Case Study: How Pro Cheer League Built a Broadcast-First Arena Production

UpLight Technologies delivers a flexible video and lighting system for a new televised sportLaunching the Pro Cheer League required more than creating a compelling in-venue experience-it demanded a production system capable of supporting a live national broadcast from day one.

Developed by Varsity Spirit and aired on ION Television, the league represents the first professional cheerleading format designed specifically for both arena audiences and television viewers. For UpLight Technologies, the challenge was to design and deploy a system where video, lighting, and control infrastructure could integrate seamlessly with the broadcast workflow.

We had to build something that works for television first, says David Surbrook, Owner of UpLight Technologies and Production Designer for the tour. At the same time, it still had to feel like a major arena show for the audience in the room.

Photo credit: Pro Cheer League

From the outset, the production was structured to align with the needs of a live sports broadcast. The touring format-spanning arenas and convention centers-introduced variability in rigging, space, and infrastructure, but the requirement for consistent on-camera results remained constant.

We knew the show would be shot in different environments, Surbrook explains. So the system had to be flexible while delivering the same visual identity regardless of the venue.

At the heart of the production was a modular LED system built around a broadcast-friendly philosophy: maintain a clean, standard-format canvas while allowing flexibility around it. The main display provided a true 16:9 surface for game graphics, sponsor integration, and broadcast elements. Surrounding this were staggered side wings and floor-mounted pods.

We required a large center wall configuration to accommodate the 16:9 feed from the truck and provide dedicated space for sponsor displays, says Video Designer and Systems Integrator James Mitchell. The staggered side walls maximize the set's width while adding visual interest.

Equally important for broadcast was the panel finish.

The matte surface was a big factor, Surbrook adds. It absorbs light, which prevents reflections and keeps the image clean for the camera-especially with athletes performing above the screen.

Photo credit: UpLight Technologies

A broadcast-first approach extended into the system architecture. The LED system was driven by dual Brompton SX40 processors, paired with four XD breakout boxes for distributed data management. All video signals passed through an Analog Way Zenith 200 switcher, which served as the central routing hub.

We built redundancy into every stage, Mitchell explains. Inputs hit the switcher, then feed both processors simultaneously. From there, we distribute over multiple 10G lines, with active backups across the entire path.

Eight Cat6a trunk lines connected the processors to the XD units, with two handling primary data distribution and two configured as looped backups. Playback was handled via a MacBook Pro running Resolume Arena with the Stageflow plugin, paired with a Blackmagic DeckLink 8K Pro G2 card for output.

We tested several playback solutions during prep, Mitchell notes. Resolume with Stageflow gave us the flexibility to manage content quickly while maintaining stability.

The system also enabled seamless server switching via the Zenith 200, ensuring uninterrupted output in the event of a failure.

Maintaining synchronization between LED content, cameras, and lighting was critical for broadcast. Frame rates were matched across the entire production ecosystem to avoid scanline artifacts, while overall latency remained low enough to support IMAG and live graphics without noticeable delay.

Everything needed to feel immediate, Mitchell says. Whether it was graphics, replays, or live camera feeds, there couldn't be any disconnect.

Content for the show came from multiple sources, including the television production team and Varsity Spirit. The center LED wall was partially controlled by the broadcast truck for game graphics and scoring, while UpLight managed the surrounding displays and environmental content.

Resolume with Stageflow allowed us to build looks quickly and manage focal points, Mitchell explains. That was important in a live format where things are constantly evolving.

The system allowed for real-time adjustments during rehearsals and live competition, ensuring that branding, team identity, and broadcast elements remained aligned.

Lighting design was equally influenced by broadcast requirements. Unlike concert environments, where dramatic contrast can drive the visual experience, this production required consistent illumination of the performance area to support camera coverage.

You always have to assume the camera is live, Surbrook says. You can't lose the athletes.

For that purpose, the rig employed high-CRI wash fixtures for even coverage on the mat and clear visual depth for cameras. In addition, beam and pixel-mapped fixtures were used to create motion and energy.

I wanted something animated-something that adds excitement and sparkle-without pulling focus from the athletes, says Surbrook. It's about blending a theatrical sensibility with the energy of a live concert, while still holding up for broadcast.

Integration between lighting and LED was also a key design feature, with fixtures positioned beneath the LED wings to create a unified visual field on screen.

Photo credit: Pro Cheer League

Despite the complexity of the system, the production ran without major technical issues throughout the tour.

No signal problems, no major reconfigurations on-site, Mitchell says. That comes down to preparation and building the system with redundancy from the start.

While content evolved during rehearsals, the underlying infrastructure remain

LINK:	https://www.sportsvideo.org/2026/05/07/case-study-how-pro-cheer-league...
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