Super Bowl XLVI on NBC HD - Production and Technical Information - AVS Forum
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post #1 of 25 Old 02-04-2012, 06:59 PM - Thread Starter
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From The London Free Press.com

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Inside NBC's Super Bowl coverage

By KEN FIDLIN, QMI Agency

Unless you’re a total sports TV junky — and maybe not even then — the name Fred Gaudelli probably doesn’t mean much to you. Just so you know, when you sit down to watch the Super Bowl Sunday night, your TV, in Fred Gaudelli’s hands, is like a Stradivarius tucked under Paganini’s chin.

Gaudelli, a 10-time Emmy Award-winner, is the producer of NBC’s coverage of the big game, as he’s been three times previously. According to people who know about these things, Gaudelli is to major sports TV production what Einstein was to physics, Sinatra to singing, Capone to bootlegging: simply the best.

Television is nothing if not a reflection of the speed of technological change that seems to happen faster and faster every year in all phases of our lives. The temptation must be great for people in TV to overwhelm us with every new digital bell and whistle, especially in an extravaganza like a Super Bowl.

Gaudelli’s gift is to incorporate each new advance seamlessly, without hitting the viewer over the head with it. For example, back in the 1990s when he was at ESPN, Gaudelli invented that electronic line that shows where the line of scrimmage and the first-down markers are located, a feature that immediately became an essential part of every telecast.

For this year’s Super Bowl, NBC Sports is incorporating four new ultra-slow motion cameras reputed to be unmatched in replay clarity. Like the combatants, Gaudelli’s team will adjust and respond to the rhythms and personality of the game itself, rather than follow some irrelevant pre-ordained script. “That’s a battle you fight sometimes,” he told reporters this week. “There are so many things you want to do, but you have to stay true to the game and you have to make what’s happening on the field a priority.”

You think he doesn’t take that trust seriously? Last Monday, Gaudelli sent two crews to a local Indianapolis high school and handed out Giant and Patriot playbooks, both offensive and defensive, to the school football team. On Friday, after cramming all week, the team of teenagers arrived at Lucas Oil Stadium for a dress rehearsal so the NBC crew could refine its camera angles for all formations that either team will use, not to mention all the crazy permutations that might arise, leaving little to chance.

At Gaudelli’s fingertips is a staff of 450 who will have access to the images of 40 NBC cameras and 60 miles of cable, backed up by 29 trucks and trailers filled with technology and experts who actually understand it. “There will be quite a few new production elements in terms of the graphics that we use to display information in terms of what we’ll do to personalize players,” said Gaudelli. “We have done some extensive photo shoots with both teams to try to give people a sense of the player without the helmet on and what he looks like and where he’s from, and hopefully his personality.

“With the Super Bowl, everything is bigger and bolder in terms of the presentation, and that will certainly be so. But when it comes right down to it, it’s all about how we’re going to cover this game. To me, that is the ultimate litmus test. How well will we do? We expect to do very well.”

From noon right through until the 6:30 p.m. kickoff, NBC and its various hosts and analysts will probe every nook and cranny (and then some) of these two teams in what has evolved into an annual exercise in pre-game overkill. It’s all pretty much white noise until Al Michaels and Cris Collinsworth, the best football broadcast combo on any network, anywhere, it says here, take over for the opening kickoff and Gaudelli and his staff let the game take us wherever it wants.

“The match-up is tremendous,” says Michaels, who will be calling his 10th Super Bowl. “If you’re going to put a couple of guy’s names up in lights on the marquee, it’s going to be Eli Manning and Tom Brady. It’s the first time in history that two guys who have won Super Bowl MVPs as quarterbacks face off against each other.”

In 2011, the Super Bowl North American audience was estimated at 111 million, largest in history, to see two iconic franchises, the Green Bay Packers and Pittsburgh Steelers, do battle. Don’t be surprised if it’s even larger this time around, with two of the world’s heavyweight sports-loving populations — Boston and New York — in the fray. That staggering number even has Madonna, the halftime warbler, wondering if she’s out of her league.

