Sony Pixel Power calrec Sony

Triller Fight Club PPV Brings Cinema-Style Tools Into the Sports-Production Ring

19/04/2021

Triller Fight Club PPV Brings Cinema-Style Tools Into the Sports-Production Ring The goal was to blur the line between live sports and entertainment By Jason Dachman, Chief Editor

Monday, April 19, 2021 - 3:49 pm

Print This Story | Subscribe

Story Highlights

Live sports broadcasts have seen an influx of cinematic cameras in recent months - from CBS Sports' use of the Sony Venice for its NFL and Masters coverage to Fox Sports' extensive deployment of its Megalodon system to Turner Sports' use of the Canon EOS C500 Mark II camera at the NBA All-Star Game. But, on Saturday night, Triller Fight Club took it to the next level with an end-to-end cinema-style live production featuring a whopping 18 Sony PMW-F55 CineAlta 4K cinema cameras.

Triller worked with Echo Entertainment to create a cinematic-style live broadcast.

The four-hour boxing/entertainment PPV event at Mercedes-Benz Stadium in Atlanta was headlined by a fight featuring YouTube-star-turned-boxer Jake Paul vs. Ben Askren and offered a star-studded list of musical performances by Justin Bieber, The Black Keys, and others. The PPV, which reportedly generated 1.5 million PPV buys on Saturday night, aimed to blur the line between live sports and entertainment with a heavy infusion of cinema-style production.

Triller is trying to create a totally different environment for sports and entertainment content. It's not just about boxing or just about the music acts; it's about creating something totally new, said Triller Coordinating Producer, Special Events, Paul Cambria prior to Saturday's fight. With that in mind, we're trying to create a true cinema feel for this event with different cameras, different lenses, and huge sets. We're looking to take your cookie-cutter boxing event and flip it upside down to make it different and more appealing for the younger viewing audience that Triller [appeals to].

Going Cinematic: Cine-Style Cameras, Lenses for Live Sports Triller Fight Club featured live musical performances throughout the night, including this one by Doja Cat.

Triller, the music-based social-media network behind the Fight Club series, enlisted Emmy Award-winning filmmaker Bert Marcus to bring a cinematic style not seen before in sports television. In addition, Echo Entertainment was brought in as the official production partner for the event, and TVG (The Visionary Group) was tapped to design and build the sprawling sets inside Mercedes-Benz Stadium.

You are certainly seeing [cinematic cameras] a lot more these days on live sports on things like the Super Bowl and the Masters, said Cambria, but it's really just one or two cameras. Our goal, driven by [Marcus], is to have every camera look that way. We're trying to create the look and feel of a film throughout the whole show as much as we can, which is really different than any other live sports show right now.

A total of 18 Sony F-55 cameras were deployed for the cine-style Triller Fight Club production.

Immediately after beginning work on the project, Echo Entertainment hired Rick Siegel as director of photography and Tom Kenny as lighting director. They worked with Echo to evaluate the tools it would need its arsenal to pull off a live, cinematic production like the one Triller was envisioning.

We knew we wanted the cinematic look, so we would need a full-frame sensor to achieve that, say Echo Entertainment Technical Manager Pierce Williams. We looked at a few options, including the Sony Venice, the ARRI Alexa, and the Sony 55. We ended up going with the Sony F-55 because we felt it was the most proven in a live environment. We have 18 of them here, and we've been really happy with them.

Dome Productions' Atlantic mobile unit served as home to all music-performance productions.

As for glass, Echo selected a wide range of Fujinon Cabrio cine-zoom lenses, including the ZK25-300mm T3.5-3.85, XK20-120mm T3.5, ZK85-300mm T2.9-4.0, and ZK19-90mm T2.9.

It all came down to finding that film-like look, and we felt like the [Fujinon] lenses capture that, says Pierce, noting that lighting played an even more integral role than usual, given the unique demands created by a cinema-style live sports show.

Lighting is a huge part for this show because we're not shading cameras as much in the traditional sense; we're not going to open and close iris constantly, he says. Instead, our LD is going to adjust the look through lighting so we can have that raw, gritty look, for both the boxing and the music.

Production Complement: Inside the Compound, in the Ring, On-Stage Three BSI POV cams were deployed, including one on the ref seen here.

