

switchable and fiber-based with triax adaptors

(wired for 14 cameras)

3 hand-held cameras

6 hard cameras (HHs in expanders)

clock camera

2 poV cameras

2 canon xJ86x9.5 zoom lenses

4 canon xJ72x9.5 zoom lenses w/servo zoom controls

and manual kits

3 canon HJ21x8 enG lenses w/semi-servo kits

2 canon HJ11x4.7 enG lenses w/semi-servo kits

52 Mobile SportS production Yearbook 2009


calrec Sigma, 64 faders w/ bluefin (360 equivalent

mono channels) 96 stereo aeS/96 analog inputs; 48

multitracks/20 auxes

SrS aeS Surround encoding/decoding

SrS stereo synthesizer

dolby e dp571 encoder

dolby e dp572 decoder

dolby dp570 audio tool

dolby dp563 Surround

dolby lM100 loudness meter

6 Sennheiser com Headsets HMd25-1

10 Sony ecM 77b lavs

8 audio-technica at-815b

4 Sennheiser MkH416

2 Sennheiser MkH 70 shotguns

2 Sennheiser Me 66

10 electrovoice eV-635a/b

2 electrovoice re 50b


GVG routing switcher w/ 96x64 Hd Sdi video

128x96 Sd Sdi video

160x128 aeS audio

128 in/24 out virtual monitor system

16 up/cross converters

10 broadcast down converters

2 tandberg Hd encoders/modulators

tandberg Hd decoder

Spirit control room

Enterprise sQ Newsbox HD



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Clearwater, Fl-based F&F productions launched

its fourth Hd truck, Gtx-15 Hd, last year.

Since then, the company has focused on consolidating

gains and growth to optimize quality and

maximize efficiency while keeping an eye out for

the right opportunity to expand again.

“We’re always looking for the right time and

business model to build a new truck,” says SVp

ryan Hatch. “that’s always on the horizon.

in the meantime, major changes are up in

the air as clients face the downturn ahead. the

summer’s spike in diesel costs, for example,

brought attention to trimming transportation

costs. For some time, the industry has

operated almost as if geography didn’t matter.

Specific trucks have followed crews to events,

instead of having crews use trucks based in a

specific geographic region.

“i’ve seen a change with some customers

so that, wherever a truck is located, they’ll

try to fit the production team into a more regional

truck,” says Hatch. “others are matching

the truck to the production team and taking

it coast to coast, north and south. Some are

adapting to [increased transportation costs];

maybe this is something we’ll see going forward

across the industry in the future.”

the increasing standardization of Hd equipment

and truck design within F&F’s lineup is

one factor driving such a fundamental shift.

“one of the strong suits for F&F is that we

designed our mobile units with essentially the

same equipment packages with minor variations.

that helps if we have to move a customer

from one truck to another,” Hatch explains.

“there isn’t any jarring change. You could be

inside and not know the difference unless you

saw the markings on the outside.”

as the technology becomes increasingly

commoditized, maintaining an edge is an increasing


Says Hatch, “the equipment is essentially

the same, somewhat dictated by what’s accepted

by the freelance community. What sets

you apart is the quality of your engineers in the

field, operational support, and sales support.”

Sharpening that edge means finding better

ways to work through the tech maze.

“We’re just moving forward, working to tie

together everything we’ve got,” says F&F Vp of

engineering bill Mckechney.

Given the increasingly it-based broadcast infrastructure,

managing and maintaining updates

for hardware, software, and firmware has become

key. the challenge is to sort through the manifold

ways of handling manufacturer and developer

updates and upgrades and swapping out different

software versions preferred by clients.

“We’re developing a database to make it easier

to do updates in the field,” says Mckechney.

“compiling all this information really needs to

be done and saves lots of time spent on this.”

despite commoditization of Hd equipment,

F&F is in the forefront in adopting ikegami cMoS

cameras for the Gtx-15 truck, and other technologies

and products promise further advances.

“We’re on second- and third-generation encoders/decoders,”

Mckechney says. “these are

significantly better than the first generation,

which were almost a black box. While many

manufacturers have great products now, we feel

most comfortable with aja FS1s. these are the

most reliable that we’ve had experience with.”


14333 Myerlake circle

clearwater, Fl 33760

tel: 727.535.6776

Fax: 727.535.6547

56 Mobile SportS production Yearbook 2009 / continued on page 58

GTX-15 tape area

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F&F PRoDUCTIoNS continued from page 56



Grass Valley kalypso digital production switcher with

90 inputs, 48 outputs, 3 M/e with program and preset;

6 transform engines; expanded still store klip

cache; kalypso Hd kurl and Hd Spektra lighting

double take

dVeous Mx dual-twin Hd configuration

chyron duet Hyperx system or chyron duet upon



12 ikegami 79 ec Hd cMoS-based camera systems

with fiber or triax operation (truck is wired for 24


Sony HdW 730 enG camera package w/22 x 7.8 lens

2 Sony 70 iS triax clock cameras

upon request: 2 Hdl 50 Hd cameras

7 system expanders with VFl 900 Hd lcd viewfinder

ocp–200 touch-screen control panels

5 Fujinon 101x lenses

2 Fujinon 88s lenses

4 Fujinon 22x handheld lenses

2 Fujinon 13x handheld lenses

7 Vinten Vector 950 pan heads with Hdt-1 tripod

4 Vinten Vision 11 handheld tripods

3 Vinten ob skid wheels


2 6-channel xt[2] Hd lSM eVS

2 4-channel xt[2] Hd lSM eVS

1 4-channel xt[2] Hd lSM box server

1 – eVS x-file archive station

1 - eVS net Guard Hub Sport net

1 - ip director package

2 - Sony SrW 5500 multiformat Vtr

1 - Sony dVW a500 Sd Vtr

4 - panasonic dVd Sd recorder/players

2 - dnF controllers

GTX-15 audio room

58 Mobile SportS production Yearbook 2009


calrec alpha with bluefin dSp with 76 faders providing

162 stereo plus 156 mono channels and up to

78 surround channels. digital audio board with 128

inputs, 96 outputs, outputs, bass outputs, and dual

processor engines.

2 digicart/e ethernet audio recorders

Genelec audio monitors

dolby e System dp570, dp571, dp572, dp563, dp564


Wohler emon

3 rane audio delays

Yamaha Spx 2000 effects

dbx 166 xl stereo compression

dbx 1046 quad compression

benchmark stereo audio and aeS da’s

denon cd player

10 Shure ep 23 line amps

dorrough stereo signal test set

Fostex Speakers

6 daltech talkback boxes

6 Sennheiser HMd 25 announcer headsets

5 Sennheiser Md 46

Sennheiser Mke44p

6 Sennheiser Me 67 shotgun

2 Sennheiser MkH70 shotgun

4 Sennheiser MkH416 shotgun

6 Sony ecM 77b mics

9 electro Voice 635 ab mics


rtS adams 128 x128 central matrix

rVon Voip interface

18 kp 32 master stations

6 kp 12-key panels

16-channel iFb


2 evertz master sync/timecode generators

2 evertz digital time displays

evertz changeover

10 aJa FS1 multi-conversion frame syncs

18 aJa frame sync upconverters

68 Hd da downconverter

60 Hd das

14 leitch das

4 WFM 7000 tektronix scopes

dSS receiver


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Game creek Video’s ongoing Hd transition

is producing a diversity of units to feed

different needs. the two newest, built fresh

from the ground up, are a study in contrasts.

northstar Hd is a 53-foot single expando with

no b unit. Meanwhile, liberty Hd is a two-truck

unit featuring a double-expando a unit and a

b unit with an expanding side.

according to Jason taubman, Game creek

Vp of design and new technology, northstar

points to the growing market for trimmeddown

Hd offerings. liberty Hd’s construction

also demonstrates the company’s commitment

to serving clients.

liberty Hd primarily services eSpn/abc college

football in the fall and nba in the winter

months. the a unit is an all–Gerling-built box

with a 49-foot expanding section. its floor plan

is new for Game creek, featuring a sideways,

two-tier production area with an expanding

monitor-wall section. initially, construction

was good to go following previous designs.

then, new thinking took hold.

“We had thought to go forward with our existing

design and had actually pulled the trigger

with Gerling,” says taubman. “then, several

eSpn producers asked us to explore other options

that would provide more monitors. We

all worked closely together to turn around this

new sideways concept fast, and it may be an innovation

that we incorporate in future designs.”

the bottom line is simple: the customer’s

interest comes first.

the b unit for liberty Hd also is a new design

for Game creek: a 24-foot expanding section

housing a fully integrated graphics-production

area. according to taubman, liberty

borrows signal flow and other design concepts

from Game creek’s Fx units (Fox a football,

naScar, bcS, Super bowl), including full fiberoptic

integration of the b unit for graphics.

liberty travels with 13 Sony Hdc1500 cameras

(triax or SMpte fiber) and is wired for 20.

it includes eight eVS xt[2]s (it is wired for 17,

including Spotbox) and x-file. if the client requires,

the truck can be configured with all 17

eVSs or with three tape machines substituted

for each eVS position.

the video department includes a GVG

kalypso, abekas dVeous, QuStream/pesa

384x720 cheetah Hd router, 30 QuStream/

Fortel udc-550 up/down/crossconverters,

and 15 QuStream/Fortel analog frame syncs.

it has all-Hd lcd monitoring throughout, with

the exception of Sony large-format bVM series

crt monitors for critical viewing applications.