“First of all, it’s the Super Bowl,” Madonna told CNN’s Anderson Cooper. “The Super Bowl is kind of like the holy of holies in America. I’m going to come in halfway through the church experience and I’m going to have to deliver a sermon that’s going to have to be very impactful.

“I have to put the greatest show on earth in the middle of the greatest show on earth ... that’s a lot of pressure,” she added. Okay, whatever. Madonna needn’t worry. She’s in Fred Gaudelli’s hands.


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post #2 of 25 Old 02-04-2012, 07:12 PM
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Grass Valley press release:

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Grass Valley Live Production Technologies Supports Super Bowl XLVI Broadcast and Related Festivities

San Francisco, Calif. February 03, 2012 Deployed by the country's largest and most experienced mobile production companies, a wide variety of live production equipment from Grass Valley will once again be used for this year's highly anticipated Super Bowl XLVI high-definition telecastas well as for a number of related programs shot during the week leading up to the big game.

This year, NBC Sports will broadcast the game in the US, live from Lucas Oil Stadium in Indianapolis, Indiana, on February 5, 2012. The broadcast will be supported by NEP Broadcasting (Pittsburgh, Penn.) and Game Creek Video (Hudson, N.H.). Game Creek is also working with ESPN on a variety of related shows leading up to the big event.

NEP Supershootersa division of NEP Broadcastingwill have a total of ten trucks on-site in Indianapolis. Its "ND3," "ND4," and "SS24" (54-foot) rigs will cover the main game telecast, while another six trucks will help produce a variety of game-related programming on location. Many of these trucks feature Grass Valley HD production gearcameras, video production switchers, routers, and signal conversion modulesin a variety of configurations.

NEP's SS24 HD mobile production truck, which is one of the largest in the country and is comprised of two 53-foot double expando trailers combined, features a Grass Valley Kalypso Video Production Center switcher, as well as Trinix NXT and Concerto Series routing switchers. The company's SS25 truck will be used for the NFL's World Feed and carries a Grass Valley Kalypso Video Production Center switcher, more than one dozen Grass Valley LDK 8000 Elite WorldCam HD cameras, as well as Grass Valley Trinix and Concerto Series routers.

NEP's "California" truck will help broadcast the live halftime show featuring Madonna and its "Summit" truck will cover the NFL Hall of Fame event. The ND4, California, and Summit vehicles all include a Grass Valley Kalypso Video Production Center switcher on board.

"With the entire world watching, it's critical that our productions look the best they can," said George Hoover, Chief Technology Officer at NEP Broadcasting (a.k.a. Supershooters). "For our money, that means using Grass Valley equipment where it's appropriate. We are a long-time fan of their production switchers and cameras, and continue to use them whenever our clients need uncompromising quality and flexibility."

Game Creek Video will have several of its mobile production trucks on hand in Indianapolis to help produce programs for ESPN and NBC. The company's "Freedom" truck, complete with a Grass Valley Kalypso Video Production Center switcher with dual external HD GVeous effects units, will handle various ESPN studio shows during the entire week from Pan Am Plaza. The company's "Northstar" truck, with a Grass Valley Kayenne Video Production Center switcher on board, will cover ESPN's "Sports Center" live coverage also from Pan Am Plaza, while the "Larkspur" mobile unit, also with a Kayenne, will broadcast for ESPN from Lucas Oil Stadium. For NBC, Game Creek's "Victory" truck, complete with a Kayenne Video Production Center switcher, is being used to produce the "Live Late Night with Jimmy Fallon" show on location in Indianapolis.

