ESPN Rides Wave of Ratings Momentum Into Women's College World Series Finals Production With ESPN producing both the WCWS and NBA Finals this week, the broadcaster has made a concerted effort to link the two events from both an operational and promotional perspective. By Jason Dachman, Editorial Director, U.S. Thursday, June 5, 2025 - 5:27 pm
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Between the unprecedented upsets, rise of charismatic new stars, and return of established powerhouses, this year's Women's College World Series inarguably ranks among the most exciting in recent memory. And ESPN has the ratings to prove it: going into last nights' opening game of the three-game Finals series, the 2025 WCWS is the most-watched on record with an average of 1.1. million viewers (up 25% YoY).
ESPN has rolled out seven trucks plus additional trailers at its Women's College World Series production compound in OKC.
This has been the wildest and most epic College World Series we've ever had, says ESPN coordinating producer Nick Rud, who is working his sixth WCWS. Just the unbelievable dramatic finishes, the parity, the walk offs, and off-the-wall situations like the lights going out - all of that has made for an insane run for us. It feels like every single game there's something new and different that we've never seen before. It's been so much fun to cover and it's great to see the big ratings as people gravitating to this event more and more.
Rud and company have the production chops to match those big viewership numbers. With around more than 40 cameras and a full studio set on-site, this year's production at Devon Park in Oklahoma City represents the network's biggest WCWS production to date. It is also the most technologically ambitious softball presentation ever, complete with a Technocrane, live drone, Megalodon shallow-depth-of-field camera, 80-foot-long RailCam, SupraCam wired two-point system, and a mask-mounted POV camera on the homeplate umpire.
This is as high a quality of production as I've been a part of out here, says Rud. Having these great ratings allows us to have the resources to cover this at the highest level. Now we've got 43 cameras, we've got seven production trucks plus a couple of production trailers, and about 250 people total out here. So we are able to put in the resources to match just about any other production that ESPN does.
Then you couple that with the fact that we've had the same core crew - the best in the business - out here for many years, he continues. It's an all-star cast of people that work on some of our biggest shows throughout the entire year and we get them all to OKC because they love coming here. They love event, environment, and atmosphere. And it's amazing when you put all those things together.
Plenty of Tech Toys: TechnoCrane, SupraCam, RailCam, Megalodon, Drone, and Virtual Graphics ESPN brought back its Technocrane this year positioned on the baseline to provide sweeping cinematic motion shots of gameplay and crowd reactions. The extended reach and dynamic movement of the crane give directors the ability to capture unique low and high-angle perspectives, enhancing both storytelling and visual depth.
ESPN brought back its Technocrane this year positioned on the baseline to provide sweeping cinematic motion shots of gameplay and crowd reactions.
Another first-time deployment is a two-point cable camera system that stretches from the top of the press box down the left-field line. This system provides dramatic tracking shots of base runners rounding third base and heading for home-an angle not previously available in WCWS coverage.
To better cover defensive plays in the outfield, ESPN has installed an 80-foot rail camera system along the left and centerfield wall. This mobile camera tracks fly balls, catches, and relays with dynamic motion that follows the play in real time, adding another layer of coverage to outfield action.
Returning to the production this year is the Megalodon shallow-depth-of-field camera: offering cinematic, high-frame-rate visuals ideal for capturing emotional moments, celebrations, and dramatic close-ups. Often used in NFL and college football coverage, the Megalodon adds a stylistic layer to ESPN's softball broadcasts.
Aerial coverage will also be significantly upgraded through the use of a drone system providing sweeping venue shots and transitional aerials throughout the tournament. The drone's flexibility allows operators to deliver context-rich visuals of Devon Park and the surrounding crowd environment.
In conjunction with studio technology in Bristol, CT, ESPN is also utilizing Pixotope virtual enhancement integration on the Supracam and Megalodon cameras this year. This consisted of optical tracking composited in Bristol, fed back to site via a fiber path and taken to air in game and studio trucks. This is the first time ESPN has used this remote workflow on a field of play as opposed to a studio production.
We have a virtual graphics operator and builder back in Bristol that's communicating with our associate producers on site, says Rud. We calibrated the [SupraCam and Megalodon] for [virtual graphics] and we've gotten in some really good stuff. And we will continue to improve that and make it better year over year.
In the Studio: A Bigger and Better On-Site Set While ESPN has had live, on-site studio coverage from Devon Park the past few years, the network recommitted to this initiative with a bigger presence this year. Ahead of each of the Championship Series games, host Courtney Lyle and analysts Danielle Lawrie and Madison Shipman are live from a large fight field set. Then during the game, ESPN offers an alt-cast for fans dubbed Champ Series - 7Innings Live: Championship Finals Sp