“We’re getting towards the end of availability

for [crt monitors],” says taubman. “We still use

them because of the high cost of the lcd technology

that replaces them. also, the high-end

lcds are very big. they don’t rack-mount and are

tough to fit three into the video positions.”

audio capabilities include a calrec bluefin alpha

with 96 faders, tFt metering, Hydra, and Madi

plus a Qustream/pesa drS 2048x2048 mixed-format

(analog, aeS, and Madi) audio router. dolby e

and SrS encoding/decoding for surround sound

round out the gear complement.

When will Game creek complete the transition

to Hd?

“We’re looking hard at our Sd inventory,”

says taubman. “We’d like to convert another Sd

unit to Hd but still have clients in the nba who

have need for an Sd expando for visiting teams.”


23 executive dr., Hudson, nH 03051

tel: 603.882.5222 / Fax: 603.882.5444

62 Mobile SportS production Yearbook 2009 / continued on page 64

Liberty audio room


GAME CREEk VIDEo continued from page 62



GVG kalypso with abekas dVeous


Sony 1500 cameras (triax and fiber) and wired for 20

Vinten Vector 750 panheads

Miller sticks and panheads


8 eVS xt[2] servers (wired for 17 eVS including Spotbox)

eVS x-file

any eVS can be swapped out for three tape machines,

allowing for up to 48 tape machines for large entertainment

iSo records

64 Mobile SportS production Yearbook 2009


calrec bluefin alpha with 96 Faders, tFt metering, Hydra

and Madi

dolby e (dp-570/571/572/563/lM-100)

SrS encoding and decoding

360 Systems digicart e

dk audio metering

Genelec monitoring

Wohler utility audio monitoring


Qustream/pesa drS 2048x2048 mixed format (analog,

aeS and Madi) audio router

QuStream/pesa 384x720 cheetah Hd router

30 QuStream/Fortel udc-550 up/down/crossconverters

15 QuStream/Fortel analog frame syncs

Liberty production area (top), tape room (center) and audio area




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Earlier this year, iMS productions revved up

a new Hd production unit that has already

blazed a trail this season for indy Motor Sports

coverage and the indiana pacers. “it’s spectacular,”

says ken Gardner, remote sales manager/

field technical manager, iMS productions.

the new 720p-native but 1080i-switchable

truck features eight 46-inch clarity lcd screens

and a virtual monitor wall, a GVG kalypso four-

M/e 90-input production switcher; nVision

288x224 Hd router and 224x320 aeS audio

router (plus a 128x128 analog router); 16 Sony

cameras (eight Hdc-1000, eight Hdc-1500);

24 canon lenses, ranging from 22x to 100x;

and a calrec 64-fader Sigma console with bluefin

technology. a b unit offers eVS xt[2] replay

servers, avid and apple editing systems, and a

Yamaha pM 4000 for audio submix; a c unit is

on hand for the multitude of robocams around

the track. Sennheiser, Shure, beyerdynamic,

and Sony mics handle audio duty.

“it’s pretty much the same layout as our last

truck, but the production and tape area are

bigger,” says dave Gass, iMS productions senior

director of field operations and engineering.

“but the audio area is not as big.”

bennett Systems in north carolina built the

new truck and converted the old a unit into

the b unit.

For Gardner, the new truck means the ability

to compete in the burgeoning Hd-truck

marketplace. “there have been a fair number

of inquiries for this fall,” he explains, “and a second

Hd truck is on the horizon.”

iMS productions has been involved with

indiana pacer games since 1986 and has also

been used on Fox football telecasts. “it brings a

lot of firepower to an nba game,” Gardner says,

“and everyone wants a truck that can be set up

in a single day.”

in terms of 2009 plans, Gardner says iMS

productions will add a second Hd vehicle,

iMS 2Hd, by the end of February. the truck

will be designed specifically to meet the industry

need for trucks that can be set up in

one day.

“We consulted with the pacers and Fox

about the need for a dual-feed truck, and we

expanded upon the concept employed by Mo-

bile tV Group,” Gardner explains. For example,

each side of the dual-feed truck will have its

own production area complete with an audio

console and graphics. it will have eight Hd

cameras, but the camera-control unit will be

able to handle up to 10 cameras.

an nvision router with 288x504 inputs and

outputs will play a key role in giving the truck

the flexibility to handle an indy car race, if

needed. chyron Hyperx graphics and a calrec

audio board are also in the equipment mix; the

production switcher is still to be selected.

“With everybody at the networks looking

for economies of scale, we wanted to build a

truck that goes back to the grassroots of tV

and can be used for a single-day-set event or

a c-level football game,” says Gardner. “but

we’re stepping up the quality with a calrec

Sigma console with bluefin technology and

clarity displays. also, the production area is

designed to step right into the entertainment


Gardner says the truck is expected to be

on display at the nab convention in las Vegas

next april.


4555 W. 16th St.

indianapolis, in 46222

tel: (317) 492-8770

68 Mobile SportS production Yearbook 2009 / continued on page 70

HD1 production area

No other global video network

connects you to more of

the world – with fewer hops

and zero hassles.

Booking: +1 646 216 5777 | Corporate US: +1 212 962 1776 | UK: +44 (0) 208 899 6464

EMEA: +33 (0) 4 67 69 74 76 | Latin America: +1 305 728 7150 | Asia Pacific: +1 212 962 1776

©2008 Genesis Networks. All rights reserved.

• Superior video / audio broadcast services – in all transmission


• Specialized on-demand video-centric solutions – real-time

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• Global, proprietary and fully meshed end-to-end video

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• Multipoint connections to worldwide switching hubs and

media points of interest – in all major markets

• Easy, customer-controlled, remote or dering / scheduling

• Expert video-centric NOC – monitoring, reporting and

calibrating 24-7-365


IMS PRoDUCTIoNS continued from page 68



GVG kalypso 4 M/e 90-input production switcher with

six transform engines, internal still store with klipcache,

kurl, Spektra lighting, Glow, defocus effects

8-channel abekas dVeous Mx

chyron Hyperex graphics


2 six-channel eVS xt-2 lSM

4 six-channel eVS xt-2

Four-channel eVS Spotbox

eVS x-File and Sports Hub

Sony dVW-a500 digibeta

panasonic Hd-3700 d5

panasonic aJ-1400 dVcpro

panasonic pdWF75 xd cam

Sony HdW-1800 Hd cam

Sony SrW-5500

2 dVd recorders



8 Sony Hdc 1000 Studio cameras

8 Sony Hdc 1500 Hand Held

4 Sony Hdla 1500 Hd build up sleds, ll with triax,

SMpte fiber or fiber capability

4 canon 100x lenses

4 canon 86x lenses

4 canon 75x lenses

8 canon 22x lenses

70 Mobile SportS production Yearbook 2009

4 canon 4.7 wide angle lenses


calrec bluefin Sigma console with 128 aeS in,

128 analog in

dolby e encoding

SrS circle Surround encoding

Full Qc audio and glass video monitoring

8 Sennheiser HMd 24 announce headsets

8 announce boxes with talkback

6 beyer Mc 736 short shotguns

6 beyer Mc 737 long shotguns

8 Sennheiser Me 66 short shotguns

2 Sennheiser Me 67 long shotguns

6 Shure beta 58

6 eV 635 (4) eV re 50

6 Sony ecM 77 (4) Sony ecM 66

20 Shure Fp 23 line amps

6 Sony ecM 77 (4) Sony ecM 66

also available: Sennheiser 816s, 416s, and Shure SM89s.

Vp 88s, Sony and lektrasonic wireless mics


nVision 288 x 224 Hd

224x320 aeS

128x128 analog

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Columbus, ohio-based lyon Video has established

a solid reputation working the

regional Sd business since 1987. now, with

the growth of Hd, it’s expanding its reach nationwide

with its burgeoning fleet of five Hd

expando trucks. these are all full-size, full-featured

units maxing out at 80,000 pounds and

featuring the full complement of a-list equipment,

including GVG kalypso Hd switchers,

GVG ldk 6000 or 8000 cameras, various flavors

of calrec audio consoles, chyron duet Hyperx

graphics, and eVSs galore.

Flagship of the fleet is lyon 8, launched last

november. it is used primarily to service Speed

tV from January to october, with eSpn college

football and basketball taking up the balance.