Echo and Triller partnered with Dome Productions on the production compound in Atlanta. Dome's Atlantic mobile unit served as production home for the music/entertainment segments, while Thunder handled fight coverage. In addition, a pair of Dome's flex units, Unite and B200, were on hand to house a variety of workstations necessary to socially distance the 173-person broadcast crew under the onsite safety protocols (which also included rigorous testing and specific zones for different departments).

Of the 28 cameras deployed for the Triller Fight Club production, 18 were PMW-F55 4K Super 35mm single-sensor cameras. Each camera was outfitted with a CA-4000 4K fiber-transmission camera-system adaptor back, and the signal ran through a BPU-4000 baseband processor before arriving in the camera-control unit (CCU) in the trucks onsite.

Making a show of this size work with that many [F-55's] is definitely a challenge, says Williams. We have a stack of all those BPUs outside the truck because the racks inside are already full. All the cameras are going through the BPUs outside the truck before they can hit the CCUs. One great thing is that all the cameras are goin
LINK: https://www.sportsvideo.org/2021/04/19/triller-fight-club-ppv-brings-c...
See more stories from svg

More from Sports Video Group

12/05/2021

SVG SportsTech On Demand: CHESA's Lance Hukill on Supplying Reliable Production Services in the Cloud

SVG SportsTech On Demand: CHESA's Lance Hukill on Supplying Reliable Product...

12/05/2021

SVG SportsTech On Demand: LTN's Mike Burk on Simplifying the Transition to Cloud-based Control and Workflows

SVG SportsTech On Demand: LTN's Mike Burk on Simplifying the Transition to C...

12/05/2021

SVG SportsTech On Demand: Editshare's Jeff Barnes on Updates to EFS Collaborative Storage and FLOW Media Management Solutions

SVG SportsTech On Demand: Editshare's Jeff Barnes on Updates to EFS Collabor...

12/05/2021

2021 SVG Venue Roundtable: Production War Stories Details the Challenges of Exterior Factors on Production Professionals on May 26

2021 SVG Venue Roundtable: Production War Stories Details the Challenges of Exte...

12/05/2021

SVG's Silicon Valley Video Initiative Meets with Teradek and Other Vitec Group Companies on May 13

SVG's Silicon Valley Video Initiative Meets with Teradek and Other Vitec Gro...

12/05/2021

Inside the Remote-Production Workflows of Activision Blizzard Esports, Fox Sports, and YES Network

Inside the Remote-Production Workflows of Activision Blizzard Esports, Fox Sport...

12/05/2021

The SVG Podcast: The State of Remote Production Facilities An Industry Primer

The SVG Podcast: The State of Remote Production Facilities An Industry Primer Excutives and engineers from Game Creek Video, Mobile TV Group, NEP Integrated S...

11/05/2021

SVG SportsTech On Demand: Supponor's Steve Plunkett on Adding Analytics Value to Live Virtual Advertising

SVG SportsTech On Demand: Supponor's Steve Plunkett on Adding Analytics Valu...

11/05/2021

SVG SportsTech On Demand: RT Software's Luke Harrison Breaks Down the Modular Approach to Graphics Production

SVG SportsTech On Demand: RT Software's Luke Harrison Breaks Down the Modula...

11/05/2021

SVG SportsTech On Demand: Fastly's Zac Shenker on Content Security and Supporting Streaming of the Super Bowl

SVG SportsTech On Demand: Fastly's Zac Shenker on Content Security and Suppo...

11/05/2021

SVG SportsTech On Demand: TVU Networks' Jared Timmins on Responding to Remote Needs in Sports

SVG SportsTech On Demand: TVU Networks' Jared Timmins on Responding to Remot...

11/05/2021

SailGP Returns for a Second Season With the Ultimate Remote Production' Setup

SailGP returns for a second season with the ultimate remote production' set...

11/05/2021

NBA Virtual-Reality Broadcasts on Oculus Fueled By Fully Cloud-based Decentralized Workflow

NBA Virtual-Reality Broadcasts on Oculus Fueled By Fully Cloud-based Decentraliz...

10/05/2021

SVG SportsTech On Demand: C360's Evan Wimer Shares the Latest In Immersive Camera Tech

SVG SportsTech On Demand: C360's Evan Wimer Shares the Latest In Immersive C...

