FanDuel TV Calls Super Bowl LX Media Row Home for Up & Adams', Social Media Content

Devlin Design Group, Filmwerks, LTN pitched in on the four-day effort

The site of every Super Bowl is a consistent hub of content for countless media outlets, but a ton of coverage outside of gameday comes from Media and Radio Row. Held at the Moscone Center in San Francisco, FanDuel TV was one of many that churned hours of material for their dedicated sports fans. To amplify their reach, the broadcaster constructed a physical set by Devlin Design Group and Filmwerks and distributed content via LTN to the masses.

The Super Bowl is one of the rare moments where sports, culture, and media all converge at a massive scale, says Michael Shiffman, SVP and executive producer, FanDuel TV. For FanDuel, having a physical presence here wasn't just about being part of the conversation - it was about helping shape it.

FanDuel TV constructed this set on their Media Row footprint at the Moscone Center in San Francisco.Broadcast-Friendly Set: Spaces Promotes Open Concept to Showcase Energetic Environment

It's not always easy to leave a unique impression in a cavernous convention space like the Moscone Center, but FanDuel TV was determined to leave their mark on this year's proceedings. From a programming side, the broadcaster was bullish with bringing as much coverage as possible. This included more than 10 hours of the NFL-focused program Up & Adams with Kay Adams and an onslaught of social media content and executive interviews with individuals like FanDuel CEO Amy Howe. In addition, the space also hosted Canada's TSN - a valued media partner of FanDuel - and their program Overdrive with by Bryan Hayes, Jamie McLennan, and Jeff O'Neill. The set was also used for FanDuel's partner TSN's show Overdrive as well as a place for FanDuel social content and media interviews for our executives like CEO Amy Howe.

As for the actual design of the set, this effort was spearheaded by the creativity and project management of Devlin Design Group and the technical know-how of Filmwerks. Both entities - including Devlin Design Group's work with Tennis Channel and other broadcasters as well as Filmwerks' studio work with sporting events like the Daytona 500 and many more - brought a level of legitimacy to the vision that FanDuel was looking to achieve. The design brief was centered on flexibility, speed, and storytelling, says Shiffman. We wanted a set that could support long-form conversations, fast-paced live hits, and social-first content without feeling like three different environments.

Devin Design Group and Filmwerks helped bring this studio to life.The hardest part about Media Row is that in a confined space with so many different sets, the entire environment can become very confusing and overstimulating. A priority for FanDuel TV, the team wanted to convey the fact that their studio would not only be noticeable by standing out but also invite fans to be an interactive piece of their coverage.

Visually, the goal was to balance a premium broadcast look with the energy of being on location at the Super Bowl, continues Shiffman. That meant clean sightlines, strong lighting, and camera-friendly depth, but also elements that grounded the set in the city and the moment. From an operational standpoint, it had to be modular and efficient - able to handle a high volume of guests, multiple shows, and quick turnarounds while maintaining consistent production quality across platforms.

This approach deemed to be massively successful. From a logistic perspective, a total of 34 guests made an appearance throughout FanDuel TV's four-day stay in the Bay Area.

We always strive to surprise and delight our fans, so there were countless highlights that made news across a wide variety of platform and delivered year-over-year increases in fan consumption, adds Shiffman.

More than 10 hours of Up & Adams was produced from the set.A Production & Ops Collaboration: FanDuel Staffers, Trusted Vendors Work in Lockstep

In addition to Devlin Design Group and Filmwerks, other vendors that played a pivotal role include LTN for video transmission, Freeman for onsite support, and the work of VP, Operations/Engineering, Jorge Montoya, and his team at Azzurro Group.

The onsite team of FanDuel TV.Internally, this activation was a coordinated plan that was executed by many people on the production and operations teams. On the production side, this crew includes Senior Director, Sports Programming, Richard Isakow; Senior Producer Matthew Hamilton; Producers Christopher Schwarz andDamu Bobb; Segment Producers Calvin Filson andTiara Rose; Talent Executive Mary-Hollis Beighley; Talent Coordinator Katharine Rogerson; and camera operators Charlie Noseworthy and Miles Field. On the operations side, this crew includes Vice President, Michael Hanson; Senior Manager, Broadcast Operations, Jill Becko; Technical Operations Manager Donald Cribbs; broadcast engineer Ed Shrider; and software engineer Dimitri Ramos. Onsite support was also handled by Corey Coughlin, Beth Fowler, and Alex Melvin.

The Production and Operations teams collaborated exceptionally well to create a San Francisco inspired design that resulted in a distinctive and visually stunning studio space for the team to create amazing content and spotlight FanDuel's brand, says Shiffman.

LINK:	https://www.sportsvideo.org/2026/02/09/fanduel-tv-calls-super-bowl-lx-...
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