"Live sports production is a main focus of our company and we've supported high-profile productions like the Super Bowl for many years, because quality and reliability matters most," said Jeff Rosica, Executive Vice President of Grass Valley. "Customers like Game Creek and NEP Broadcasting are at the top of their game and demand the absolute best that current technology has to offer. We're proud to say that they continue to come to us for new equipment and we're happy to support them in any way we can."

* Disclaimer: Grass Valley is not an official sponsor of Super Bowl XLVI, nor is it affiliated in any way with Super Bowl XLVI, the National Football League, NFL Network, NFL Films, NFL International, NBC, the Indianapolis Super Bowl Host Committee, ESPN, nor any other organization affiliated with Super Bowl XLVI or the National Football League. Information supplied in this press release does not imply endorsement from the National Football League, NFL Network, NFL Films, NFL International, the Indianapolis Super Bowl Host Committee, NBC, or ESPN. Super Bowl, NFL, NBC, and ESPN are registered trademarks and/or service marks of their respective owners.

###

About Grass Valley - the Premier Video Technology Solutions Company

With a rich history serving the broadcast and professional video industries, the Grass Valley name is synonymous with innovation, leadership, and performance. With a full range of products and services supporting many of the world's most high-profile live events, Grass Valley offers the most comprehensive portfolio of software, services and IT infrastructure. Customers deploying Grass Valley solutions include most of the world's leading broadcast and teleproduction IT facilities, independent video professionals, as well as emerging content creators and distributors providers of broadband, telecommunications, and transmission services. When you're watching news, sports, or entertainment programming, whether on a TV, the web, or a mobile phone, you're watching Grass Valley at work in the connected world.

For information about Grass Valley products, please visit www.grassvalley.com.

http://www.grassvalley.com/news/pres...ed-festivities

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post #3 of 25 Old 02-04-2012, 07:13 PM - Thread Starter
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From NBC

NBC Sports Group Production Leaders

Super Bowl XLVI
Executive Producer
Sam Flood

Game Producer
Fred Gaudelli

Game Director
Drew Esocoff

Pregame Co-Producer
Joe Gesue

Pregame Director
Bucky Gunts

NBC SportsTalk Producer
Ricky Diamond

Costas Tonight: Live From the Super Bowl
Ross Greenburg
Molly Solomon

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Broadcasting & Cable:

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Super Bowl XLVI: The Gear Behind the Game
Many major vendors of equipment and services, including NEP, Sony, Grass Valley, Canon and Level 3, will be playing a key role in the NBC Sports production

By George Winslow -- Broadcasting & Cable, 2/3/2012 5:25:35 PM


Coverage of Super Bowl XLVI will once again be relying on many of the biggest names in broadcast equipment, with NBC Sports using a wide array of high-end production equipment and services from NEP, Sony, Grass Valley, Canon, Level 3, Calrec, Evertz, EVS and others for the event.

Topping the list of vendors of equipment and services is NEP Broadcasting, which is supplying all the technical facilities for NBC Sports. This will include NEP's ND-3 A, B and C mobile production units, the ND-4 A, B, C and D units and the SS24 HD truck for game coverage.

Equipment in the ND-3 units include a Sony MVS-8000A production switcher, Abekas DVEous digital video effects system, a Grass Valley Trinix HD video router, an Evertz 192 input MVP system, a Calrec Alpha Digital Audio Control with 86 dual layer faders and a Grass Valley Concerto Router

ND-4 has a Grass Valley Kalypso 4 M/E switcher but also uses the Abekas, Grass Valley and Evertz gear.

Other vendors for equipment in the trucks include Sony and EVS for recording and playback systems, Dolby audio encoders and de-coders, and microphones from Sennheiser, Sony and Electrovoice.

NEP's SS24 HD mobile production truck includes a Grass Valley Kalypso Video Production Center switcher, as well as Trinix NXT and Concerto series routing switchers.

NEP's SS25 truck, which will be used for the NFL's World Feed, carries a Grass Valley Kalypso Video Production Center switcher, more than one dozen Grass Valley LDK 8000 Elite WorldCam HD cameras, as well as Grass Valley Trinix and Concerto series routers.