10/05/2021

SVG SportsTech On Demand: Maxon's Paul Babb on The Company's Latest Products and Goals for Serving the Sports Broadcast Market

SVG SportsTech On Demand: Maxon's Paul Babb on The Company's Latest Prod...

10/05/2021

SVG SportsTech On Demand: DataCore's Adrian Herrera Dives Into the Value of Object Storage

SVG SportsTech On Demand: DataCore's Adrian Herrera Dives Into the Value of ...

10/05/2021

SVG SportsTech On Demand: AJA Video Systems' Andy Bellamy on the Tools to Successful Remote Workflows

SVG SportsTech On Demand: AJA Video Systems' Andy Bellamy on the Tools to Su...

10/05/2021

SVG SportsTech On Demand: Grass Valley's Robert Erickson on the Success of GV AMPP, Production Trends on the Horizon

SVG SportsTech On Demand: Grass Valley's Robert Erickson on the Success of G...

10/05/2021

Under the Hood of OBs: Exploring the Rapid Evolution of Today's OB Usage in Europe

Under the Hood of OBs: Exploring the Rapid Evolution of Today's OB Usage in ...

10/05/2021

Addicted to American Football: ProSieben Uncovers How to Build a Fanbase with #ranNFLschtig

Addicted to American football: ProSieben uncovers how to build a fanbase with #r...

10/05/2021

SVG's RSN Summit Returns on July 15 to Bring Together Regional Sports Industry

SVG's RSN Summit Returns on July 15 to Bring Together Regional Sports Indust...

10/05/2021

SVG Sit-Down: Sony's Mikio Kita on Transformative Technologies and a Cloud-Based Future

SVG Sit-Down: Sony's Mikio Kita on Transformative Technologies and a Cloud-B...

10/05/2021

Lee Estroff Joins Turner Sports as Director, Technical Operations

Lee Estroff Joins Turner Sports as Director, Technical Operations By Ken Kerschbaumer, Editorial Director Monday, May 10, 2021 - 2:31 pm Print This Story ...

07/05/2021

SVG SportsTech On Demand: uniqFEED's Dr. David Hasenfratz and Ulam Curjel Recount Efforts in Baseball Virtual Advertising

SVG SportsTech On Demand: uniqFEED's Dr. David Hasenfratz and Ulam Curjel Re...

07/05/2021

SVG SportsTech On Demand: Key Code Media's John Ferder on Recent Projects With Professional Teams and System Integration Trends

SVG SportsTech On Demand: Key Code Media's John Ferder on Recent Projects Wi...

07/05/2021

SVG SportsTech On Demand: G&D North America's Andy Coole on the New ControlCenter-Xperience Showroom

SVG SportsTech On Demand: G&D North America's Andy Coole on the New ControlC...

07/05/2021

SVG SportsTech On Demand: Inside EVS XtraMotion With Fox Sports

SVG SportsTech On Demand: Inside EVS XtraMotion With Fox Sports By Ken Kerschbaumer, Editorial Director Friday, May 7, 2021 - 10:42 am Print This Story | ...

07/05/2021

Genius Sports Acquires Second Spectrum to Further Develop Tracking, Analytics, Sports Betting Opportunities

Genius Sports Acquires Second Spectrum to Further Develop Tracking, Analytics, S...

07/05/2021

2021 SVG College Sports Media Awards: Entry Deadline Extended to May 14

2021 SVG College Sports Media Awards: Entry Deadline Extended to May 14 NO Entry Fees! NO Limit on Number of Entries! Compete Against the Best! By SVG Staff ...

07/05/2021

Ratings Roundup: 2021 NFL Draft Becomes Third Most-Watched Ever; 147th Kentucky Derby Grabs 14.5 Million Average Viewers, 54% Increase

Ratings Roundup: 2021 NFL Draft Becomes Third Most-Watched Ever; 147th Kentucky ...

07/05/2021

AT&T SportsNet Rocky Mountain Spins Up Multi-City Model for Vegas Golden Knights Away Games

AT&T SportsNet Rocky Mountain Spins Up Multi-City Model for Vegas Golden Knights...

07/05/2021

NWSL Challenge Cup Final Brings Full Production Resources Back Onsite

NWSL Challenge Cup Final Brings Full Production Resources Back Onsite CBS offers another major national spotlight for the domestic women's soccer league B...

