Live From the US Open: ESPN Operation Is Bigger Than Ever, Has Plenty of New Tech Toys Aerial system, NetCam, behind-scenes robos top the camera debuts By Jason Dachman, Chief Editor Friday, August 31, 2018 - 3:15 pm
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For ESPN, it simply doesn't get bigger than US Open tennis. Even with thousands of live events on its annual production calendar, ESPN's annual pilgrimage to the USTA Billie Jean King National Tennis Center (NTC) stands out as the largest and most complex.
The ESPN ops/tech team leaders (from left) at the US Open: Dennis Cleary, Steve Raymond, Sam Olsen, and Joalin Goff
In ESPN's fourth year as host broadcaster and sole domestic-rights holder -part of an 11-year rights deal - the technical and operations teams continue to evolve production workflows and add elements. Highlights this year include the debut of a Fletcher Tr-ACE/SimplyLive ViBox automated production system covering the nine outer courts, a CineLine two-point aerial system, the US Open debut of the NetCam, and several new behind-the-scenes robotic positions at the NTC.
This truly is the largest event that ESPN produces out of the thousands of events that we do all year, and it's all done in a 3 week span, says ESPN Director, Remote Operations, Dennis Cleary. And the most important thing to remember is that we are not here just for ESPN domestic. Our primary role is as the host broadcaster to serve the USTA and all of their clients, and all of our other productions come off that. That is a huge undertaking for this team, and we think it's pretty impressive.
135 Cameras Cover the NTC
ESPN has once again deployed a throng of cameras at the NTC, totaling 135 in all (including nine Fletcher Tr-ACE systems with four robotic cameras each).
New this year is a two-point aerial CineLine system (top of image here) running between Armstrong and Court 10 over the South Plaza Fountain
New this year is a two-point aerial CineLine system (provided by Picture Factory) running between Armstrong and Court 10, a run of roughly 1,000 ft. The lightweight, RF system is battery-powered, making for easier setup than the two-point systems previously used. The system, which provides bumpers and beauty shots from the South Plaza Fountain area, was set up and live in just over a day.
There have been two-point systems here before, notes Steve Raymond, senior remote operations specialist, ESPN. But we feel that this is the most sophisticated that we've had here. As more of these systems are coming to market, we are looking for solutions that are easier to implement. Because this one runs primarily on batteries, it requires very little in terms of infrastructure. With some of the more complex systems, you have to rig fiber and three-phase motors. So, in terms of the time to deploy and ease of deployment, it is significantly easier.
After a successful debut at Wimbledon in June and the Australian Open in January, Telstra Broadcast Services' NetCam is getting its US Open debut this week. The Globecam POV miniature camera is deployed on each side of the net at Arthur Ashe Stadium, Louis Armstrong Stadium, and the Grandstand for singles matches. The HD 1080i/50 camera system features full-remote camera control and digital pan/framing adjustment, providing viewers with a close-up look at the action on the court.
2018 seems to be the year of the NetCam - kicking off in Australia and then Wimbledon and then here at the Open - with advancements along the way, says ESPN Manager, Remote Operations, Joalin Goff. It's really been embraced by [the production team] and integrated heavily into our coverage. In just the first day, we had over a dozen replays and multiple live warmup shots.
The SpiderCam four-point aerial camera system is back at Ashe this year.
In addition to CineLine and NetCam, Intel's Tru View 360-degree camera system and the SpiderCam four-point aerial system are both back at Ashe.
ESPN has also added three robotic camera locations to provide more-intimate looks at two newly constructed player warmup areas and the stringer room, where rackets are strung during the tournament.
In addition to everything that has been expanded on the grounds externally, the USTA has improved the internal player areas, says Goff. So we have activated three new robotic cameras to give us a more intimate look at those areas. The warmup areas give us great behind-the-scenes shots of the players. In the stringer room, if a racket comes off the court to be restrung, we typically have used a handheld to cover that. Now we have a robo back there, so we have the ability to go to that shot at any moment.
Camera Positions In New Armstrong Stadium Evolve
The debut of the brand-new Louis Armstrong Stadium this week is the culmination of more than two years of planning and construction, a process throughout which ESPN worked closely with the USTA.
The debut of the brand-new Louis Armstrong Stadium this week is the culmination of more than two years of planning and construction in which ESPN played a major role with the USTA.
[Our technical team] has worked with the USTA group to make sure that the appropriate amount of fiber connectivity and power exists in Armstrong, not only from our typical camera locations but also with an eye on expanding the coverage, says Goff. [During construction], you have the maps, but you don't know what the site is truly going to look like until you get closer to the event. Now seeing it in action gives us the chance to adjust as necessary based on structural positioning.
In addition to ESPN's primary set at the South Gate Fountain (seen here), it has its practice court set and a new standup location inside Armstrong.
However, a venue is never truly finished. In response to TV-viewer feedback, ESPN worked with the USTA t