The NEP Denali mobile HDTV truck designed for entertainment events and programming will be used for halftime.

Sony will be providing most of the cameras, mostly Sony HDC-1000s and Sony HDC-1500s.

More than 100 Canon HDTV field lenses and portable zoom lenses will be used for the domestic and international productions.

Canon lenses being used include the XJ100x9.3B and XJ86x9.3B long-zoom lenses designed for "hard" HDTV field cameras.

Canon HDTV lenses mounted on a variety of portable EFP-style cameras, Steadicams, and jib arms will include HJ14ex4.3B wide angle lenses, HJ22ex7.6B lenses and HJ40x14B portable telephoto EFP lenses.

In additional, NBC Sports will be using four NAC Hi-Motion II ultra-motion cameras. They are made by NAC Image Technology and were jointly developed the cameras with Ikegami, which sells and supports the product. The four cameras that will be used this year were supplied by Fletcher Camera & Lenses, which recently purchased 12 of them.

Overall NBC will be using 57 cameras, with 40 devoted to the game coverage and will bring more than 475 people to Indianapolis for the pre-game and game productions.

SportsMEDIA Technology Corporation will provide production enhancements, such as virtual insertion of the yellow first-down line and down-and-distance indicator and other data feeds and tickers.

Once again, Level 3 Communications will be the main provider of transmission services. In total, Level 3 is expecting that more than 3,000 hours of video content will be acquired, encoded and transported across Level 3's Vyvx VenueNet+ platform for Super Bowl coverage. The live game feed will be delivered with the JPEG 2000 format.

In addition to delivering the game, Level 3 will also carry the pre-game and post-game feeds to NFL operations centers in Mt. Laurel, N.J., Culver City, Calif. and NFL Network master control facilities in Atlanta.

Content will also be delivered by Level 3 to other broadcast networks and satellite teleport sites for global distribution.

Overall, Super Bowl XLVI will air in more than 180 countries and territories in over 25 different languages.

http://www.broadcastingcable.com/art...d_the_Game.php

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From NBC

Super Bowl XLVI By the Numbers

1 Hard camera located on building roof for scenic views of Indianapolis.
7 Digital Post-Production Facilities (5 Avid Suites, 2 Final Cut Pro Suites).
7 Separate set locations for pre-game show and NBC Sports Network programs during Super Bowl week.
7 Satellite uplink trucks covering game and pre-game locations as well as live streaming of the Super Bowl.
12 NEP Supershooter Mobile units in the TV Compound.
25 Digital Video Replay Sources between game and pre-game.
29 Vehicles (control trucks, mobile units, office trailers).
57 High Definition Cameras- 40 for the game and 17 for pre-game. Game has 20 hard cameras, nine hand held (three on robotic arms), one RF steady cam, one RF hand held, four Ultra slow-motion cameras, one cable-cam, one airplane shooting high-definition aerials.
60 Miles of camera and microphone cable.
116 Microphones (including 12 on-field parabolic microphones).
165 NBC IP phones and analog lines ordered for the Super Bowl
475 More than 475 people will be part of the NBC production, technical, administrative and support crews.
3500 Meals served to NBC crew at the stadium.

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post #6 of 25 Old 02-04-2012, 07:15 PM - Thread Starter
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From NBC

Camera Placement Map

http://press.nbcsports.com/docs/Supe...ment%20Map.pdf

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post #7 of 25 Old 02-04-2012, 07:16 PM
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Broadcasting & Cable on the 1K fps cameras NBC will be using:

Quote:


NBC Adds New Ultra Slow-Motion Cameras for Super Bowl
The four NAC Hi-Motion II ultra-slow motion cameras will offer better replays of the action

By George Winslow -- Broadcasting & Cable, 2/2/2012 4:55:40 PM


NBC Sports has decided to use four new NAC Hi-Motion II cameras from NAC Image Technology for the network's coverage of Super Bowl XLVI. The cameras have a three-CMOS censor that will allow crews to capture higher quality images for ultra-slow-motion replays.