06/05/2021

Avid, Dolby Collaborate on Pro Tools Dolby Atmos Production Course, Certification

Avid, Dolby Collaborate on Pro Tools Dolby Atmos Production Course, Certificatio...

06/05/2021

Calrec Offers Free Training on Mixing Live Broadcasts in Dolby Atmos

Calrec Offers Free Training on Mixing Live Broadcasts in Dolby Atmos The goal is quick and easy creation of immersive mixes By Dan Daley, Audio Editor Thursd...

06/05/2021

SVG SportsTech On Demand: Mark Davies, Director of Products & Technology at TSL Products Talks Workflow

SVG SportsTech On Demand: Mark Davies, Director of Products & Technology at TSL ...

06/05/2021

SVG SportsTech On Demand: RTS Intercom Systems' Angelo Piga Shows Us the New DBPDigital Beltpack And Talks Tokyo

SVG SportsTech On Demand: RTS Intercom Systems' Angelo Piga Shows Us the New...

06/05/2021

SVG SportsTech On Demand: Telos Alliance's Martin Dyster Takes SportsTech Viewers Into the Cloud

SVG SportsTech On Demand: Telos Alliance's Martin Dyster Takes SportsTech Vi...

06/05/2021

Tech Focus: Sports Music, Part 1 - Pandemic Spurs Greater Demand

Tech Focus: Sports Music, Part 1 - Pandemic Spurs Greater Demand Augmented crowd sound opens new channel for suppliers By Dan Daley, Audio Editor Thursday, M...

06/05/2021

Tech Focus: Sports Music, Part 2 - A Look at the Libraries

Tech Focus: Sports Music, Part 2 - A Look at the Libraries Offerings continue to grow and diversify By Dan Daley, Audio Editor Thursday, May 6, 2021 - 10:22 ...

06/05/2021

SVG Sit-Down: A1 Jeri Palumbo on Becoming a Production-Music Entrepreneur

SVG Sit-Down: A1 Jeri Palumbo on Becoming a Production-Music Entrepreneur The broadcast-sports veteran is co-founder of new Arena Waves library By Dan Daley, A...

06/05/2021

NEP's Latest Unit, Supershooter 5, First IP Unit to Rely on Proprietary Broadcast Control and Monitoring System

NEP's Latest Unit, Supershooter 5, First IP Unit to Rely on Proprietary Broa...

06/05/2021

EVS XtraMotion Uses AI to Transform Any Video Content into Super Slo-Mo Replays

EVS XtraMotion Uses AI to Transform Any Video Content into Super Slo-Mo Replays By Ken Kerschbaumer, Editorial Director Thursday, May 6, 2021 - 2:42 pm Pri...

05/05/2021

SVG SportsTech On Demand: JVC's Dan Skirpan On Why Connected CAM Camcorders Matter

SVG SportsTech On Demand: JVC's Dan Skirpan On Why Connected CAM Camcorders ...

05/05/2021

SVG SportsTech On Demand: ATEME's Dave Brass on the Bright Future of OTT in Live Sports

SVG SportsTech On Demand: ATEME's Dave Brass on the Bright Future of OTT in ...

05/05/2021

SVG SportsTech On Demand: Quantum's Skip Levens on CatDV Acquisition and the Launch of New StorNext Architecture, Appliances

SVG SportsTech On Demand: Quantum's Skip Levens on CatDV Acquisition and the...

05/05/2021

BigVoice Media Leverages BirdDog PTZ Cameras to Overcome the Elements at Australian Swimming Championships

BigVoice Media Leverages BirdDog PTZ Cameras to Overcome the Elements at Austral...

05/05/2021

SVG Sit-Down: Larry Thorpe Reflects on 50+ Years of Innovation, Leadership at BBC, RCA, Sony, and Canon

SVG Sit-Down: Larry Thorpe Reflects on 50+ Years of Innovation, Leadership at BB...

05/05/2021

EA Rolls Out New Broadcast Features for New Competition Format at Madden Bowl 21: Draft Edition

EA Rolls Out New Broadcast Features for New Competition Format at Madden Bowl 21...

04/05/2021

SVG SportsTech On Demand: Clark Wire & Cable's John Orona Details 11th-Hour Projects for L.A. Dodgers, Augusta National

SVG SportsTech On Demand: Clark Wire & Cable's John Orona Details 11th-Hour ...