What makes this truck a player for the bigger

shows? the other lyon Hd units are built

around GVG routers: the 256x448 trinix on

lyon 5 and 9 and 128x128 GVG Hd Sdi routers

for lyon 6 and 7. For lyon 8, a pesa 256x496

Hd Sdi router serves as the backbone. the

eVS capabilities include the Hd xt[2] Spotbox,

lSM xt[2] six- and four-channel live slow-motion

systems, and four xt[2] replay-only fourchannel

systems. xfile digital archiving ties it

all together.

in addition, the camera connectivity is a tech

innovation for lyon, according to eic Scott tucker.

eleven of the cameras can operate via triax,

SMpte, or single-mode fiber without the use of

devices supplied by external vendors. the singlemode

operation is good for runs of more than

22,000 feet.

“this is a big, comfortable truck with a larger

tape room and production area,” says tucker.

“the three-mode cameras and large router

put this at the top of the industry.”

Having these capabilities is one thing, but

the hallmark for lyon 8 is the ability to bring

them to bear quickly.

“We can be up and ready to run on the inside

in under an hour,” tucker adds. “that’s a

tremendous advantage over those who have

to eat up the better part of a day getting ready.”

another advantage? the power requirements

for the unit operating with mostly lcd

monitoring is significantly less than others –

just 200 amps while most new trucks pull 400

amps. Still, the truck does maintain crts for

critical viewing areas.

lyon 8 can operate solo or can

be paired with the b3 support unit

to extend capabilities. the two can

be linked via optical connection to

the router. the b unit has 36 optical

connections to the a unit, expand-

ing the overall truck’s total capacity.

it also has 36 electrical connections

to the a unit’s router. b3 is wired for

an audio submix console, and monitors

are from multiviewers on the a

unit, using an evertz Vip monitoring

system with 12 units.

74 Mobile SportS production Yearbook 2009 / continued on page 74

Lyon 8 control room (top)

and production area



1201 olentangy river rd

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Fax: (614) 297-0002

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GVG kalypso Hd digital production center with 4 M/e,

75 inputs, 48 outputs; dual chroma keyers, double

take 6 internal dVe; kurl effects internal animation still


dVeous MxHd dual twin dVe 12 inputs

chyron duet Hyperx2


Hd eVS lSM xt[2] six-channel live slo-motion system

Hd eVS lSM xt[2] four-channel live slo-motion system

4 Hd eVS xt[2] replay-only four-channel system

eVS xFile digital archiving on removable media, net

guard hub

panasonic Hd3700b d-5 Hd Vtr

panasonic Hd1700 dVcpro Hd Vtr

Sony HdW1800 Hd cam Vtr

2 Sony dVW-a500 digital betacam Vtr

Sony bVW-75 beta Sp Vtr

2 dnF St300-t Slow-Motion controllers

2 VHS recorder-player/dVd recorder-player

Wired for 8- 4-channel ddr’s and 6 Vtrs


11 GVG ldk 8000 Worldcam cameras, dual-mode

optical or triax transmission capable.

3 GVG ldk 6000 Mkii camera capable of 1080i, 720p

Fujinon 101x lens w/2x extender and stabilizer

5 Fujinon 87x lens w/2x extender and stabilizer

6 Fujinon 72x lens w/2x extender

4 Fujinon 22x lens w/2x extender for hand held’s

2 Fujinon 18x lens for hand held’s

8/4 Vinten Vector 70/90 pan heads/Hdr tripods

Lyon 8 audio room (right) and exterior

76 Mobile SportS production Yearbook 2009


calrec Sigma digital audio console w/bluefin, 64 faders

w/wild assigns, 96 aeS inputs/outputs 128 mic-line

inputs/line outputs

SrS cSe07-d circle Surround processor/encoder

SrS cSd07-d circle Surround decoder

dolby 571 e endcoder/dolby 572 e decoder

6 HMd-25 Sennheiser talent Headsets w/daltec boxes

10 Sony ecM-77b lav microphones

7 Shure Vp64 microphones

3 Sennheiser Md46 microphones

6 audio-technica bp4029 stereo shotgun microphones

6 Sennheiser MHk70 shotgun microphones

6 Sennheiser MHk416 shotgun microphones

4 Sound device mic to line amp

5 Sound device headphone/mic pre, line amp


pesa 256x496 Hd Sdi router

pesa 512x512 audio router w/conversion, 256x256

analog (128x128 aeS)

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MOTOROLA and the Stylized M Logo are registered in the US Patent & Trademark Offi ce. © Motorola, Inc. 2008. All rights reserved.

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The Perfect Console for the Perfect OB Van

What makes Studer

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• A great User Interface – Vistonics • Robustness and reliability

• Compact Physical size

• High input capacity

• Surround sound capability

• Flexible configuration for different applications

• Redundancy

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Vista 8 – Observe, HDTV Dublin, Ireland

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Using proven and reliable technologies, Studer Vista consoles provide an

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access to controls and functions which can be learned in a matter of


In a small compact footprint, the Vista can accommodate a large number

of inputs, surround capabilities including 5.1 inputs and stereo downmixing,

audio-follows-video, extensive monitoring and an integral audio routing

matrix which can be controlled by external video systems and form the

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The DSP heart of the system can be easily configured for numerous

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Little wonder that Studer Vista consoles are the perfect choice for the

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Mira Mobile continues to maintain an

aggressive rate of growth, launching

M7, its third Hd truck, in September and

readying M8, a smaller Hd unit, for april

launch. and the company will soon be making

a major decision that may show the direction

of the market: will M9 be a full-scale

53-foot Hd expando like M7, or will it follow

the pattern for M8, a 48-foot midsize regional


“M9 may show the direction we’re taking

as a company and the direction the industry

is going,” says director of engineering bill

duncan. “We are 80% sure that M9 will be

built for the 2009 football season and are

looking at numerous contingencies, market

and economic conditions, and the like to decide

how we should go.”

in the meantime, M7 and M8 show a fork

in the road in the mobile-production industry,

and where these come together.

M7 is the flagship of Mira’s fleet. the 53-foot

truck has a nearly full-length 51-foot expando.

the core it infrastructure is a pesa cheetah

288x576 Hd video router with a 128x128 aeS

and 128x128 analog audio router. these join a

GVG kalypso Hd switcher and a calrec Sigma

audio desk. Video monitoring is through evertz

Vip multi-image flat-screen displays. like Mira’s

two previous Hd trucks, M7 carries Sony

1500 1080p Hd cameras. the truck is wired for

16 cameras and will travel with 10 cameras on

board (seven hard, three handheld). eVS servers

provide media storage. a six-channel and

a four-channel eVS Hd lSM xt[2] is alongside

two eVS units and a Spotbox or third ro. all

eVS systems are networked and can be accessed

by the eVS x-File archive station.

Given the current financial markets, M7

may be one of the last of a vanishing breed: a

top-of-the-line Hd truck built on spec to meet

the overall growth in the Hd marketplace.

Meanwhile, M8 features much the same gear,

albeit scaled down, and it is being built with

contract in hand.

“M8 is a regional truck that we characterize as

two-thirds of an M7,” says duncan. “it’s a 48-foot

and utilizes the same high-quality technology.”

M7 has been booked up with abc/eSpn

college football since its launch. next spring,

it will become a workhorse for comcast

Sportsnet bay area alongside M8 as part of a

multiyear agreement. Mira will be opening a

field shop in the bay area where the two trucks

will be based.

“M7 will become their home show truck in

that marketplace,” says duncan, “with M8 as its

companion doing shows in a dual configuration

as a side-by-side.”

For Mira, M7 and M8 offer a first foray into

fiber, with both single-mode and SMpte.

“before this, we haven’t needed to get into

fiber,” says duncan. “but some of the venues for

comcast bay area present challenges with the

length of cable runs.”

the comcast bay area deal came through

as Mira was riding high on the successful

launch of M7. “We proved we could compete

for national contracts,” duncan says. “the

question now is whether we want to continue

that business by building M9 to be like M7

or to continue to build out the regional truck

business by matching M8. it’s possible there is

more opportunity in the mid market.”


25749 SW canyon creek rd.

Ste. 100

Wilsonville, or. 97070

tel: 503-464-0900

80 Mobile SportS production Yearbook 2009 / continued on page 82

Mira M7 production area

© 2008 Shure Incorporated


The new Shure UR1M Micro-Bodypack Transmitter is small in

size, but not on performance. It offers all the power, durability

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less than half the size of standard bodypacks.