The new camera system is made by NAC Image Technology and developed in cooperation with Ikegami, which is selling and the supporting the Hi-Motion II cameras.

The cameras to be used at this year's Super Bowl are among the 12 Hi-Motion II cameras sold by Ikegami to the rental company, Fletcher Camera & Lenses.

The Hi-Motion II cameras have a three-CMOS-sensor camera head with built-in memory, which has much better light sensitivity and is capable of delivering greater than ten-times-speed ("10x") for ultra-slow-motion playback of HD sports action.

The Hi-Motion II camera has a dual-format 1080i/720p system that can provide simultaneous output of live normal-speed video and ultra-slow-motion replay video.

In a statement, Dan Grainge, VP at Fletcher Camera & Lenses, noted that his company invested $3.5 million in the new technology because of the cameras offered a number of advanced features, including superior image quality, easy integration with production trucks and their ease of use.

"Number one is the superior image that we saw in the Hi-Motion II cameras during side-by-side testing with other high-speed cameras," Grainge said in a statement. "You can get great images out of both single-chip and three-chip cameras, but I can tell you that the three CMOS sensors in the Hi-Motion II cameras provided a clarity improvement and a detail enhancement that is better than their competitors' cameras."

http://www.broadcastingcable.com/art...Super_Bowl.php

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post #8 of 25 Old 02-04-2012, 07:24 PM
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I still don't get why they need 2 Supershooters just for the game.

NEP ND-3 (game)

NEP ND-4 (game)

NEP SS24 (pre-game)

NEP SS25 (world feed)

NEP California (half-time)

NEP Summit (hall of fame event)

Game Creek Video trucks (various ESPN and NBC duties)

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post #9 of 25 Old 02-04-2012, 09:48 PM - Thread Starter
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From Sports Video Group

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Live From Super Bowl XLVI: Inside NBC’s Big Plans

By: Ken Kerschbaumer, Editorial Director

To outsiders, Indianapolis is known primarily for the Indianapolis 500 and, for those in the know, the shrimp cocktail at St. Elmo Steakhouse, which proves that a landlocked city can serve up a quality seafood dish. After this weekend, it could become known as a host city for more than one Super Bowl, with a downtown area that has all the feeling and energy of an Olympic village. And, for broadcasters, the decision to locate all the events within walking distance of each other reduces some major headaches that have proved a challenge at nearly every Super Bowl.

For NBC Sports, which is at the center of all the Super Bowl broadcast activities, working with the city has been eased by a relationship with Alison Melangton, president/CEO of the Super Bowl Host Committee: Melangton has been a producer for NBC Olympics gymnastics coverage.

“This is a great town, and she has done so much to this city,” says Tim DeKime, director of NBC Sports football operations. “She has done an awesome job.”

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

“The committee was a good marriage of a lot of good people,” says John Roche, senior technical manager for NBC Sports and NEP.

With three days to go until the big game, the NBC Sports and NEP teams are focused on putting the finishing touches on a broadcast that could become the most-watched TV show in history. The main truck compound is located in the stadium, offering plenty of room for the trucks and making it easier for staff to get into the bowl and deal with any issues.

To date, issues have been few and far between.

Roche notes that the cabling and signal distribution infrastructure within Lucas Oil Stadium removed the need for laying down cables. “Everything is going extremely well, and a lot of that can be attributed to the infrastructure, as they have done a fantastic job putting [in] single-mode fiber, SMPTE cable, and audio cable, which cut down a massive install on our side.”

