Powered by Max Banner Ads 

ChyronHego Technology Gives Life to Tinker Bell and Other Stunning Visual Effects in NBC’s ‘Peter Pan Live!’

MELVILLE, NY — (Marketwired) — 12/18/14 — ChyronHego’s (NASDAQ: CHYR) Lyric™ PRO advanced graphics creation software and Virtual Placement system played starring roles in NBC’s "Peter Pan Live!," which aired to an estimated television viewing audience of more than 9 million on Dec. 4. Using Lyric PRO running on ChyronHego’s Mosaic™ graphics platform, technicians created the animated character of Tinker Bell and manipulated her appearance and interaction with live actors during the broadcast. In addition, ChyronHego’s Virtual Placement was used to place virtual graphics such as a starry night sky and an oceanscape into the live broadcast stream, which created a seamless illusion for home viewers of the characters’ travels to Neverland.

"With the ChyronHego solutions, we were able to bring Tinker Bell to life and create virtual backgrounds that viewers usually don’t see in live television," said Javier Winnik, Supervising Producer, "Peter Pan Live!" "The ChyronHego team was a key component in the production, and we appreciate their support in making ‘Peter Pan Live!’ a success."

The ChyronHego team collaborated with "Peter Pan Live!" creative professionals to define the look and feel of Tinker Bell. As rehearsals progressed, the team worked closely with the production’s Associate Director to understand how the computer-generated character would respond to actors and props on the stage. Lyric PRO was used to manage the conditional logic needed to portray various emotions for Tinker Bell, and MIDI data of her "voice" (created on a musical keyboard) was imported into Lyric PRO so that her "speaking" could trigger changes in her appearance, such as highlights and glows.

"’Peter Pan Live!’ was an exciting challenge and an incredibly fulfilling experience for the ChyronHego team. It was a great privilege to work with the visionary creative team involved in this project, and then translate their concepts into solutions that could respond, in real time, to a highly dynamic environment with factors that constantly changed, even between each rehearsal take," said Todd Martin, vice president, U.S. operations, ChyronHego. "We’re honored that the ‘Peter Pan Live!’ producers chose our virtual graphics creation, placement, and tracking technologies to transform their vision into a truly groundbreaking live production."

Using Virtual Placement, the ChyronHego team created virtual graphics representing the night sky and the ocean to create a bridge between different stage sets and support the illusion that the characters were traveling as they "flew" out of the nursery, over London, and to Neverland. Based on tracking points taken of items within each set, Virtual Placement was used to track the virtual backgrounds together with the camera’s movements, as if they were part of the real environment. Virtual Placement was also used to track Tinker Bell’s movements and create illusions such as her appearing to fly inside a pottery jug.

"’Peter Pan Live!’ is also notable because it demonstrates the unique value that resulted from the merger of Chyron and Hego Group," Martin added. "We were able to apply Virtual Placement tracking technology from the Hego side and Lyric PRO broadcast and graphic design expertise from the Chyron side to offer a complete solution for this production, a capability that is unique in the world of broadcast graphics."

ANEVIA INTRODUCES NEXT-GENERATION CLOUD MONITORING FOR ENTERPRISE TV

Paris, France, December 19, 2014: Anevia announces the first service in its new Cloud strategy. Introduced to Anevia customers and partners during its first Cloud Conference, Anevia Cloud Monitoring is a software-as-a-service based application allowing global maintenance of enterprise television deployments centred on Anevia Flamingo XL and XS IPTV head-ends.

Anevia Cloud Monitoring is a multi-tenant cloud-based application allowing pro-active, easy and efficient global enterprise TV sites maintenance. With its predictive alerts feature, the Cloud Monitoring service enables lost-channel issues such as lapsed subscriptions to be identified and rectified automatically before they cause significant interruption to the viewing experience. The service also avoids TV viewing disruption linked to loss of conditional-access management rights. Each Anevia head-end, from any location, pushes its status data on a regular and controllable basis all its using cloud technology.

Anevia Cloud Monitoring provides a basis for the global maintenance of a worldwide enterprise IPTV operation with secured alerts. All this information can be viewed instantly via a dedicated monitoring interface. Anevia’s unique smart information processing is used to generate alerts automatically with emailed notifications of identified events such as satellite broadcast channel changes.

