Live From the US Open: In Year 3 of ESPN Rights Deal, Innovation Takes Center Stage ESPN has taken over unilateral-content distribution for USTA, tests bleeding-edge tech By Jason Dachman, Chief Editor
Friday, September 1, 2017 - 3:01 pm
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In the first two years as host broadcaster and sole domestic-rights holder of the US Open, ESPN created a well-oiled machine for its colossal production operation at the USTA Billie Jean King National Tennis Center (NTC). In Year 3 of the 11-year rights deal, with a highly efficient model in full swing, ESPN continues to add to its sizable list of responsibilities onsite while also looking to innovate with Front Row Cam, Silvus Mesh Network, Alteros 6.5-GHz wireless mic system, Simply Live ViBox all-in-one production system, and other new technologies.
Every year is always fresh, but, certainly, being in Year 3 helps tremendously, says Terry Brady, director of remote operations, ESPN. I would say, to some extent, [we've gotten into a groove], which has allowed us the opportunity to look at some unique technology this year. At the USTA's request, we've also taken on the responsibility of distribution to unilateral broadcasters, which was formerly not handled by ESPN. Every year, we add a little something.
This year, ESPN is producing a whopping 3,000 hours of coverage for its networks, covering seven linear-TV courts with traditional manned cameras and audio out of nine control rooms in its 17,000-sq.-ft. Broadcast Center at the NTC (plus NEP's NCP8 mobile unit for the ESPN ITV/DirecTV Mosaic production). Five other courts are being covered by the automated Sony Hawk-Eye SMART system, bringing total TV courts to a dozen. In all, ESPN is deploying approximately 9,000 pieces of equipment (weighing 32,000 kg) and more than 100 broadcast cameras (plus 28 cameras for Intel freeD 360-degree replay) to support the host feed, ESPN domestic and ESPN International operations, and unilateral-content distribution onsite. ESPN is also managing 29 outbound paths and six inbound for its clients.
Taking Over Unilateral-Content Distribution
To support the USTA's rightsholders onsite, ESPN enlisted Gearhouse Broadcast (which also integrated the NTC Broadcast Center) to create a single core infrastructure, dubbed the Unilateral Distribution Center (UDC). The TOC-style operation takes in 140 feeds from ESPN, distributing them to unilateral broadcasters and to the USTA's US Open world feed. In addition to Gearhouse, NEP is assisting the USTA with the organization and distribution of feeds.
ESPN took over unilateral-content distribution to rightsholders this year and enlisted Gearhouse Broadcast to construct the UDC.
This is a major step up in terms of organization at this event from last year, which is a positive, says Brady. We have been a host-feed provider for a couple years, but we've taken another step now, and we've taken another intermediary entity out of the mix so it makes it a little more streamlined for the USTA.
New Front Row Cam Headlines 100-Plus Cameras
ESPN's massive camera complement at the NTC features an exciting newcomer: the telescope-like Front Row Cam, which debuted this year on ESPN Sunday Night Baseball. The system is being used in various court-level positions at the Grandstand, including on the back wall and along the railing next to the line judge.
Front Row Cam is making its US Open debut on the Grandstand court.
We are trying the Front Row Cam in different locations to see how it applies to tennis in getting closer to the action on the court, says Brady. It gives us not only a high-speed [camera] but also an alternative coverage angle that we've never had before. They wouldn't allow a manned camera in these locations. Since this has a smaller profile, we can work with the USTA to try to get it a little bit closer to the court and not have a manned camera.
The cylinder-shaped system features a Sony HDC-43 aimed skyward and off a mirror. It features a Fujinon 42X1.7 wide-angle lens, rather than the 42X13.5 lens deployed on SNB. The camera chain comprises a Sony BPU-4000 baseband processor unit (for 6X slo-mo), HDCU-2500 CCU, and RCP-1500 remote-control panel. The entire system runs on two fibers into a Sony HKCU-SM100 CCU extension adaptor.
The cylinder-shaped system features a Sony HDC-43 aimed skyward and reflected off a mirror.
I think it will be great for tennis, says Brady. We have the opportunity to move it over the course of the first week to multiple positions and evaluate it, so we'll see how it goes.
All the starring camera systems from recent ESPN US Open productions are back this year, including Intel's 28-camera freeD 360-degree replay system, a SpiderCam aerial system, a RailCam, and an NAC Hi-Motion II ultra-slo-mo at Arthur Ashe Stadium. Also among ESPN's 100-plus complement of cameras (including 60 broadcast cameras) are a HoistCam, four 3X super-slo-mos, 13 robos, four RF cameras, and five jibs.
In terms of sets, ESPN has brought back the practice-court set that debuted in 2015, offering a view of players practicing in the background, along with its long-time main set located at the Fountain Plaza near the Unisphere.
In addition to an army of cameras, ESPN has a stacked arsenal of virtual-graphics/analysis tools. Though used at Wimbledon this year, ChyronHego Paint is deployed at the US Open for the first time, in conjunction with Avid MVP, ADvision, and TD Control - all staples of ESPN coverage in recent years.
ESPN is experimenting with a Silvus Mesh Network as a potential solution to the shrinking spectrum.
We brought ChyronHego Paint into the mix this year, along with our [Avid] MVP product to work in tandem, says Brady. Those boxes do slightly different things, so it gives us a little broader pal
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Live From the US Open: In Year 3 of ESPN Rights Deal, Innovation Takes Center Stage ESPN has taken over unilateral-content distribution for USTA, tests bleeding-edge tech By Jason Dachman, Chief Editor 
