For over two decades, San Diego-based CBT Systems, a video production, and broadcast integrator has built studios and launched some of the biggest brands you can think of from the NFL Network, the MLB Network, YouTube production studios around the world as well as Facebook’s television studios. Now, the broadcast integrator has added another high-profile brand to their list of credits, Las Vegas’ new HyperX e-Sports arena, a 30,000 square foot entertainment facility located in the Luxor Hotel.

“CBT Systems came to the project in October 2018, but the project actually started in March 2018, so we were late to the start-up,” explained Darrell Wenhardt, President of CBT Systems. “We had done the RIOT games in the past and know that creating an e-sports arena is challenging. A typical AV contractor is not the right entity to accomplish what is needed. You need a broadcast systems integrator because they are familiar with video production technology and the professional equipment needed to produce the professional level of quality in a broadcast or live stream that people expect.”

Las Vegas’ new HyperX e-Sports arena is truly an entertainment facility with everything from a merchandise sales area, throwback games, a hospitality area where visitors can get bar and food service as well as 200 advanced gaming systems where people can play on their own or interactively with those around them. It is outfitted with large LED screens as well as a production-control room, a 1,000-sq.-ft. studio, and an observer area. But the entertainment facility’s transformation from the former LAX nightclub to a dedicated e-Sports arena featured some unique challenges.

“Within a space like this, there are many challenges because you must plan for the television audience as well as the live audience. These challenges range from the layout of the space, the acoustics, the lighting, and the broadcast. In the former LAX nightclub, the lack of acoustical treatment caused the sound to be loud and unintelligible. Within the Esports environment, intelligibility is very important because the Arena announcers actually provide a Live Call of the Game. The next challenge is lighting. We had to light the production and studio set for both in house experience and television production. On the television side, you have cameras with long lenses that require very solid support, and for that, we turned to Cartoni.”

To accommodate the studio and live-production areas, CBT Systems outfitted the new HyperX Esports Arena with a range of Cartoni camera supports, including three Cartoni P20 pedestals with Focus 22 heads outfitted with Sony cameras and Canon lenses, a Focus 18 tripod system as well as six Cartoni PTZ tripods.

“We had a history with Cartoni from our previous success with YouTube Production Studios in New York and Los Angeles, where we have both the large P-90 Pedestals and the smaller P-20 Pedestals. We chose Cartoni for two reasons,” explained Wenhardt. “One is because of the high quality and reliability of the equipment, and number two is because of the incredible service. Of all the major manufacturers out there for camera support equipment, whether it’s Sachtler, Vinten, nobody across the country can give you the personalized service and support that you get with the Cartoni product.”

E-sports, or competitive video gaming, is one of the fastest growing trends in the world. The sport has grown from competitive events that pop-up temporarily in warehouses to a growing number of dedicated e-sports arenas around the world. And according to Wenhardt, the reason for the growth and popularity is the unified platform.

“This isn’t like the NFL or major league baseball, which is really only done in the United States,” said Wenhardt. “CBS was thrilled to have some 100 million viewers for the most recent Super Bowl. On a typical night, some of the e-sports companies like Blizzard and Riot games will have 45 million people watching this stuff, and that’s around the world. I think there’s this appeal around the world to this new generation.”

So where is the future of e-sports heading with more arenas popping up?

“Certainly, you are going to see more e-sports arenas both nationally and internationally. I think from the large corporation standpoint they see the opportunity to fill up seats in an arena and a hotel, but eventually, there will be a betting component in this whole thing.”

Manios Digital is the exclusive US distributor of Cartoni tripods, Kinotehnik LED lights and Hawk-Woods batteries. Visit Cartoni and Manios Digital at NAB 2019 at Booth C9020. Register for free using code LV2933.

For the last seven years, Emmy-award winning Director of Photography Danny Schmidt has established himself as a dynamic presence in the environmental film space – pairing in-depth stories with stunning visuals. From elephant poaching in Myanmar to climate change and changing ice levels, the Montana native has worked with some of the biggest names in the space including the Smithsonian, NASA, Netflix, PBS, National Geographic and many more.

Manios Digital sat down with Danny to find out how he got started and the gear he uses in the field.

Q: You’ve worked on some great videos from the elephant poaching in Myanmar to climate change in the ‘trial of the century,’ how do you approach each of these shoots? Is this more run and gun or do you have shots in mind for the way you tell the story?