"Anevia Cloud Monitoring takes the IPTV viewing experience to an entirely new level, ensuring minimal television service disruption and greatly increased customer satisfaction thanks to its predictive functions," comments Anevia’s co-founder and CTO Damien Lucas. "In 2015 we will be introducing additional cloud-based capabilities to provide enhanced line-up and configuration of cloud-TV channel delivery services. The objective is to ensure that technical issues throughout an IPTV chain are detected and corrected before they result in a subscriber being faced with a blank screen. Anevia Cloud Monitoring is available now to all customers who have an Anevia system maintenance contract.

CANAL+ is celebrating its 30th birthday: “multi million” success for WILDMOKA’s technology

DECEMBER 18th, 2014 – SOPHIA ANTIPOLIS

This year, CANAL+, the leading pay-TV channel in France, is celebrating its 30th birthday. For this occasion, WILDMOKA created a very innovative video generator on CANAL+ website, allowing users to instantly generate unique personalized videos, mashing-up the best archives from the TV channel with variations of an episode of “bref.”, a famous French TV series.

Massively relayed by consumer press and social networks, more than 1 million videos were generated in just 3 days, after reaching 200.000 in a couple of hours. This success was enabled by WILDMOKA’s Moments Share solution deployed with a massively scalable infrastructure powered by Microsoft Azure Cloud and CDN solutions.

This highly successful event puts WILDMOKA in the spotlight. The company showed its capacity to create and deliver instantly unique video clips to dozens of thousands of users at the same time and to share these on social networks. This large-scale deployment of WILDMOKA’s Moments Share solution demonstrates, as announced at the IBC in September this year, that it’s technology enables revenue generating video services.

Cristian Livadiotti and Thomas Menguy, founders of WILDMOKA are proud of the success of this event: “This project illustrates that awesome content associated with personalization and built-in virality, can reach success immediately, paving new ways for TV content monetization. Our capacity to generate in real-time millions of personalized videos was put in practice through this very innovative exercise. We demonstrated our ability to deliver delinearized, customized and shareable content towards very large audiences, with an outstanding user experience and very high reliability."
https://gallery.mailchimp.com/0ba39d2d13736384ac915be29/images/14474aea-2ca1-4331-b6df-ba0c8981d628.png

Globecast Provides Seven Channels for Virgin Media’s International Content Expansion

Paris – 18th Dec 2014 — Globecast has partnered with Virgin Media to supply seven channels for the platform’s expanded international TV content. In total Virgin Media is adding ten more international channels to its TV service.

 

Globecast is supplying seven channels for Virgin Media’s Worldbox service, a new app

offering live streams of international channels via Virgin Media TiVo. The channels will be launched in two stages: four launching now and the rest will be added to the app in early 2015.

 

Globecast is supplying: 1+1 International (Ukraine), BFM (France), Canal 24 Horas (Spain), CTC (Russia), Eurochannel (France), Nessma (Tunisia) and SIC International (Portugal). Didier Mainard, VP Sales with Globecast, said, “We are very pleased to be partnering with Virgin Media on this project. We are recognised globally as a proactive content aggregation partner and we work to match international channels with international audiences. Virgin Media is a powerful platform in this regard and this is an exciting package.”

 

Worldbox is the first HTML5-based app on Virgin Media TiVo and has been specially developed to stream a range of live channels from around the world. Virgin Media TiVo customers with M+ TV and above can access the app by selecting channel 834 in the TV guide or through the Apps & Games section.

 

Stephane David, Virgin Media’s Executive Director of Content said: “The arrival of these international channels on Virgin Media means our TV customers can enjoy even more exciting programming from around the world at the touch of a button. With content spanning everything from international news, sitcoms and dramas to soaps, movies and comedies there are plenty of shows to keep the whole family entertained.”

 

The new channels join Virgin Media’s existing line up of international content, which includes popular channels Zee TV, Star Plus, Sony Max and Al Jazeera Arabic.

 

Nationwide DVB-T2 Monitoring Network for Thailand

Bordeaux-Mérignac, 18th December 2014, Strengthening their position as the leading supplier of DVB-T2 monitoring equipment in Asia, WorldCast Systems has announced the sale of 60 Audemat DVB-T2 monitoring platforms to the Thai Public Broadcasting Service. This follows hot on the heels of a similar project earlier this year when the company supplied almost 80 units to Channel 5, also in Thailand.