The only addition was a 72-strand fiber that had to be installed between the Convention Center and the compound so that Media Day and other press conference events could be connected directly to the NEP production units in the stadium. And broadcasts from Georgia Street, where the Super Bowl pregame coverage will begin, is connected via the city’s fiber infrastructure, with cameras muxed and the program switched from the stadium.

The crew at the core of the game production has plenty of experience with big shows. NBC broadcasts an NFL game every Sunday night during the regular season plus two playoff games. But the Super Bowl, says DeKime, is about 2½ times larger as the show jumps from 27 to 58 cameras when the pregame show is added to the mix. The various “off-the-field” events require 22 additional cameras, mostly Sony cameras outfitted with Canon lenses, to be added to the mix.

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

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

In terms of new technology during the big game, the crew at NBC says to watch for new super-slow-motion camera systems that couple a three-CMOS-sensor Ikegami camera head with an NAC Image Technology Hi-Motion II ultra-slow-motion camera on the back.

“The i-Movix camera is a one-chip unit, while the NAC/Ikegami is three-chip so we get additional flexibility and more range and depth when shooting at night,” says Roche. “We will still be shooting at 300 frames per second because there isn’t enough light to go 400, but, in a daylight situation, you could definitely go to 400 frames per second.”

One Hi-Motion II unit will be on each goal line, one on a sideline cart, and the fourth on the 50-yard line. The units are also brand spanking new, having arrived just days ago.

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

Game operations will be handled out of NEP’s ND3 (A, B, C, and D units), ND4 (A, B, and C), and ESU unit; Football Night in America will operate out of SS24’s A and B and ST24 units).

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

And audio? More than 115 mics will be in use to deliver a quality surround-sound experience to viewers around the globe.

With the technical infrastructure in place, it is time for NBC Sports to turn to rehearsals. Later today, two local high school teams will play the role of the New England Patriots and New York Giants in rehearsing team introductions, and NBC Sports production personnel have even worked with the coaching staffs to have the teams run plays out of the Patriots and Giants playbooks.

“With so many additional camera guys,” adds DeKime, “we have to get them accustomed to shooting isos.”


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post #10 of 25 Old 02-04-2012, 09:55 PM - Thread Starter
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From Sports Video Group

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Super Bowl World Feed Features More Networked Audio Than Ever

By: Dan Daley, Audio Editor

Steve Fisher is the manager of the international audio-distribution feed at Super Bowl XLVI in Indianapolis, but he prefers the grittier title of “traffic cop” for the scores of feeds he’s supervising. These are the audio feeds from the NBC domestic broadcast, which are distributed by the league to more than 180 countries and territories around the world in 25 languages. Last year’s Super Bowl was viewed by an estimated 111 million people.

This year’s international feed requires eight satellite uplinks, more than a dozen remote trucks and 15 trailers, including NEP Supershooters 25, from which A1 Jamie McCombs will be mixing the international audio feed, taken from a split from the NBC audio mixed by Wendell Stevens in the NBC ND3 truck. The international compound where Fisher resides is at the other end of Lucas Oil Stadium from the NBC compound, a distance being addressed by the use of CobraNet digital audio networking, the fifth year on a row that the international audio has been networked and the most extensive use of that yet, says Fisher.

“A few paths of fiber is a lot less weight, install time, and maintenance in a scenario like this,” he explains. “Capacity is no issue with a Gigabit network on fiber.”

Nonetheless, there’s still plenty of copper for audio; Fisher reports that more than 200 rolls of DT12 cabling were on-site, totaling more than 72,000 ft. of copper wire. These are used to distribute the signal to dozens of temporary announce booths used by global broadcasters NHK, Shanghai Media Group, Viasat, W9, Televisa, NTV, BBC, and ESPN International Networks. The one booth not relying on copper connectivity, the world announce booth is using the Lance Design ADX-120 announce unit, which provides inputs for a headset microphone and IFB, two-channel wet PLs (putting power on the intercom and IFB circuits), and an additional mic or line input plus an additional two-channel wet or dry IFB, in a single unit. The entire networking operation is based on the Lance ADX-2400.