Compatible with UHF-R® Wireless, the UR1M features a

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Don’t let the small size fool you. Discover how this little innovation

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• Weighs 3 oz. (86g) with 2 AAA batteries

• 60-75 MHz tuning range with up to 3000 selectable frequencies

• User selectable RF power: 10mW and 50mW

• Selectable battery curves (alkaline, lithium, or NIMH) for

accurate power metering

• Backlit LCD with audio and battery level

• Lemo-3 or TQG connector types available

• Remote and network-ready with Wireless Workbench ® 5 software


MIRA MobIlE TElEVISIoN continued from page 80



Grass Valley kalypso Hd switcher with 90 inputs, 4 M/e,

internal dVe and still store, 4 keyers per Me, 48 outputs,

6 transform engines

dVeous Hd dVe

chyron Hyperx 2 graphics


Six-channel Hd eVS lSM xt[2]

Four-channel Hd eVS lSM xt[2]

2 four-channel Hd eVS ro xt[2]

Hd Spotbox or Hd eVS ro xt[2]

eVS xfile digital archive Station

Wired for 10 Vtrs

2 panasonic dVc pro Hd 1800 Vtr

Sony dVW M2000 digibeta (Hd output)

82 Mobile SportS production Yearbook 2009


Wired for 16 cameras

10 Sony Hdc-1550 Hd cameras (wired for 16 cameras)

7 Sony large lens studio sleds

Fujinon 101x lens with stabilization

6 Fujinon 88x lens with stabilization

3 Fujinon 22x lenses

2 Fujinon 13x wide-angle lenses

7 cartoni omega heads

5 cartoni Gamma heads


calrec Sigma audio desk with bluefin; 96 mono analog

mic or line inputs, 96 mono analog line outputs

64 aeS inputs, 64 aeS outputs

104 mono channels

104 stereo channels

SrS and dolby processing

rane outboard delays

Full microphone complement


pesa 288x576 Hd video router

pesa 128x128 aeS router

pesa 128x128 analog stereo router

M7 front bench (left) and audio room


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Colorado-based Mobile tV Group continues

to grow its fleet, not just in size but

also in variety with a wide range of Hd units,

some with satellite-uplink capabilities.

“We are seeing different needs in different

markets,” says MtVG general manager phil

Garvin. “the Hd world is maturing, making it

important to offer a variety of flavors of services,

ranging from big Hd trucks with 10-plus cameras

to a smaller Hd truck with six or seven cameras.

For dual feeds, there are a variety of needs,

too. Sometimes, the second production is in the

truck, sometimes in a visitor mobile unit.”

recently, MtVG’s biggest growth has been

in the midsize regional market. Following its

success serving the big ten network with its

pioneering fleet of 48-foot Hd trucks with

expandos, MtVG is launching 24Hdx, which

will serve primarily the Southeast during the

nHl/nba season and the northeast in Major

league baseball season. like its predecessors,

the new truck maintains the 48-foot size. inside,

it is equipped with a GVG kayak Hd300

switcher, a euphonix Maxair audio console,

seven thomson ldk 8000 triax cameras, an

eVS networked replay and edit System with

a six-channel eVS lSM and two four-channel

replay-only eVSs, a 96x128 Hd video router,

and a 108x108 audio router.

according to Garvin, the new unit marks

another milestone for the company.

“our transition to an all-Hd mobile company

is progressing well,” he explains. “With

the launch of 24Hdx, we will retire one of

our few remaining Sd trucks. and before the

end of 2008, all the chyron units in our Hd

trucks will be Hd. no more Sd graphics in Hd


MtVG’s continuing development of the

dual-feed concept is allowing clients more

choices and flexibility.

“We continue to evolve the dual-feed systems

with upgrades to switchers, audio, and

eVS,” explains Garvin. “in some markets, we’re

going with the separate Visitor Mobile unit

[VMu] approach, with the home show in the

main unit and the visitor’s in another trailer.”

in markets that have fewer dual feeds per

season, MtVG is putting the audio for the dual

on the back of a lengthened tractor. “However,”

says Garvin, “most of our dual markets still

have the visitor audio in a small trailer just for


While demand is currently far outstripping

supply at peak times, Garvin cautions against

over-aggressive growth. Still, MtVG plans to

build at least one more large Hd mobile unit in

the coming year.

“the important thing right now is not to build

more Hd mobile units than are truly needed on

an on-going basis. Mobile tV Group is doing well

right now, but, in tough economic times, it’s important

to be conservative about growth,” says

Garvin. “Just because there is an under-supply

of trucks during September weekends and april

playoffs doesn’t mean there is enough demand

during the rest of the year.”

With the coming downturn,

Garvin expects that a

new dynamic will enter the

business, as cost becomes

king. What will be a sign of

tough times?

“that’s when a mobiletruck

owner has to think

hard about whether to improve

the mobile units —

add cameras, eVS, etc. — or

to lower prices,” he says.

“Which would better serve

our clients?”

86 Mobile SportS production Yearbook 2009 / continued on page 88

23HDX production area

Main Office

2400 n. ulster St.

denver, co 80238

tel: 303.388.8500 / Fax: 303.388.3773

Midwest office


379 W. 60th St.

Minneapolis, Mn 55419

tel: 952.922.2373 / Fax: 952.487.9124

Dallas Office

2909 taylor St.

dallas, tx 75226

tel: 214.651.1446 / Fax: 214.571.9225

When it came to choosing a digital console for

their newest truck – Natalie Michele, Sure Shot

Transmissions, Inc. based out of New Middletown,

Ohio went with their best bet. Installed in a countless

number of broadcast mobile trucks, Yamaha’s PM5D

has developed a reputation for strength, reliability

and stellar performance. A crystal clear decision

with features such as auto-mix minus, flexible routing

and surround sound capability, the PM5D continues

to remain a cut above the rest.

When you need help, time zones shouldn’t matter. Yamaha provides coast to coast

24/7 technical support. With dedicated staff and regional service centers, assistance

is around the corner. If we can’t fix it over the phone, we’ll put a part or a person

on the next plane out. It’s that simple.

Yamaha Commercial Audio Systems, Inc. • P. O. Box 6600, Buena Park, CA 90620-6600

©2008 Yamaha Commercial Audio Systems, Inc.


MobIlE TV GRoUP continued from page 86

Disk Replay



Engineering & Video

Disk Editing / AD

88 Mobile SportS production Yearbook 2009



GVG kayak 3 M/e Hd switcher w/ 2 M/es and 3rd M/e instead of


abekas Hd clipstoreMxc ddr

chyron duet Hyperx2 Hd graphics

other software: lyric version 5.25 build 781 and lyric version 6.5

pro build 1256


7 thomson ldk 8000 triax cameras 1080i or 720p switchable at

the head

6 canon 72x lenses

3 canon 17:7.6 HH lenses

Sony Hd cam (for use in booth or pregame sets where fiber exists;

no camera control from truck)


Six-channel eVS lSM (4 in/2 out)

2 four-channel (each 2 in/2 out) replay only eVS units

xfile with removable hard drives

dVd recorder



euphonix Maxair audio console with 108 analog inputs, 30 aeS

pairs in; 108 analog outputs, 30 aeS pairs out, 56 faders

3 Sennheiser Me-67 long shotgun mics

4 Sennheiser Me-66 short shotgun mics

3 electrovoice re 50 stick mics

2 635 stick mics

5 Sony ecM-77 lavalier mics

3 Sennheiser HMd Sportscaster headsets w/ talkback boxes


96x128 Hd video router

108x108 audio router




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in what should be the best of times for mobile

sports production, nMt is in the process

of stabilizing and healing from hard times in


“We’ve made lots of changes, sold assets,

lost contracts. We’re not in good shape financially,

making it difficult for us to compete,”

says nMt president Frank coll. “We’re also impacted

by the [downturn] economy, and that

makes things tough. We operate on a revolving

line of credit and require constant credit to

do basic things, like meeting payroll.”

nMt is currently in the process of “rightsizing”

after major downsizing, coll says.

earlier in the year, the company’s last three

analog trucks were retired and sold, and the

dallas field-shop operation was shuttered, affecting

about 20 employees. in September,

nep acquired two of nMt’s Hd units and their

contracts supporting cbS Sports agreements

covering pGa Golf, nFl football, and ncaa

basketball. nep hired the 18 nMt engineering

and technical employees dedicated to each of

these mobile units.

the road back to stability and profitability,

according to coll, is having the stability and

profitability to attract the capital needed to

continue the aggressive transition to Hd. this

is especially challenging with the turbulence

in the financial markets.

“We are all caught with this massive, insatiable

need for capital,” he says. “We need to increase

Hd capacity to meet demand, and that

requires enormous capital, which is drying

up. You’ve got a marketplace wanting more

and more Hd, and we can’t deliver it because



los Angeles Branch Office

corporate Headquarters)

2740 california St.

torrance, ca 90503

tel: 800.242.0642

tel: 310.782.9945

Fax: 310.782.9949

Orlando Branch Office

555 north John Young pkwy.,

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tel: 407.521.2525

Fax: 407.521.2882

New Jersey Branch


1 commerce St.

Somerville, nJ 08876

tel: 908.823.1970

Fax: 908.823.1980

90 Mobile SportS production Yearbook 2009

there’s no capital to create capacity. even companies

that are relatively healthy aren’t rushing

out to take on more debt. people are now

building exactly what they need and that’s all.”

the plus side to the credit markets’ making

it difficult to meet Hd demand throughout the

industry is that nMt may enjoy greater utilization

of its Sd fleet after a dropoff that had

been a natural part of the switchover to Hd.

“if there’s more Sd work, we’d definitely

benefit and would love to see a trend towards

that,” coll says. “there’s still a number of [Sd]

jobs out there. We’ve seen a significant drop

in utilization over the past few years, so, if we

can go back to the utilization levels we had in

2007, that would be great.”