Audemat DVB-T2 MonitorThai PBS will use the Audemat unit to monitor the RF and the transport stream of the DVB-T2 signal 24/7 as well as to provide comprehensive remote monitoring of all other equipment including the DVB-T2 transmitters and sensors located at various transmitter sites.

With such comprehensive and programmable remote control, a central user will be able to closely monitor everything that happens at each of the remote sites, view analysis and trends and also control various parameters and settings remotely. Using Audemat’s ScriptEasy software package, the engineers can view customized displays showing the status of broadcasts at all locations and be notified immediately should any single parameter fall out of tolerance.

Critically, ScriptEasy also enables the engineers at Thai PBS to pre-determine automatic actions to be taken when certain conditions are met. This means that, even before the engineer is notified of a fault, action could automatically be taken to correct it on the site.

An Audemat DVB-T2 platform will be located at each of the 39 regional transmitter sites nationwide with several additional units retained for ad-hoc requirements and spares.

The Influence of New Technologies on Copyright. European Audiovisual Observatory publishes new IRIS plus report

Our means of accessing copyrighted works have been transformed beyond recognition by the digital revolution. On line services, streaming, torrents and all other digital means offering content are challenging the current structures of current copyright legislation. Indeed, it seems that the rule makers are always chasing behind the latest technological developments in order to provide a suitable regulatory structure. The European Audiovisual Observatory, part of the Council of Europe in Strasbourg, has just published a brand new IRIS plus report:

The Influence of New Technologies on Copyright

Current copyright legislation was last overhauled 15 years ago. At the time, it was the InfoSoc Directive which stipulated the rules of communicating copyrighted content to the public. The SatCab Directive still lays down the rules for the retransmission of content and it remains unchanged since 1993. The Observatory sets out to explore the current legislative situation and raises the question of the need for a serious overhaul.

The lead article of this new publication is authored by Lucia Guibault and João Pedro Quintais of the Amsterdam-based Institute for Information Law (IViR). The article kicks off with a focus on the criteria developed by the European Court of Justice (CJEU) to judge whether or not there has been “communication to the public” under the terms of the InfoSoc Directive. These criteria also help to define who the “user” is and who is meant by “the public” and the “new public” to whom the retransmission is sent.

Guibault and Quintais then look at the application of these criteria to newer content delivery methods such as live streams of TV broadcasts, hyper-linking to internet sites, and they distinguish between standard links, embedded links and framing links, for example. In this context the article examines the different technical restrictions, subsequent unavailability of the content, contractual restrictions, access to unauthorised content and unfair competition.

Given the age of the SatCab Directive, the lead article also looks at current legal framework for cable retransmission and its bearing on rights holders and the various collecting agencies. The authors focus on recent decisions in The Netherlands and Norway concerning the notion of “direct injection” (or a digital transmission via cable being considered as a “primary communication” and not a secondary communication and thus not subject to the payment of rights).
The Related Reporting section of this new publication provides short articles on recent developments in private copying and liability in the case of online infringement. Cases of non-liability are also included.

The Zoom section has been written by the Observatory’s two legal analysts, Francisco Cabrera Blázquez and Sophie Valais. This final chapter looks at cross-border access to online content with an overview of the most recent initiatives taken at EU level. The thorny question of “licences for Europe”, stakeholder dialogue and the public consultation on the review of EU copyright rules were launched in 2013. Cabrera and Valais conclude by looking at the announcements made by the newly elected Commission regarding future programmes.

The Influence of New Technologies on Copyright – time for an overhaul of our legislation in Europe?

This new IRIS plus report can be purchased from our on line shop here.

).

eNCA broadcasts live from Robben Island with The Quicklink Mini

The 5th December 2014 marked the anniversary of the passing of former South African president, Nelson Mandela.

Robben Island where Nelson Mandela spent 27 years of his life, lies approximately 6km from Cape Town harbour. The challenge that lay ahead of eNCA was to transport their equipment and successfully stream quality live footage with limited cellular coverage. eNCA needed a small and lightweight portable solution as well as sufficient internet connectivity to support a quality live broadcast transmission.

Broadcast Deliveries Manager, Sean Thomas explains why the Quicklink Mini was selected by eNCA as the device of choice:

“The portability of the unit is one of the most important aspects because we had to access the island by ferries and we were limited on space. We used the Quicklink Mini, a small battery system, a small camera and a small tripod, the less equipment we had on the boat the better. We had to move around the island so the portability and ease of use of the unit was fantastic.”