“It’s a cost-effective method of connecting an announce booth with fiber without additional components,” he says.

NBC’s announcers are sent as a separate feed to international broadcast clients, who will generally use them as the cues for their own commentaries. During commercials for the domestic broadcast, the league’s international feed supplies both preproduced interview and other content as well as recaps and highlight footage from the game. Audio is supplied in a discrete 5.1 surround format as stems; it’s also fed through a DaySequerra DTS Neural downmix encoder that outputs a DTS- and Dolby-compatible stereo mix, decodable at the consumer’s set-top box.

The halftime-show audio, mixed by Paul Sandweiss, will be sent to the international compound from the NEP Denali truck embedded in an HD-SDI feed, which is de-embedded in the NEP SS25 truck. This source is routed to a single surround fader on the Calrec Alpha console operated by McCombs.

“It’s a complex show that’s getting more complex and interesting every year,” says Fisher, who is working his 23rd Super Bowl. “But we’re making sure that people in China and Russia are getting as good a game as they are in America.”


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post #11 of 25 Old 02-05-2012, 07:07 AM
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Took a few snaps. Wanted to get many more, but with security being so (up)tight and the crowds being so dense (as well as needing a better camera)...
LL
LL
LL
LL
LL

"But I didn't do it...!"
"I knew you'd say that"...*BLAM!*
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Hi from INDY!!

Just had our final game rehearsal. I think we are ready to go.

WS
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Quote:
Originally Posted by SNF Mixer View Post

Hi from INDY!!

Just had our final game rehearsal. I think we are ready to go.

WS

Hey W,

You & the crew have a great game. It ought to be a fun one.

Ken

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post #14 of 25 Old 02-05-2012, 12:04 PM
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Originally Posted by SNF Mixer View Post

Hi from INDY!!

Just had our final game rehearsal. I think we are ready to go.

WS

I'll look for you on the credits.

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post #15 of 25 Old 02-05-2012, 06:27 PM
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SNF Mixer, perhaps you can answer this after you're done and all the dust has settled, but why does NBC insist on shading roughly the bottom 10th of the screen where the score line is? I've noticed your sister network, NBC Sports Network has no such shading for sporting events. In my opinion, the shading takes away from the screen. Other than that, everything looks great. Watching on KNBC via D* in Winchester, CA.

And the FOUL!
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post #16 of 25 Old 02-05-2012, 07:22 PM
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Originally Posted by Tom Wellman View Post

SNF Mixer, perhaps you can answer this after you're done and all the dust has settled, but why does NBC insist on shading roughly the bottom 10th of the screen where the score line is? I've noticed your sister network, NBC Sports Network has no such shading for sporting events. In my opinion, the shading takes away from the screen. Other than that, everything looks great. Watching on KNBC via D* in Winchester, CA.

I would like to know the same thing. It's very annoying. Also, the picture looked okay. Had a lot of macroblocking. And before anyone says its my local affiliate, they don't have any subchannels so it's not that.
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post #17 of 25 Old 02-05-2012, 07:30 PM
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Originally Posted by SHergenrader View Post

And before anyone says its my local affiliate, they don't have any subchannels so it's not that.

Depends on the encoder at your particular station. WRC in DC ( 1 subchannel) barely had any macroblocking while another subchannel free station 70 miles away was awash with mosquito noise & macroblocking. FWIW, I could also see macroblocking on a 3rd NBC station. So 2 with a lot of compression noise & one with hardly any here.
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post #18 of 25 Old 02-05-2012, 07:36 PM
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Why is there no mention of the technical details of the halftime show which was visibly different from the main game broadcast?

It really looked like they reduced the frame rate to 24 FPS?

I actually started a separate thread about this, but maybe this is a more appropriate place to bring it up?
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post #19 of 25 Old 02-05-2012, 07:42 PM
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Originally Posted by NxNW View Post

Why is there no mention of the technical details of the halftime show which was visibly different from the main game broadcast?

