NFL FILMS DEPARTMENT DESCRIPTIONS
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NFL FILMS DEPARTMENT DESCRIPTIONS
PRODUCERS innovation of building America's favorite game into
Producers oversee all creative projects at NFL Films. a historical staple. Our Emmy Award-winning
Producers are storytellers, directors, writers, Cinematographers use their extensive knowledge
editors, and ultimately responsible for producing all to light and shoot for NFL-Films style productions,
NFL Films programming. Programs include Hard working daily with an
Knocks on HBO; Inside the NFL on Showtime; extensive equipment inventory and unrivaled film
Turning Point on NBC Sports Channel; Match-up, vault. NFL Films Cinematographers also prep
Greatest Games, and Hey Rookie on ESPN; NFL equipment before shoots; taking place at both at
Film’s Presents, Top 10, Sound FX, A Football Life, our facility and on-location, and work with both
America’s Game, and Playbook on NFL Network; film and high-definition cameras as well as grip and
NFL.Com Content; DVD’s; Road to the Super Bowl; lighting.
Vignettes; Commercials and PSA’s.
INTERNATIONAL PRODUCTION OPERATIONS
FACILITY SALES Exposure to International Broadcast Operations and
When they’re not being utilized to produce award- International Business Departments. Work directly
winning television programs that promote the NFL, with NFLI-Media Dept. in NY to confirm NFL rights
NFL Film’s talented production professionals and for int’l broadcast partners. Responsibilities include
robust production facilities are available for hire by interfacing with international partners on a weekly
outside clients for a myriad of non-football basis regarding game selections; Communicating
projects, including national and regional with host networks (CBS, FOX, ESPN, NBC, NFLN)
commercials, sales and training videos, webisodes about international participation; Set-up live
and entertainment productions. The Facility Sales broadcasts from stadium when necessary; Maintain
Dept. spearheads the solicitation and management detailed transmission information for all Int’l feeds;
of such projects, working closely with advertising Deliver weekly game/program transmissions via
agencies and their clients to develop audiovisual satellite/fiber to broadcast partners; Provide
productions that achieve the desired objectives. footage/dubs as needed; Work with Encompass to
coordinate delivery of Int’l Sunday Ticket and Red
GRAPHICS Zone; Connect with NFLN to acquire select
Graphics Department incorporates all levels of programs for delivery to int’l broadcasters;
Broadcast Design. Photoshop, Illustrator, Cinema Coordinate with Dot Com to deliver highlights for
4D and After-Effects software are utilized to come programming; Tracking selections and feeds for
up with outstanding designs. Our designers are accuracy in billing; Provide live troubleshooting
responsible for creating show opens and graphics support during all feeds; and Office Support as
packages for NFL Films, NFL Network, ESPN , needed (data entry, phone, email correspondence,
Showtime and HBO. We are also a fully functioning satellite coordination, etc).
graphics house for outside commercial work. Our
client list includes the Philadelphia Phillies, POST PRODUCTION SUPERVISION AND QC
Comcast, Jefferson Hospital, Blue Cross and Blue Employees are responsible for QC of all shows
Shield. going through the facility prior to shipping, making
sure that all technical specs are met. They are
CINEMATOGRAPHY responsible for all voiceover/narration needs for
The NFL Films Cinematography department the producers such as securing talent, negotiating
is the world-renowned pioneer of sports fees and booking outside facilities. This group is
cinematography and home to the original responsible for the delivery of all finished approvedshows, coordinating feeds of programming to the College football coaching footage. The CGE
Network and broadcast partners along with Network, a private network established prior to the
arranging all close captioning, show formatting and 2009 season, utilizes content distribution software
dub requests for producers. They are also developed by Signiant, Inc. to provide a quick,
responsible for the production and distribution of efficient, secure, and fully automated method of
billboards for NFL Network. transferring the NFL and College coaching footage
to the 32 NFL clubs Video Department’s for their
MEDIA SERVICES use in scouting and player evaluation.
The Media Services Department handles and fulfills
all footage requests for use by outside clients such FILM LAB AND FILM ARCHIVES
as the League, 32 member clubs, the NFL Network, Prep and Process game film, team archive and
Network Broadcast Partners, local television client negative. Enter label/shoot data into POGA
stations, advertising agencies, films & television and vault systems. Prepare all film for transfer.
production studios & anyone else who requires the Disseminate incoming media throughout the
use of NFL footage within their productions. The facility. Manage and maintain film archives.