The Quicklink Mini offers a high-quality video uplink solution for live newsgathering and online coverage of events. With 15 seconds boot time, it has been designed to meet the needs of broadcasters who are constantly on the move. Weighing at less than 750grams, the Mini provides portability and flexibility.

By using the Quicklink Mini, eNCA were able to cover all the live breaking news broadcasts from Robben Island. They were mobile enough to scout the location for the best signal and deliver quality results. Sean Thomas explains:

“The signal areas are quite patchy on Robben Island but this is to be expected. However, we achieved 3-4mbps transmissions with the Quicklink Mini with just 4 Sims.”

Sean continues: “It’s really simple to use, the training is minimal, and our cameraman after a 15 minute introduction could go out and operate it without a problem.”

Bethan Hill from Quicklink said “eNCA were able to increase their ratings due to broadcasting live from a remote area, their competitors struggled in achieving anything similar. This is a great example of what broadcasters are looking for when broadcasting live and this proves that Quicklink technology is up to the task.”

The Quicklink Mini is part of a line of hardware encoders provided by Quicklink and has become a part of the broadcaster’s essential equipment list. For more information about the Mini and Quicklink, click the link below.

Find out more

Dalet Announces Release of AmberFin 10.5

Paris, France — December 17, 2014 – Dalet Digital Media Systems, a leading provider of software-based solutions for media organizations, has announced the release of Dalet AmberFin, version 10.5, which enables customers to make the best possible pictures with unprecedented flexibility for their businesses. This major update to the Dalet AmberFin platform marks the debut of Dalet AmberFin Dark enterprise transcode, Cinnafilm Tachyon GPU-accelerated frame-rate conversion (as part of (AT)3 toolbox), XAVC support, ARD-ZDF MXF Profiles and other significant features.

Ben Davenport, Dalet’s director of marketing, comments: “This significant release confirms Dalet’s investment and commitment to the AmberFin platform. Dalet AmberFin Dark is completely scalable, enabling businesses to start small and expand to an enterprise-grade solution. Meanwhile, unlike other vendors, who may only provide a single technology option for temporal conversions, the inclusion of Tachyon as a tool in the (AT)3 toolbox allows users to choose the best solution for their businesses or even a combination of different technologies.”

Dalet AmberFin is a high-quality scalable transcoding platform with fully integrated ingest, mastering, QC and review functionality, enabling facilities to make great pictures in a scalable, reliable and interoperable way. The inclusion of Tachyon within the (AT)3 toolbox gives Dalet AmberFin users the ability to perform faster standards conversion while maintaining the high quality pictures that the Dalet AmberFin platform is known for. The Dalet AmberFin Dark transcoder efficiently turns the content that owners have into the content their customers want. With all components running as Windows services, users can build transcode farms on commodity IT hardware as appliances – minimizing downtime, reducing maintenance costs and enabling complete ‘lights-out’ operation.

“(AT)3 is a real innovation from Dalet, acknowledging that different sectors of the industry and different content types require different approaches to frame-rate conversion,” explains Matthieu Fasani, Dalet AmberFin product manager. “Adding Tachyon to the collection of tools in the (AT)3 toolbox provides customers with the complete flexibility to address those different requirements. For the first time, users are also able to combine those tools in a single-pass operation to achieve unprecedented levels of conversion quality. (AT)3 is available as part of Dalet AmberFin Dark, which is supported with full redundancy, network licensing and Windows services architecture. The technology can be deployed in a data center. ARD-ZDF profiles are vital to helping to solve the problem of file interoperability for media facilities in Germany, in a similar way to Dalet AmberFin support for the DPP initiative in the UK, for which it gained compliance in September.”