It really looked like they reduced the frame rate to 24 FPS?

I actually started a separate thread about this, but maybe this is a more appropriate place to bring it up?

Word is they did drop it to 24 and that it was a creative decision.

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post #20 of 25 Old 02-06-2012, 11:29 AM - Thread Starter
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Why is there no mention of the technical details of the halftime show which was visibly different from the main game broadcast?

It really looked like they reduced the frame rate to 24 FPS?

It's being discussed in detail, in the main SB Technical Topic - http://www.avsforum.com/avs-vb/showthread.php?t=1392149

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post #21 of 25 Old 02-06-2012, 07:57 PM
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Was interested if parabolic mikes were used for quarterback pickup? It was the clearest I had heard. In my covering Auburn University games, the crowd overrides the field sounds.
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post #22 of 25 Old 02-07-2012, 01:46 AM
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I'm guessing the game wasn't offered in 3-D...but not even the halftime show?

"But I didn't do it...!"
"I knew you'd say that"...*BLAM!*
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post #23 of 25 Old 02-07-2012, 08:06 AM - Thread Starter
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Quote:
Originally Posted by wilkins2643 View Post

Was interested if parabolic mikes were used for quarterback pickup? It was the clearest I had heard. In my covering Auburn University games, the crowd overrides the field sounds.

From above:

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Originally Posted by Ken H View Post

From NBC

Super Bowl XLVI By the Numbers

1 Hard camera located on building roof for scenic views of Indianapolis.
7 Digital Post-Production Facilities (5 Avid Suites, 2 Final Cut Pro Suites).
7 Separate set locations for pre-game show and NBC Sports Network programs during Super Bowl week.
7 Satellite uplink trucks covering game and pre-game locations as well as live streaming of the Super Bowl.
12 NEP Supershooter Mobile units in the TV Compound.
25 Digital Video Replay Sources between game and pre-game.
29 Vehicles (control trucks, mobile units, office trailers).
57 High Definition Cameras- 40 for the game and 17 for pre-game. Game has 20 hard cameras, nine hand held (three on robotic arms), one RF steady cam, one RF hand held, four Ultra slow-motion cameras, one cable-cam, one airplane shooting high-definition aerials.
60 Miles of camera and microphone cable.
116 Microphones (including 12 on-field parabolic microphones).
165 NBC IP phones and analog lines ordered for the Super Bowl
475 More than 475 people will be part of the NBC production, technical, administrative and support crews.

All televised HD football games use parabolic mics. In this case there were more, and you had an expert doing the mixing.

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post #24 of 25 Old 02-07-2012, 08:09 AM - Thread Starter
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Quote:
Originally Posted by rezzy View Post

I'm guessing the game wasn't offered in 3-D...

Nope.

Quote:


...but not even the halftime show?

Nope.

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post #25 of 25 Old 02-12-2012, 04:54 AM
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Quote:
Originally Posted by wilkins2643 View Post

Was interested if parabolic mikes were used for quarterback pickup? It was the clearest I had heard. In my covering Auburn University games, the crowd overrides the field sounds.

Just saw this.

We had 12 parabs, primarily due to how impossible it is to clear frequencies at the Super Bowl. And moving along the sidelines is tough. It's packed down there.

Rather than our normal 6 RF parabs, we hard-wired 12 parabs. We literally tape XLRs out to each location. The parab ops had an 8-ft harness. They walked out and plugged in for the game and left at half time with their dish, so the massive staging crew could work. We've done this the last four Super Bowls I've done.

BUT the line of scrimmage stuff came from mics on the centers provided by the NFL. This was our first year of 'enhanced audio," league-controled microphones for use on the live broadcast.

You can see an overview here:

http://articles.latimes.com/2011/oct...r-nfl-20111002


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