Media Services Department also manages the NFL Responsible for all film research for producers and
Films Internet Content Exchange (ICE) site, a clients.
tapeless, file-based service, which is used to
electronically distribute content to our outside VIDEO VAULT
clients, via Signiant Media Exchange process over The Video Vault is responsible for all Video Tape
the Internet. Archival material. It is their job to catalog all new
material on Video tape that comes into the facility
SABER LOGGING or made from files and archive it using our internal
(Server & Archive Based Editing Research System) POGA system. The Video Vault also provides
Loggers review and record NFL Films footage in support to all NFL Films/League/Network personnel
detail and store it in our company database called with locating, retrieving and tracking tapes
SABER for archival purposes. Employees of NFL requested. The Vault staff provides full service in
Films and NFL Network can access SABER to recall raw material (digital media and tape stock),
specific game footage within seconds broken into labeling, distribution of dubs and pulling EDL lists
four camera categories: top, ground, sound and for edit rooms involved with Auto Assembles and
wire. Each shot logged is assigned a grade based on Final edits. The Video Vaults completes all Work
camera angle, speed, and game significance. SABER Orders provided by the Scheduling/Audio and
is a user-friendly, clickable-based program Duplication departments by providing all materials
producers frequent looking for shots to create needed to complete the jobs requested. They also
documentaries whereas researchers may pull print and in some cases create customized DVD
footage to assist requests from outside clients such imaging requested through duplication orders. The
as ESPN, Showtime and HBO. Video Vault is responsible with managing all
restricted material with information provided by
CGE SYSTEM the Footage Acquisition department. The Video
The Club Game Exchange Department manages the Vault also archives outside client material and
processing and electronic, file-based distribution of works closely with the Facility Sales department in
all NFL and select College coaching/scouting maintaining this material to company standards
footage (also known as All-22) to the 32 NFL clubs. and then releasing it within a designated time
Footage is submitted by both NFL clubs and period.
Colleges to a “Virtual Dub Center”, a fully
redundant central repository for acquisition, TOC (TRANSMISSION OPERATIONS CONTROL)
storage, and redistribution of Professional andThe TOC (Transmission Operations Control) is the Editors compile, conform, assemble & final edit
central hub for all Broadcast signals passing material for various delivery methods (broadcast,
through the NFL Network. The Network is internet, VOD). They primarily use non linear
comprised of broadcast feeds coming from NFL editing applications such as FCP, Premiere,
Films, Culver City, the NFL League Office and Photoshop, After Effects as their tools. Editors add
Encompass. We are responsible for controlling all effects, titles, transitions to the final product. They
the traffic between these 4 facilities ensuring each reposition shots when needed. They make sure
feed makes it’s deadlines and making sure the the show is properly formatted and to timed. They
integrity of the transmit path passes all QC contribute by cutting music, placing VO, shot
processes. We work closely with the Sound Stage selection, etc to give the segment the proper
and provide live transmission support. On Sunday’s emotion based on the story line. Editors work in
we have the responsibility of providing all live conjunction with Audio, Graphics, New Media,
satellite fronthaul game downlinks used for the Producers, Telecine, TOC, Media Administration
RedZone Channel, and archiving the broadcast and Engineering in the creation and distribution of
history of the games by recording the fronthauls, the segment.
clean feeds and home/away press conferences.
CMR (CENTRAL MACHINE ROOM)
TELECINE CMR Technicians have complete knowledge of
Department is comprised of highly experienced multiple video formats such as HDCam, DVC-Pro
colorists who have worked in all forms of color HD, P2 Digibeta, betacam sp, one inch, DVD.
correction. Our colorists specialize in tape to tape Responsible for: cross converting frame rates, up
color correction and the transfer of 16mm and converting and down converting resolutions in
35mm film to high definition tape and file. various aspect ratios. They communicate with
Colorists work directly with cinematographers and management, Vault staff, scheduling, Producers,
producers establishing creative “looks” and color Media Administration, Engineering, New Media and
treatments of broadcast shows and commercials. Shipping staff to meet delivery deadlines.
SCHEDULING NEW MEDIA
Ensures all video post-production facility requests This department was created to translate digital
are met and schedules facility assets, including files and stills into media useable in post production
equipment and personnel, primarily using rooms. It also takes finished tapes and files and
ScheduAll software. Adjusts daily schedules to creates the appropriate delivery file format for each
meet post-production editing needs and production client and job. New Media has taken the lead on
deadlines. Translates approved objectives into work developing best practices for FTP posting and high
plans and procedures and enforces policies and speed file sharing for the post rooms. The New
recommends adjustments. Schedules on-line edits, Media department is also responsible for DVD
graphics, new media, and telecine including all authoring.
personnel, rooms and machines required. Hire per
diem / freelance positions not staffed, write and MEDIA ADMINISTRATION
print work orders for each job and generally This department was set up to create, move, and
determine what each job requires. Coordinates manage all football media on the Avid Unity system
with and has close working relationships with Video used by all producers to create Films programming.