Dalet AmberFin 10.5 Feature Highlights Include:

Dalet AmberFin Dark – A new service-based architecture allowing users to build enterprise-scale, fault-tolerant transcode farms whilst enabling backwards compatibility in the API for existing customers

XAVC (HD) support for transcode-in and playback, increasing codec support, especially in the area of camera acquisition

Cinnafilm Tachyon – GPU-powered, motion-compensated frame-rate converter available as a technology option in the (AT)3 toolkit

ARD-ZDF MXF Transcode Profiles facilitate file interoperability for media facilities in Germany

SCC Sidecar Transcode Output – 608 Caption data can be extracted from files during a transcode to a .scc sidecar

Boris FX to Acquire Imagineer Systems to Form Visual Effects Developer Powerhouse

Boston, MA, USA — December 17, 2014 – Boris FX, the expert in integrated VFX and workflow solutions for video and film, has signed a definitive agreement to acquire Imagineer Systems Ltd., the UK-based developer of the exclusive Planar Tracking™ and masking tools. Imagineer’s flagship product, mocha Pro™ plays a leading role in countless major Hollywood films. In 2013 the team behind mocha was honored by the Academy of Motion Pictures with a Science and Engineering Award. mocha Pro software was recently used on blockbuster films “Gone Girl,” “Birdman” and “Hunger Games: Mockingjay Part 1,” and TV show hits such as “The Leftovers,” “Game of Thrones” and “House of Cards.”

“This strategic acquisition will allow us to offer the most comprehensive and advanced set of visual effects tools and solutions on the market today, serving everyone from independent filmmaker to the professional video editor working with effects to the feature film VFX artist,” explains Boris Yamnitsky, founder and CEO, Boris FX. “Imagineer Systems has the best-of-breed motion tracking, masking and rig removal technology. The company’s engineering and product design expertise perfectly complement Boris FX’s own highly regarded team of visual effects software developers and industry specialists. Both Boris Continuum Complete and mocha Pro will greatly benefit from combining our resources and technologies, as will the many mutual customers we serve.” The newly merged company will build upon the strengths of both development teams to become the leading software firm specializing in post-production plug-ins and tools for editorial, visual effects and motion graphics design.

Imagineer management echoes the play on strengths and the value the merger will bring to the industry. “From our first discussions with Boris it was clear we share the same ethos of directly engaging with our users and the same passion for innovation in visual effects,” states John-Paul Smith Hon FBKS, CEO, Imagineer. “One of Imagineer’s key strengths is the ability to play well with others, supporting every popular VFX application in the industry. Joining the Boris family is a huge opportunity to bring mocha’s world-class planar tracking to Boris Continuum Complete users, giving artists and editors the tools they need where they need them most.”

Yamnitsky elaborates on the benefits of merging resources: “Acquiring the proprietary mocha Planar Tracker technology will allow us to bring Imagineer’s Academy Award-winning planar tracking to Boris FX solutions and customers, while conversely, Imagineer products will benefit from Boris FX’s advanced host integration know-how. The breadth and depth of both companies’ technologies will allow us to quickly build powerful new visual effects. The acquisition expands global coverage, better serving customers worldwide, with staff located in the UK, New York, Los Angeles and Melbourne, Australia.”

The announcement of the acquisition has already been greeted with excitement from the industry. Jake Morrison, VFX supervisor with Marvel Films (and a member of the Academy of Motion Pictures) expressed, “Imagineer makes amazing tools for the visual effects community. At the core, its planar tracker is truly one of the most significant technologies for a VFX professional – something recognized by the Academy when the company recently received a Sci-Tech Award.”

Morrison continues, “As both a VFX artist and a production-side VFX supervisor, I’ve benefitted immensely from its technology and have been an advocate for many years. Fundamentally, mocha’s toolset enables the user to focus on the creative rather than the technical, allowing them to complete tasks like tracking and rotoscoping in a fraction of the time. Imagineer’s strategic partnership with Boris FX is great news; bringing new features and new users to mocha Pro is a win-win for the VFX community at large!"

Considered the standard visual effects toolset among broadcast and post facilities, Boris FX has more than one million registered customers, which include Viacom, ABC/Disney, BBC, ESPN and more. Boris FX tools were instrumental in contributing to television content such as “Downton Abbey,” “Weeds,” “The Annoying Orange” and many others. Boris FX customers have also reacted eagerly to the news of the merger. “At ESPN, BCC plug-ins are part of my everyday Avid workflow. The interface, flexibility and quality are paramount for me to create the highest quality content for productions like Major League Baseball. Additionally, when tracking is part of my design process, mocha Pro is my hands-down go-to tool. The ease of use and amazing results I can get with mocha open up design opportunities I don’t get with other tracking tools,” states Doug Fitzsimmons, coordinating editor and project leader at ESPN. Fitzsimmons continues, “To learn that Imagineer and Boris developers are joining forces is really exciting. I am really looking forward to seeing what innovations this Imagineer/Boris team of designers develop, and getting more advanced tracking tools in my Avid timeline.”