While nMt has a moratorium on new construction

for the coming fiscal year, significant

upgrades are due for its first-generation Hd


“our oldest Hd truck, Hd3, went on the

road in September 1999,” coll explains. “it’s

been operating at MSG for 10 years, and we

have plans for a major overhaul/upgrade for

next year’s indoor season. this is part of our

contract discussions with MSG. the truck has

low miles, and the trailer is in good shape, so,

basically, it will be a new truck in an old shell.”

Meanwhile, investments in more recent Hd

trucks are holding up well and should carry

through to better times.

“Hd 6 and 11 are only about three years

old,” coll notes. “they have an lcd infrastructure

but still utilize crts for critical viewing.

We’re hoping we have another year or two before

we have to replace those.”

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In 2008, nep expanded its fleet by

both acquisition and construction.

the acquisition of both contracts and

Hd units from nMt expands nep’s relations

with cbS Sports and covers pGa

tour Golf, Masters Golf, and nFl regularseason

and postseason games. in addition,

the acquisition of new century

productions brings a new outlook and

approach to mobile production under

the nep umbrella. and the launch of

the denali Summit Hd truck features an

intriguing crossover design that makes

it suitable for both entertainment and

sports events and enables maximum

utilization by working both sides of the

mobile-production business.

the purchase of the nMt assets provides

nep with a lock on the golf business. For lou

borrelli, ceo of nep broadcasting, this offers

unique advantages.

“this, in effect, makes us the Golf channel,”

he explains. “it gives us the ability to consolidate

specialized equipment instead of having

to handle different gear in different hands.

this delivers enormous benefits both to the

service provider and to the client, and we

hope to continue to advance the art through

our experience and our people.”

the ncp acquisition takes a different tack.

“We want to collectively maintain our distinctive

brand identities,” says nep Vp of engineering

George Hoover. “there are certain

things that ncp trucks do very well and clients

that are committed to them.”

ncp’s specialty has been pulling off setshoot-strike

gigs with maximum efficiency.

nep has been focused more on the largerscale

events that typically cycle over several

days. Still, collaborative projects add additional

opportunities while maintaining this

independence. the first such combined effort

is the creation of ncp xi. this new Hd truck

brings together the expertise of ncp’s Mike

Mundt and nep’s Howie naugle and was built

by the nep Systems integration Group.

ncp xi, which is working the truck-racing

beat for Speed channel, is the direct descendent

of ncp x. unique features include

a smaller version of the parabolic video wall

that Mundt designed for ncp x to squeeze

the most viewing into a video wall. the

10-camera, 53-foot expando is designed to

run lighter and leaner than previous units and

to operate without a b unit. it uses a utaH-

400 Hd routing switcher loaded 224x552 and

incorporates an aeS and aa audio router and

associated control panels.

While nep’s denali brand is dedicated to

entertainment events, the new Summit Hd

unit is designed to leverage crossover opportunities

in sports. the key to the crossover?

the infrastructure is designed to toggle between

Vtrs and servers. Summit can support

24 Vtrs for entertainment programs and can

shift gears to support 10 eVS units with more

than 90 server channels. the reason? peak

times for entertainment can fall on quiet periods

for sports and vice versa. a truck that

straddles the divide can significantly increase

its utilization. Summit launched in September

and has had several key sports engagements

thus far, including the american league

championship Series for turner and Skate

america for nbc.

“our mantra is get better utilization,” says

Hoover. “large-scale entertainment awards are

clustered around ratings month and awards

seasons in the winter, and then there are slow

periods that happen to be high demand for

sports. if you can figure out how to move a

truck from one to the other, it’s a good fit.”

94 Mobile SportS production Yearbook 2009 / continued on page 96

Summit production area


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Phone +49-9545-4400

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NEP bRoADCASTING continued from page 94



Grass Valley kalypso duo production switcher with 6

internal transform engines

abekas dVeous dual twin Hd dVe with cpl control


8 Sony Hdc-1500 fiber camera

2 Sony large lens adapters with 7-inch viewfinders

2 Studio kits with 5-in. Hd viewfinders

canon 100x9.3 lens

canon 86x9.3 lens

Fujinon 24x7 studio lens

3 Fujinon 22x handheld lenses

7 Fujinon 13x4.5 wide-angle lenses

2 Vinten Vector 700 pan heads with Matthews tripods

8 Vinten Vision 250 HH tripods and pan heads


calrec alpha with bluefin, 96 dual-layer faders

dolby e encoder and decoder

dolby dp570 audio tools

2 rane SM265 six-channel mixers

Microphones per request


GVG trinix 192x160 Hd router under encore control

GVG apex 544x544 aeS audio router and 128x128

analog i/o


2 beta dr.

pittsburgh, pa 15238

tel: 800.444.0054


NEP Midtown Studios

885 Second ave.

new York, nY 10017

tel: 212.548.7700

Fax: 212.355.0523

NEP 5th Av Studios

401 Fifth ave.

new York, nY 10016

tel: 212.401.4981

Fax: 212.685.4317

NEP Studio 54

513 West 54th St.

new York, nY 10019

tel: 212.468.1833

Fax: 212.468.1890

NEP Production center

727 eleventh ave.

new York, nY 10019

tel: 212.649.6242

Fax: 212.974.1120

NEP Penn Studios

401 Seventh ave.

new York nY 10001

tel: 212.299.4866

Fax: 212.299.4867

96 Mobile SportS production Yearbook 2009

Summit audio room

NEP Studio 33

503 West 33rd St.

new York, nY 10001

tel: 212.649.6399

Fax: 212.760.2821

NEP Studio 37

36 West 37th St.

new York, nY 10018

tel: 212.695.7704 / Fax:


NEP Screenworks –

corona, cA

1580 Magnolia ave.

corona, ca 92879

tel: 951.279.8877

NEP Denali – Burbank, cA

2 theta dr.

burbank, ca 15238

tel: 800.444.0054

New Jersey Field Office

96 route 173 West

Hampton, nJ 08827

tel: 908.735.4066

Hawaii 808.676.3800



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We specialize in financing broadcast equipment and audio & visual

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teams and stadiums.

Dennis Shupe

Senior Vice President

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Phone: (214) 387-8070



Alliance productions member

SdtV, based in San

diego, gives the cooperative

a Southern california flair with

three units; one Sd, one Hdcapable,

and one fully Hd.

the last, the Hdla,

launched at nab 2008, packs

a lot into its 32-foot expando

frame, including ku-band

satellite-transmission facilities.

Since hitting the road, it

has covered a wide range of

events, including eSpn’s College

Football Live and producing

Mlb for the Japanese. the out-of-the-gate

popularity, according to SdtV ceo Mark Yancey,

is due to the savings possible with combining

production with uplink capabilities — as

much as 20% over traditional setups.

“our trucks save the need for having a second

uplink truck,” says Yancey, “and we have

the same grade of equipment found on larger,

full-size trucks. as more and more people discover

the Hdla and its capabilities, they latch

onto it.”

the Hdla rolls with a Sony MVS 8000 Hd

switcher with four channels of integrated

dMe, a calrec Zeta audio board, and 10 Sony

Hdc-1550 cameras. an nvision 8288 3-Gbps

Hd/Sd 252x288 Hd video router and nvision

7512 tdM audio router form the backbone.

the core concept behind Hdla is not new

to the scene, as Yancey is quick to point out,

noting that he has been working on it for 20


adding satellite capabilities refines this

into a sure bet in an era of uncertainty with

cost-cutting ahead. one clear saving with

the SdtV combo concept is operating costs.

there is no need for running a separate uplink

truck. although prices have dipped for the

moment, fuel costs have forced SdtV to add

the increased costs. a recent roundtrip from

Southern california to texas racked up $1,000

in fuel costs passed to the client. What was the


“Fuel costs are not a major impact item for

trucks that bill out up to $12,000 a day for an

engagement up to five days,” says Yancey. “it’s

a concern but not a show-stopper yet.”

beyond the Hdla unit, SdtV’s other units

are slated to be converted to Hd in time. already,

the second unit, Hd link, is capable of

Hd assignments but operates primarily in Sd.

converting the existing trucks provides an

extra advantage over building one from the

ground up: the legacy tractors operate under

previous smog standards.

“the Freightliner chassis [found in the

units] is no longer available for domestic use

because of the smog requirements,” says Yancey.

“it keeps our market niche more secure;

there’s no way to copy it. You need a three-axle

truck, and if it has to have a big nose on front,

you lose box capacity. i would imagine anything

following this would have less capacity

in terms of size and weight capacity.”

What’s ahead in technology? Yancey is

looking towards the evertz router-control

panel that had its initial install on the corplex

iridium unit.

“routers have become powerful and compact,

but the control systems for them are archaic,”

says Yancey. “You can make a few adjustments,

but, for most trucks, the panel is what it

is. that’s strictly 1980s technology.”


4004 la Salle St.