Vault, Lab, TOC, Duplication, Engineering, and Media Admin is also the operational “help desk” for
Video Operations Management. all producer and post Avid systems. Recently,
Media Admin has taken on multiple new
VIDEO POST PRODUCTION responsibilities. They help manage media on the
XSAN for all Final Cut Pro projects and are takingthe operational lead on file transcoding for use by new workflow and syncing process for our P2
FCP. They also archive older media to LTO for long media.
term storage. Finally, they have helped develop the
NFL FILMS PROJECT MANAGEMENT etc..), clearing and licensing commercial music used
in NFL programming, maintaining and administering
Project Management Department consists of four the various production music library deals; budgeting
teams aligned with the following areas: of music for various projects, fan and sales support,
licensing and oversight of our original music program.
• FIELD OPERATIONS TEAM is responsible for
all planning, logistics, scheduling, crewing and ORIGINAL MUSIC:
all travel working with our Travel Team for NFL Films is unique as an organization in that it has
every NFL Films project. This group is also been branded by a unique sound over the years. This
responsible for all production aspects on the is due in large part to its original music. David
field for NFL Films football operations. Robidoux works very closely with producers and
clients to compose themes and music for their
• FOOTAGE AND PHOTO ACQUISITION TEAM is various projects, but he also oversees a team of
responsible for acquiring, clearing and freelance composers whose intent is to produce
licensing all Intellectual Property that is not volumes of new music for use in all of our NFL
copyright owned by NFL Films, and that is to programming, as well as to grow our production
be used in NFL Films Programming. music library as a business.
• TALENT COORDINATION TEAM is the liaison MUSIC EDITORS:
between NFL Films producers and all of the NFL Films has three talented music editors amongst
teams, former players, players’ agents, its ranks. Their knowledge of our many music
publicists, family members, celebrities, libraries (we now exceed 500,000 tracks of music), is
writers, and any other ‘on screen talent’ that an asset that many producers take advantage of
may be needed for NFL Films Programming. when it comes to selecting music for their projects.
Music editors also work with clients for music
• PROJECT MANAGEMENT TEAM’S selections and editing projects. They also are often
responsibility is to assess the goals of called upon to work with producers, using music logs
Producers/Directors at NFL Films and to to select music and edit projects from the ground up
devise an approach for the project from under very tight deadlines and/or long shifts.
budget through execution. The Project
Management team member will serve as
point person for all projects from managing NFL FILMS AUDIO DEPARTMENT
the project’s budget and billing from
inception though to final delivery. LOCATION SOUND:
One of the most important ingredients of any NFL
NFL FILMS MUSIC DEPARTMENT Films feature is the live audio captured on and off of
the field. The location sound department handles all
MUSIC ADMINISTRATION: aspects of the live audio capture – from sideline sync
This arm of the department serves several different sound, stadium recordings, RF needs, wirings of
functions including but not limited to overseeing the coaches and players to audio for the shooting stage
flow of music throughout the various departments and client jobs. Their work is integral to bringing our
across the league (Films, Network, League, teams, producers clean audio to use in their programs andfilms each and every week – and their hard work and elements include narration, sync sound, wirings,
dedication is one of the reasons NFL Films has led the radio, music and sound effects. Using their
way in terms of innovative uses of field audio and considerable skills they create just the right balance,
continues to record legendary moments in NFL proportion and tone to accompany the visuals
history. onscreen. Their attention to detail combined with
the impressive array of high tech tools and resources
SOUND TRANSFER: available here, are all part of what goes into making
The transfer department at NFL Films is a multi- the NFL Films’ sound so unique.
faceted group, who often has to handle a variety of
duties in service to several different departments in AUDIO ENGINEERING:
the company. They traffic all audio elements from NFL Films prides itself on its state of the art
capture directly into the hands of the editors and technology and in the realm of audio it certainly leads
engineers for use in post-production. They are also the way, and has an equally capable staff to support
responsible for the syncing of audio to film transfers, its many systems. The Audio Engineering team works
archiving, various audio restoration projects, the diligently to keep all of the audio and music
research of audio elements for producers and the operations working at their absolute best. This team
coordination and delivery of all radio calls each week. develops and implements solutions to optimize
workflow, allowing all audio elements, including
AUDIO POST PRODUCTION: sound from field recordings, original and library
NFL Films employs a highly trained staff of audio music, sound effects, archival audio and narration to
mixers, who utilize the latest in digital technology to be easily integrated into our many productions. They
creatively combine all of the audio elements chosen are consistently called upon to provide creative and
for a film, producing a clean sonic bed to accompany often innovative solutions for everyday applications
the visual stories our producers have created. These in various aspects of audio and music production.You can also read