Boris FX flagship visual effects solutions include Boris Continuum Complete (BCC), the single most comprehensive plug-in toolset for editing and compositing systems from Avid, Apple, Adobe, Sony, Grass Valley, The Foundry, Assimilate, Quantel, Blackmagic and SGO.

“I’ve worked with Continuum Complete for many years and am continually impressed with the sheer power and large library of useful tools for post,” says Ross Shain, chief marketing officer of Imagineer Systems. “Imagineer is very excited to be teaming up with one of the leading plug-in developers in the industry, and we will leverage Boris FX’s experience with GPU-enhanced acceleration and host integration to improve the mocha family of products.”

Shain continues, “Our companies share a common vision: to provide editors and artists with dedicated problem-solving tools that speed up workflows and help users focus on creativity. Combining technical and marketing resources will allow Imagineer to better support our existing customers and help expose the power of mocha to new users in the editorial and broadcast markets. Combined, Boris FX and Imagineer will be supporting almost every professional editing and effects software in the marketplace.”

Imagineer Systems Ltd. will continue to operate as a wholly-owned UK subsidiary of Boris FX with CEO John-Paul Smith continuing to lead from the Guildford, UK location. Boris Yamnitsky, CEO of Boris FX, will serve as the group chairman and Ross Shain will become the chief marketing officer of both Boris FX and Imagineer. For more information about the acquisition plans, please visit: http://www.borisfx.com/blog/2014/12/15/imagineer-systems-acquisition-frequently-asked-questions/?utm_source=creativecow&utm_medium=website&utm_campaign=mochaFAQ

 

http://i2.cmail1.com/ei/r/0D/552/2A7/csimport/RossShainHeadshot.160748.jpg

 

Ross Shain

 

 

 

http://i3.cmail1.com/ei/r/0D/552/2A7/csimport/BorisYamnitsky.160757.png

 

Boris Yamnitsky

 

 

 

http://i4.cmail1.com/ei/r/0D/552/2A7/csimport/JohnPaulSmithAcademyMotionPictureArtsGtt1zw.160802.jpg

 

John-Paul Smith

 

Ferri Lighting Design & Associates Lights ESPN’s Heisman Trophy Ceremony

NEW YORK – Ferri Lighting Design & Associates (FLDA) today announced that it designed the lighting for the 2014 Heisman Memorial Trophy Award presentation, which was presented live on ESPN and via a Livestream webcast on Saturday, December 13th, from the Best Buy Theater in New York’s Times Square. The 80th Heisman Award Presentation event marks the 14th consecutive year that FLDA has handled the lighting duties for the prestigious ceremony for ESPN. FLDA senior lighting designer Bruce Ferri was responsible for the design.

Ferri worked alongside Ben Carlson, who has been the Heisman lighting director since 2001.

“This has always been a challenging project since load-in and focus must be mostly complete in a single day,” said Ferri. “It’s not a small show either, as 400 units must be hung and focused while working amidst carpentry, audio, camera, and floral crews who are also scrambling to get ready.”

Marcus Mariota of the University of Oregon was selected as the 80th winner of the Heisman Memorial Trophy as the Outstanding Football Player in the United States for 2014. William Dockery, President of the Heisman Trophy Trust, which annually presents the Heisman Memorial Trophy Award, announced the selection of Mariota live on the nationally televised ESPN sports special.

Ferri originally lit the event in 2001, when the Heisman ceremony first took place away from its longtime home, at the Downtown Athletic Club, which had been damaged during the 9/11 attacks. The 2001 event, held in the ballroom of the Marriot Marquis hotel in Times Square, was also the first time that ESPN produced the show. Since 2005, the Heisman Trophy presentation has taken place at the Best Buy Theater (originally the Nokia Theater), just off Times Square.

FLDA’s Emmy Award-winning team has achieved renowned reputation for its sports studio installations over the years, including multiple designs for ESPN, the MLB Network, and others.

“As a live event, with a webcast component, the Heisman Trophy presentation needs to have an exceptional quality to its lighting, given the guarded secrecy around the award’s winner, and we try to accentuate this atmosphere in a manner consistent with ESPN’s look and feel,” said Ferri. “The event is unique in the sports world, and we look forward every year to working with ESPN on the award presentation.”