San diego, ca 92110

tel: 619.293.5124

Fax: 619.223.3626

100 Mobile SportS production Yearbook 2009 / continued on page 102

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SATEllITE DIGITAl TV continued from page 100



Sony MFS-2000 16-input production switcher with

1.5 M/e, downstream keyer and internal still store

chyron Max graphics


Sony Hdc-1550 Hd camera with triax adapter

4 Sony dxc d-30/35 triax with ccu

Fujinon Hd 66x lens

3 canon 55x lenses

2 Fujinon 8.5x wide-angle lenses

4 canon 18x f1.8 lenses

4 cartoni delta 2 stage tripods with fluid heads


Sony bVW 75 beta Sp Vtr

Sony bVW d75 digibeta Vtr

Sony pVW 2800 betaSp decks

2 Sony dVcaM decks


Yamaha o2r96 24-bit, 96-kHz digital mixing console

with 56 input channels, 8 aux, 8 bus and 8 omni outs

4 Sennheiser e 845 stick mics

4 ecM 77 lav mics


pesa 32x32 cougar Hd/Sdi video router

102 Mobile SportS production Yearbook 2009

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This past year has seen aggressive

growth continue for

Sure Shot transmissions, based in

new Middletown, ohio. the company

has launched four trucks in

as many years, the latest two being

40-foot Hd combo units with

eight-camera capacity and satellite-uplink

capabilities. rounding

out the fleet are a three-camera,

32-foot Hd unit, six ku/production

units, and two c-band trucks.

What’s the key to taking advantage

of opportunities in midsizecombo-truck


“the question is, how fast can you build

them,” says Sure Shot president dennis kunce.

“the business is out there for us to take, and

the biggest hurdle is financing. i’m turning

down more jobs than i’m putting down on the

calendar. that’s very frustrating.”

the company’s latest Hd truck, the natalie

Michele, launched in the spring equipped

with a-list standards, including a GVG kalypso

switcher, Grass Valley ldk 8000 cameras, two

eVS servers, and a Yamaha pM 5d digital audio

console. the 40-foot truck includes an expando

for the production space. it was built on

spec to fill needs of a client base that includes

Major league baseball, the pGa tour, and eSpn


after designing, building, and working

with the first two 40-foot trucks, Sure Shot has

closed in on what chief engineer timothy dailey

feels is the ideal design for a midsize combo.

the key engineering challenge, of course,

is squeezing out the most of every available

inch. one simple way to do that is to add an

expando. after the success of this design in the

second truck, the first is being retrofitted with

it. What’s the next improvement?

“the new truck will basically be a clone of

the natalie Michele in terms of the equipment

and expando,” says dailey. “We’ve managed to

make more room in tape-room/engineering.

eSpn loved the current rendition but wanted

more space there. We’ve added more room to

the back and put everything sideways. the existing

design fits three people in comfortably,

and you squeeze in a fourth. now the redesign

fits four easily, and you can squeeze in a fifth.”

How did he manage this sleight of hand?

How do you get more than 40 feet out of a 40foot

truck? it depends on how you measure

the 40 feet.

“We’ve eked out more space by taking the

ac off the front and putting it on the back,”

says dailey. “technically, that makes it removable,

so it isn’t counted in the overall length.

it’s a clone with more dna.”

the 40-foot spec is critical, according to

dailey, to make the trucks usable in any state

without having to be permitted.

While the Hd business is booming, Sure

Shot is also doing a brisk business with the

kelsie Marie Sd truck. part of this comes from

growth in non-traditional areas, including internet

specialty products.

“that truck is more than just viable; it’s

working a ton,” dailey explains. “We’re doing

many small events not ready for Hd. this

includes two- and three-camera shoots for

hospitals. We telecast live surgeries and send

the signal via satellite, where it is put onto the


104 Mobile SportS production Yearbook 2009 / continued on page 106

Natalie Michele

production area


p.o. box 489

10314 Main St.

new Middletown, ohio 44442


SURE SHoT TRANSMISSIoNS continued from page 104



Grass Valley kalypso Hd 4 M/e with 60 inputs/48 outputs,

internal dVe, and Spektra/kurl effects

chyron Hyper x2 Hd/Sd 2 channel

digisuite Sc clip player


6 Grass Valley ldk 8000 HdtV multiformat triax cameras

2 19x angenieux lenses

3 70x angenieux lenses

10x angenieux wide-angle lens


eVS six-channel xt[2] Hd with 4 in/2 out channels

eVS xfile [2] digital archive Station

Sony dVWM2000 digibeta

2 Sony kdWd1800 Hd caM Vtr

panasonic aJ Hd 1800 dVcpro deck

Natalie Michele production


106 Mobile SportS production Yearbook 2009


Yamaha pM 5d digital audio console 48x4 stereo inputs

and eight-channel aeS digital i/o: 24 mix busses

4 Sony ecM-55b condenser lav mics

3 Sennheiser Me66 short shotgun mics

3 Sennheiser Me 67 long shotgun mics

6 Shure hand-held mics


32x64 Hd/aeS/analog tdM GVG concerto router


aVl 1.8 meter 4-port ku-band antenna

Mcl Mt32pc2-400k-1

2 Mcl Mt3200 400-watt amplifiers

Mxc controller

aVcoM spectrum analyzer

2 MiteQ u-9956-6 ku digital upconverters

2 tiernan He4000 encoders Hd/Sd W/dVb-S2

2 tiernan Hd 4040 ird Hd/Sd

Wohler aMp-2-S*Had 8-channel

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Following up on last year’s launch of its

first Hd truck, Varsity, Madison, Wi-based

token creek Mobile television has converted

its 53-foot Sd Hiawatha unit to Hd. unlike

many Hd retrofits, Hiawatha had been built

ready to make the upgrade when the market

was ripe.

“When we built Hiawatha four years ago, we

knew it was going to be an Hd truck eventually,”

says president John Salzwedel. “We didn’t

have the funding then to go Hd but wired it

ready to go. So we didn’t have to take the entire

truck apart and were able to use most of

the existing infrastructure. it cost us just $3.5

million to do the Hd upgrade.”

this foresight reflects token creek’s design

philosophy, which is based on being flexible to

handle a range of work and efficient to maximize


“We do a lot of ‘set, shoot, strike’ work and

design our trucks to be very efficient at that,”

says director of engineering brendan clark.

“our trucks have the infrastructure to handle

a large show when needed but are focused on

the mid market.”

anticipating the Hd upgrade path for Hiawatha

involved some guesswork that proved

to be accurate.

“We built it originally for the readily available

Hd gear, the up/down/crossconverters

and eVS units available at the time. Going

forward, we didn’t need to add a lot videowise,”

says clark. “the cabling harnesses were

all set; the jacks on the i/o were set for Hd,

with some spigots for Hd upconverters. the

biggest upgrade was adding an aeS audio

layer to it.”

For clark, the biggest challenge for getting

5.1 audio right isn’t on the equipment side.

the issue is matching the equipment to the

crews capable of getting up to speed with a

particular setup.

“a lot of Hd shows are not going with 5.1,

though they all want to make that transition

from stereo,” he explains. “it seems that, with

‘set-shoot-strike’ days, getting the operators

trained [to communicate what they need] is

a challenge. it’s still a learning curve for some.

i’m sure that, if they had a few shows to figure

it out, it wouldn’t be an issue. but going in on

a seven-hour call for a basketball game, figuring

out your 5.1 mix, and getting it all encoded

and transmitted properly — it gets a little tight

on time.”

While such details get worked out as the

Hd business matures, token creek is planning

for major growth, taking a new tack in the regional


“What we have in the pipeline is looking

forward some 18 months, where we plan to

add a couple of trucks to the fleet all at once,”

says Salzwedel. “these will be midsize — up to

45 feet.”

aside from the business challenges of

achieving such growth, a key factor will be

finding what constitutes the industry standard

for such a midsize regional truck.

“We’re looking at the Mobile tV Group’s

big ten trucks,” Salzwedel says. “they are an

interesting model for the industry, but we’re

not sure they will work for us. the clients want

smaller and cheaper, but they also want it all

in terms of capabilities. the people working

these trucks, not just the bean counters, really

need to be behind this.”