DS: I approach every shoot with one thing in mind: what do I need to do to help tell the best and most honest story possible. This informs the type and style of coverage we get, how we approach the characters, the locations, etc. That said, I love verité, hand-held shooting. There's something about the interplay between the subjects and the cinematographer that creates the raw feeling of intimacy and access that the audience feels on the screen. However, I also love the opportunity in slower, more controlled situations to take the time to set up shots, experiment more with composition and lens choice, and create a frame that is meant to be studied by the audience.

Q: Your film, Running Wild, is shot beautifully! Can you talk about your style? Did you plan on using the wide shots, opening timelapse to highlight the isolation and beauty of the mountains?

DS: Thanks! I had a talented team working with me on this, a stunning location, and a unique story. A lot of elements came together! We knew we wanted to merge the exciting cinematography commonly seen in adventure/sports films with the pressing narrative of finding a critically endangered species. We had great, natural subjects in Craig and Sarah who, aside from already being involved in the science project, were badass and passionate runners. Wide shots were the only way to capture a landscape as big as the Uinta Mountains and to show how small people really are in a place that remote and wild. The night time-lapse seemed like a no-brainer to add to our shot list because that is the time when wolverines are out doing their wolverine thing!

Q: Can you talk about this last trip you went on? What projects was it for and can you talk about the different things you did?

DS: I've had a busy fall working on various projects all of which have different styles and aesthetics. From a purely verité doc series on income inequality in America, to a glossy doc about saltwater fly fishing in New York, to a wildlife film exploring conservation on military lands. So, sometimes I am standing behind a tripod in the early morning hours waiting for an animal and other times I am fully loaded with my Easy Rig following people around town.

Q: What is in your kit?

DS: For most doc stuff I use an FS7, a variety of Sigma and Canon primes, EasyRig, MoVI, a couple sets of wireless lavs, Cartoni Focus 22, a bunch of Hawk-Woods Mini V-Lok batteries, a few LED panels, and lots of other grip gear, monitors, and supports. For long lens wildlife stuff, I’m generally shooting on the RED for over cranking and increased resolution. It's a lot of stuff to haul around the airport.

Q: You took the Hawk-Woods Mini V-Lok batteries with you on this last trip. What did you think?

DS: The Hawk-Woods are a game changer. Seriously. I am the envy of my friends and colleagues on set. They are tiny, they last forever, and charge fast. What else could you ask for in a battery? They are the future.

Q: What did you think of the size of the batteries?

DS: The size is deceptive. They are small, but super powerful. I am so glad HW is leading the charge (pun intended) on shrinking the tech into smaller packages. Traditional v-mounts were really big and bulky. With TSA now requiring all batteries to go in your carry-on bags, it is crucial that you take the smallest, most powerful batteries you can find. Your camera will run all day and your back will thank you later.

Manios Digital is the exclusive US distributor Hawk-Woods, Cartoni tripods and Kinotehnik lights.

Join us at NAB 2019! Register for free by using code LV2933.  

WASHINGTON—NAB Technology will look to tackle some of hot button issues with three announced sessions to take place during the 2016 NAB Show. These sessions, called All-Badge Access Sessions, are presented in conjunction with worldwide organizations and are open to all registered NAB Show attendees.

The sessions will kick off on Saturday, April 16, with the “Media Standards Summit: The Role of Media Standards in a Connected World.” This session will look at the changing role of media standards in IP-connected production, delivery and consumption environments. It will be held from 10 a.m.-12 p.m. in room S225 of the Las Vegas Convention Center.

On Monday, April 18, the “Korea UHD On-Air” session will take place. This will provide a look into the Korean governments scheduled launch of a terrestrial UHDTV service in 2017, which is also expected to be one of the first deployments of ATSC 3.0. The session will be held in room N232 from 2 p.m.-4 p.m.

The third session, “Ultra HD Master Class,” is set for Wednesday, April 20. Topics for this session will include use of UHD technologies to deliver next-gen experiences, as well as the introduction of the initial publication of the Forum’s UHD Guidelines and a report on recent interoperability testing. It will also feature a roundtable discussion on HDR. The session will run from 9 a.m.-11 a.m. in Room S225.

The 2016 NAB Show will take place from April 16-21 in Las Vegas.