501 Moravian Valley rd.

Waunakee, Wi 53597

tel: 608.849.4965 Fax: 608.846.4723

108 Mobile SportS production Yearbook 2009 / continued on page 110

Hiawatha production area


TokEN CREEk MobIlE TElEVISIoN continued from page 108



Grass Valley kalypso Hd production switcher with 4 Me

75 input/48 outputs 64 external tally relays; internal

still store w/2 inputs and 8 outputs

eVS xt[2] Spotbox

GVG Hd internal pdM (ipdM) 6 channels video & key

GVG Hd klipcache still store with expansion option; Hd

Spektra lighting, Glow & defocus effects option, Hd

kurl digital effects option, Hd doubletake splittable

M/e system

abekas dVeous Mx with 6 Hd inputs

chyron Hyper x Hd Graphics System

codi telestrator (Sd) upconverted * on request


8 thomson ldk-8000 Hd World cams (wired for 12


8 thomson ocp400 control panels Mcp master-control


3 JVc GY-Hd250 poV cameras

3 angenieux 70x Hd sports lenses (semi-servo)

2 angenieux 60x Hd sports lenses (semi-servo)

3 angenieux 26x beSM-Hd lenses

2 angenieux 19x beSM-Hd lenses

6 Vinten Vector 70 heads

6 Vinten Heavy duty Sticks

4 cartoni delta heads/sticks


1 eVS lSM-xt[2] Hd four-channel with multicam


2 eVS lSM-xt[2] Hd (ros) four-channel broadcast


eVS netGuard hub networking system

eVS xfile digital archive station

110 Mobile SportS production Yearbook 2009

Sony HdW M2000 1080i multiformat deck

panasonic aJ-1400 Hd (no xl tapes) Hd deck

2 Sony dVW M2000 digibeta decks

Sony bVW d-75 betaSp decks

2 dVd player/recorder (dVd-r)

4 dnF St300-SSM-t controllers


calrec omega with bluefin; 56 faders

dolby dp570

dolby dp 571

dolby dp 572

dolby dp 563

2 rane aVa22d alignment delay

Wohler monitoring

Shure Vp88 stereo mic

8 Sennheiser HMd25-1 sportscaster headsets

4 Shure beta 58a mics

4 Shure SM81lc hand mics

6 Shure Vp64al hand mics

8 Sony ecM77b lav mics

6 Sennheiser Me67/k6 shotgun mics

6 Sennheiser Me66/k6 shotgun mics

6 Motorola Ht radios

24 telex bp325 dual belt pack

18 beyer dt108 headsets

10 beyer dt109 headsets

2 rtS 2 ch. biscuit boxes

6 daltech tb-2 2 button announce consoles

2 clear-com tW12/rtS interface

2 big ears parabs * on request


QuStream peSa 256x, 128x208 Hd Sdi router

pesa drS audio router 128x128 analog 256x256 aeS

128 aeS inputs/outputs 64 analog inputs/outputs

Hiawatha replay area


Audio-Technica’s new shotgun microphones, the BP4071L, BP4071 and BP4073, offer extremely focused pickup

throughout the entire frequency range. These innovative mics are ideal for creating high-quality audio for broadcast,

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Chicago-based trio Video operates a fleet

of six mobile trucks: three high-definition

units, two standard-definition units, and a

fully configurable four-room b unit. Work on a

fourth Hd unit is set to begin as soon as financing

is worked out.

“the biggest thing in our business now is

the quest for financing,” says president Jack

Walsh. “the banks have tightened up, and suddenly

everything comes down to formulas.

they’re concerned we can’t charge enough.”

trio’s Hd flagship, rhythm, is a 53-foot unit

with a 45-foot expando matched with a fully integrated

b-unit support truck. rhythm is primarily

servicing a multiyear contract signed last winter

for the chicago-based big ten network. btn is a

joint venture of subsidiaries of the big ten conference

and Fox cable networks. programming

includes football, men’s and women’s basketball,

and other ncaa-sponsored sports.

a hot streak for the chicago baseball teams

kept trio busy through the Mlb season. rhythm,

along with its sister Hd units, tango and phoenix,

provided engineering support and equipment

for more than 300 nationwide and local

broadcasts of the chicago cubs and White Sox

for comcast Sportsnet chicago, WGn tV Sports,

and the Fox tV Mlb Game of the Week.

For carl roszczbiuk, trio Video’s director of

engineering, plans on the drawing board for

a proposed fourth Hd unit show the current

stage of the transition from Sd.

“the gear that makes up an Hd truck has

now become pretty much standardized,” he says.

“We’re at the point where we can pretty much

replicate what we’ve done for future units. three

years ago, you’d have successive units that were

completely different. now you can duplicate a

truck knowing you’re working with equipment

that will be around for another five years.”

in addition to the specific gear, core tech issues,

too, have been resolved.

“Some of the previous issues revolving

around the compatibility issues between different

equipment has been worked out: different

frame rates, different signals,” says roszc-

zbiuk. “We’re still dealing with proper aspect

ratios when Sd upconversion is involved. it’s

gotten better.”

For roszczbiuk, the time in the field with

rhythm has shown that this generation of

gear and design has hit the mark, especially in

terms of monitoring.

“We’ve hit a benchmark of simplicity,” he

says. “the signals to the monitors are patched

directly from the router. everything else involved

has been eliminated, saving heat and

space. now you don’t have to worry about

black boxes in between monitors.”

as the new Hd “standard” gear goes through

its life cycle, the long-term advantages from

such stability are the ability to service equipment

through a five-plus–year life. However,

one casualty of the current economic climate

may be the availability of replacement parts.

“things have changed lately with a lot of the

vendors in terms of back-room support,” says roszczbiuk.

“it costs money to store parts for older

equipment. everything is built for a run, then people

get tired and move on to new products, and

that makes it hard to get parts for old products.”

using consumer-grade lcds has proved

problematic, given changes in specs.

“We’ve seen the same model number

change in dimensions over a period of months,”

explains roszczbiuk. “referencing the model

number is useless. You really have to check the


114 Mobile SportS production Yearbook 2009 / continued on page 116

Rhythm control room


2132 W. Hubbard

chicago, il 60612

tel: 312.421.7060

Fax: 312.421.0361



Your Hi-Def and Video Rental Source

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• VTRs and CAMERAS – All Formats

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© 2008 Video Equipment Rentals. 313-08-R1


TRIo VIDEo continued from page 114



Grass Valley kalypso 4-M/e 60-input Hd production switcher with six built-in

channels of 2d perspective dVe

abekas dVeous Mx dual twin-channel Hd/Sd digital video effects eic

abekas clipstore Mxc with swappable hard drives

chyron duet Hyperx Hd/Sd graphics system


Grass Valley ldk-6000 Mkii WorldcaM Hd cameras

Fujinon 101x lenses

Fujinon 87x lenses

Fujinon 22x Hd lenses


all Hd and Sd tape-machine formats available on request

eVS Hd lSM xt[2] 6-channel video disk recorders

Sportnet Sdti network

xfile[2] digital archive station


calrec Sigma 100 w/blueFin 160-input 5.1 digital audio console with

212-channels (108 stereo and 104 mono with 64 assignable faders)

dolby e 5.1 Surround Sound encoder/decoder

digicarte networked audio server


Grass Valley trinix 128x192 Hd/Sd video router

Grass Valley concerto 128x128 aeS 96x96 analog router

32x32 tc 64-port machine-control router

53-foot Rhythm

116 Mobile SportS production Yearbook 2009



Production 3

Production 2

Production 1

Videotape 2

Videotape 1



Revolutionizing Remote Encoding Operations ®








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Turner Studios’ fleet of two

trucks hit the road in 2004, a

lifetime ago in today’s technology

environment. but that doesn’t

mean the trucks have been left

behind technically, because, every

year, enhancements help

them better meet the needs of

turner Sports and its clients.

tS2, for example, received an

audio-board upgrade with the

arrival of a calrec alpha console

with bluefin technology. “that’s

the single largest thing we’ve

done to improve the truck, and

we hope to add a calrec alpha

with bluefin to tS1 in 2009,” says

bob McGee, director of technical

operations for turner Studios Field operations.

“We want to get both the same technically

from an audio standpoint.”

turner Studios Field operations functions

as a service arm of turner Sports, tnt, and tbS.

“We’re designed to break even and pay our

own freight,” says McGee. the trucks handle

nba on tnt coverage, some weekly Major

league baseball regular-season work, and also

Mlb postseason coverage. turner also handles

all notre dame home football games via a subcontract

with nep.

“traditionally, we fare pretty well, and we’re

turning down Hd business on a weekly basis

because our trucks are booked,” says McGee.

“We aren’t going to be able to escape the economic

downturn, but we hope that, if consumers

don’t have a lot of money, they’ll stay home

and watch tV.” that could mean more eyeballs

for advertisers and keep ad dollars flowing to

the networks.

McGee is eyeing other improvements for

2009, including a possible move to new flatpanel

monitors that have faster refresh rates

and higher resolution. the camera shading

area, transmission area, and quality-control

areas of the trucks all still rely on crt monitors.

other items on the wish list include add-

ing six-channel eVS units (each truck already

has two six-channel and one four-channel

eVS units) and expanding the number of

routing switcher inputs and outputs so that

the trucks can more easily meet the demands

of clients.

“We aren’t concerned about 3-Gbps routing

as much as we’re concerned about capacity,

but that move isn’t in our immediate future,

given the current financial climate,” says

McGee. “For now, we’re focused on adding the

second audio console.”

like all technical-operations professionals,

McGee has his eye on the future—even one

that may be three or five years away.

“looking down the road,” he says, “we’re like

everybody else, looking at things like replacing

tape rooms and moving to a day when we

are no longer maintaining mechanical tape or

disk drives.”


820 ralph McGill blvd.

atlanta, Ga 30306

tel: 404.524.3911

120 Mobile SportS production Yearbook 2009 / continued on page 122

HD2 replay area

On Air. On Time. On Budget.

JVC’s GY-HD250 Camera System. Everything you need to broadcast high-performance HD.

Studios in markets all across the country are making the move from SD to high-performance HD. And JVC’s GY-HD250

is the camera broadcasters nationwide are selecting because of its innovative features, superb picture quality and

unmatched value advantages. No other camera system makes transitioning to HD easier or more affordable than the

GY-HD250. It offers our exclusive camera control unit (CCU) with Remote Control Panel for painting and shading, a large

studio viewfinder, and an uncompressed 720p or 1080i HD-SDI output.

Talk to the Pros at JVC for all the details on the GY-HD250 Camera System. Call 1-800-582-5825 or


Studio photo is courtesy of WTVR-TV (Raycom Media) in Richmond, VA. ©2008 JVC Professional Products Company.


TURNER STUDIoS continued from page 120



15 nec3000 lcd’s controlled by Miranda k2 processors

(allows up to 102 Hd/Sd router driven sources)

10 Sd monitors at p2

10 Sd monitors at p3

p2 and p3 are functional equivalents


5 ikegami Hdk-790 e Studio camera (fiber or triax operation)

3 ikegami Hdk-79e portable cameras with system expanders

*(fiber or triax operation)

4 ikegami Hdk-79e portable cameras *(fiber or triax


*79e fiber adapter upon request

7 canon xJ86x9.38 ie ii-d Studio lens (with image


canon HJ100x9.38 ie-d Studio lens (with image


4 canon HJ21x7.8b iSrd/iaSd portable lens

canon HJ11x4.78 iSrd/iaSd wide-angle lens


Grass Valley kalypso Hd production monitor

Six video/key channels of internal digital video effects

Four keyers per M/e

up to 90 inputs

doubletake split-M/e technology

Supports Sd or Hd programming

1080i- or 720p-compatible

pesa cheetah video router w/tdM 3000 audio frame

128x112 Hd

128x256 Sd

122 Mobile SportS production Yearbook 2009


3 Sony SrW 500 Multi-format digital recorders

1080 recording and playback

12 channels of 24-bit audio at 48 kHz

720 recording and playback

internal format conversion

legacy playback

Sony HdW-M2000 Hd cam digital recorder

3 Sony dVW-a500 digital betacam recorders

2 Hd lSM xt 6-channel eVS servers and 2 Hd MaxS

2-channel eVS servers

live slow motion

Highlights editing

integrated downconversion

Sportnet real-time Sdti networking

eVS xfile

2 Sd FFV omega 2-channel ddr; one with removable

hard drive

evertz GpS locked master sync generator and time code


3 kaleido monitor processors capable of displaying

64 Sd images , 2 Sd images and 4 VGa images



SSl Mt plus digital multitrack console with 208 inputs,

192 active processing channels,

80 outputs and configurable for 5.1 surround mixing

2 dbx-160x outboard w/compressor/limiters

Spx 900 effects unit

tascam cd-601 compact disc player

Yamaha dM1000 audio board

pesa tdM 3000 (224x224) audio router

2 rane stereo digital delays

digicart/e; digicart ii; digicart instant replay

4 Fostex powered speakers

8 rtS line amps

extensive inventory of microphones, including 6 816

long shotguns, 4 416 short shotguns, 6 Vp64 sticks, 4

ecM66 lavs, 4 ecM77 lavs, 4 SM57, 4 SM61 condenser

mics, 6 Hd25 announcer headsets, 4 daltech talkback


HD2 production area


cross creek

bobbie conner

office: 205-663-4411


TRO Crewing, Inc.

amy kelso

office: 480-496-8093

cell: 602-697-4205


los Angeles,

San Diego & Southern

Pettigrew Crewing

bill pettigrew

office: (951) 506-6259

San Francisco, Oakland,

Sacramento & Northern


rich Shapiro

office: 510-644-1961


Colorado Crewing, LLC.

kay Schumacher

office: 303-698-9608

cell: 303-807-6178


Hartford and Eastern

Green Line Group

paul Goldman or penny


office: 508-653-8200

cell: 508-479-0889


New Haven and Western

Barry Fialk Inc.

barry Fialk

office: 973-628-7251

cell: 973-865-0543


Total Production Services

Steve Paino

office: 610-995-9750 x201


SBTVcrews, Inc.

Steve Baldwin

office: 410-357-0352

FlORIDA - Jacksonville,

Orlando, Tampa, Miami


Major Howe

office: 321-689-8800


Double M Productions, Inc.

Melinda Mazo

office: 404-633-5290

cell: 404-386-8873


Pacific Coast Cameras &

Crewing, Inc

debbie or Vicki

office: 503-663-2739


Clarion Production Services

Kelly Dorner

office: 847-543-1188

INDIANA - IndianapoliS

Beth Efroymson

office: 317-727-9860



INDIANA - South Bend

Paul Borowski

office: 574-234-0278

cell: 574-210-4800


Rich White

office: 319-393-5500

cell: 319-533-0603



bob basile & Sheri kutz

office: 816-505-5533

cell: 816-309-8047


Gary Mosley

office: 859-552-9913


Yes Productions

Jim Moriarity

office: 504-483-8460


Green Line Group

Paul Goldman or Penny


office: 508-653-8200

cell: 508-479-0889



SBTVcrews, Inc.

Steve Baldwin

office: 410-357-0352


Green Line Group

Paul Goldman or Penny


office: 508-653-8200

cell: 508-479-0889


Motor City Crewing

Tim Golobic

office: 248-615-1590


R. Carr Productions, Inc.

Randy Carr

office: 651-226-7636




Cross creek

Bobbie Conner

office: 205-663-4411

MISSOURI - kansas city


Bob Basile & Sheri Kutz

office: 816-505-5533

cell: 816-309-8047


Kaufman Broadcast

Paul Lawless

office: 314-533-6633

cell: 314-313-4372

MONTANA (crews flown

from Seattle & Portland)

Pacific Coast Cameras &

Crewing, Inc

Debbie or Vicki

office: 503-663-2739



Bob Basile & Sheri Kutz

office: 816-505-5533

cell: 816-309-8047


Scott McClain

office: 702-458-4614

cell: 702-521-1293


Green Line Group

Paul Goldman or Penny


office: 508-653-8200

cell: 508-479-0889


NEW JERSEY - Northern

Barry Fialk Inc.

Barry Fialk

office: 973-628-7251

cell: 973-865-0543

NEW JERSEY - Southern

Total Production Services

Steve Paino

office: 610-995-9750 x201


Gerald Berkhahn

office: 505-292-8571

cell: 505-401-8480


Buffalo and Rochester

Chrisanne Bellas

office: 716-510-0569


NYc Metro Area

barry Fialk inc.

barry Fialk

office: 973-628-7251

cell: 973-865-0543

Syracuse and Albany

Mark Ballard Remotes

Mark Ballard

office: 315-420-9432




charlotte & Greensboro

Loyce Broughton

office: 828-287-2191

cell: 704-577-6426

Here are the country’s best mobile television crewers for your

next sporting, news, entertainment, or corporate producti


Raleigh and East

William A. Evans Productions,


Bill Evans

office: 919-522-4126



flown in from Minnesota)

Randy Carr

office: 651-226-7636




cleveland - columbus -


Lyon Video

Stacia Fritchie

office: 614-297-0001


Tim Cushing

Office: 405-612-3037


Pacific Coast Cameras &

Crewing, Inc

Debbie or Vicki

office: 503-663-2739


Philadelphia to Harrisburg

Total Production Services

Steve Paino

office: 610-995-9750 x201

Pittsburgh to State college

Pittsburgh Crewing


Sharon Wolf

office: 412-487-3232

cell: 412-760-8018


Green Line Group

Paul Goldman or Penny


office: 508-653-8200

cell: 508-479-0889



Double M Productions, Inc.

Melinda Mazo

office: 404-633-5290

cell: 404-386-8873


flown in from Minnesota)

Randy Carr

office: 651-226-7636

TENNESSEE - Memphis/



Cross creek

Bobbie Conner

office: 205-663-4411

pcS production co.

pam busby

office: 972-550-8503

cell: 972-467-0303

TExAS - Houston / Austin /

San Antonio

PCS Production Co.

Pam Busby

office: 972-550-8503

cell: 972-467-0303


ORTTV Productions LLC

Jim Orton

office: 801-718-5696


Green Line Group

Paul Goldman or Penny


office: 508-653-8200

cell: 508-479-0889



Total Production Services

Steve Paino

office: 610-995-9750 x201


Pacific Coast Cameras &

Crewing, Inc

Debbie or Vicki

office: 503-663-2739


Huntington & charleston

Gary Mosley

office: 859-258-7375

cell: 859-552-9913



Pittsburgh Crewing Company

Sharon Wolf

office: 412-487-3232

cell: 412-760-8018


Dan Quinn

office: 414-588-0476

cell: 414-588-8917


Colorado Crewing, LLC.

Kay Schumacher

office: 303-698-9608

cell: 303-807-6178

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