PRODUCTION GUIDELINES FOR PACKAGERS AND PRODUCERS OF PROGRAMMING ON
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PRODUCTION GUIDELINES
FOR PACKAGERS AND PRODUCERS
OF PROGRAMMING ON
ESPN, ESPN2, ESPN CLASSIC, ESPNU, ESPN on ABC and ESPN31
1
For Programs/Films produced for ESPN Content Development and/or ESPN Films please use “Production Guidelines for Packagers
and Producers of ESPN Films.”Table of Contents
DEPARTMENTAL CONTACTS ........................................................................................................................................................... 4
PRIOR TO PRODUCTION .................................................................................................................................................................... 5
IF EVENT IS LIVE OR TAPE DELAYED: ..................................................................................................................................................... 6
PROGRAM/COMMERCIAL FORMAT.............................................................................................................................................. 6
PROGRAM LENGTH ........................................................................................................................................................................... 6
OVERALL CONTENT ........................................................................................................................................................................... 7
CONTENT STANDARDS .................................................................................................................................................................... 7
CHARITIES........................................................................................................................................................................................... 7
GAMBLING .......................................................................................................................................................................................... 7
LIQUOR ................................................................................................................................................................................................ 7
BRANDING .......................................................................................................................................................................................... 8
SOCIAL MEDIA ................................................................................................................................................................................... 8
REPLAY WIPE ..................................................................................................................................................................................... 8
GRAPHICS ............................................................................................................................................................................................ 8
PROMOS ............................................................................................................................................................................................... 9
MUSIC/LICENSE AGREEMENTS ...................................................................................................................................................... 9
THIRD PARTY FOOTAGE USAGE .................................................................................................................................................. 11
WATCHESPN APP ................................................................................................................................................................................ 12
PRODUCTION ...................................................................................................................................................................................... 13
REMOTE PICKUP LICENSES - (RF MICS, IN-CAR CAMERAS, BLIMP CAMS, ETC.) ............................................................................ 13
DRESS CODE ..................................................................................................................................................................................... 13
WIND SCREENS ................................................................................................................................................................................ 13
LIGHTING .......................................................................................................................................................................................... 13
EXCLUSIVITY INFRINGEMENT..................................................................................................................................................... 13
CREDITS ............................................................................................................................................................................................. 13
COPYRIGHT AND CLOSE ................................................................................................................................................................ 13
POSTPRODUCTION .......................................................................................................................................................................... 14
CLOSED CAPTIONING ..................................................................................................................................................................... 14
PROTECTION OR VIEWING COPIES.............................................................................................................................................. 14
SCRIPTS.............................................................................................................................................................................................. 14
TRANSMISSION REQUIREMENTS FOR ESPN PACKAGERS ................................................................................................... 15
ELEMENTS REQUIRED ON CONFIRMATIONS ............................................................................................................................ 15
STANDARD DEFINITION (SD) REQUIREMENTS: ....................................................................................................................... 15
HIGH DEFINITION (HD) REQUIREMENTS: .................................................................................................................................. 15
ESPN HD QUALIFIED UPLINK VENDORS .................................................................................................................................... 16
AUDIO CONFIGURATION FOR SHOW MASTERS ...................................................................................................................... 17
AUDIO EDITING ................................................................................................................................................................................ 17
WHAT IS ESPN “INTERNATIONAL” AUDIO? .......................................................................................................................................... 17
TECHNICAL SPECIFICATIONS FOR SHOW MASTERS (STANDARD DEF & HIGH DEF) ................................................ 18
VIDEO SPECIFICATIONS ......................................................................................................................................................................... 18
AUDIO SPECIFICATIONS......................................................................................................................................................................... 18
TIME CODE ........................................................................................................................................................................................... 18
BACK-UP TAPES (MASTER CLONE COPIES) ........................................................................................................................................... 18
HIGH DEFINITION GUIDELINES .................................................................................................................................................... 19
AFFILIATE FEED DELIVERY ................................................................................................................................................................. 199
CONTENT ACQUISITION......................................................................................................................................................................... 19
2SOURCE CONTENT ................................................................................................................................................................................ 19
VIDEO SPECIFICATIONS AND GUIDELINES ............................................................................................................................................. 19
AUDIO SPECIFICATIONS AND GUIDELINES ............................................................................................................................................. 19
GRAPHICS ............................................................................................................................................................................................. 19
MISCELLANEOUS .................................................................................................................................................................................. 19
CONTENT DELIVERY ............................................................................................................................................................................. 20
ESPN HIGH DEFINITION FAQ’S ............................................................................................................................................................ 20
DELIVERABLES .................................................................................................................................................................................. 21
SCREENING COPY ............................................................................................................................................................................ 21
TAPE FORMAT .................................................................................................................................................................................. 21
REVISIONS......................................................................................................................................................................................... 21
TAPE LABELS & SLATES................................................................................................................................................................. 22
TAPE LABEL & SLATE EXAMPLE ................................................................................................................................................. 22
SHIPPING ........................................................................................................................................................................................... 23
QUALITY CONTROL ........................................................................................................................................................................ 23
SYNOPSIS/TV LISTINGS DESCRIPTION ....................................................................................................................................... 24
DELIVERY RECAP/IMPORTANT INFORMATION...................................................................................................................... 24
ESPN3 PRODUCTION GUIDELINES ............................................................................................................................................... 24
ESPN ADVERTISING REGULATIONS ............................................................................................................................................ 24
ESPN COMMERCIAL OPERATIONS GUIDELINES FOR PACKAGERS ................................................................................. 25
ESPN3 PRODUCTION GUIDELINES ................................................................................................................................................ 29
ESPN ON ABC BASIC PRODUCTION GUIDELINES .................................................................................................................... 31
CONTACTS ............................................................................................................................................................................................ 31
PROGRAM FORMATS ............................................................................................................................................................................. 31
TIMINGS ................................................................................................................................................................................................ 31
BILLBOARDS ......................................................................................................................................................................................... 32
LIQUOR ................................................................................................................................................................................................. 32
GAMBLING ........................................................................................................................................................................................... 32
PROMOS ................................................................................................................................................................................................ 32
CLOSED CAPTIONING ............................................................................................................................................................................ 32
ESPN ON ABC ELEMENTS .................................................................................................................................................................... 32
GRAPHICS ............................................................................................................................................................................................. 32
RIGHTS AND CLEARANCES .................................................................................................................................................................... 33
DISCLOSURES........................................................................................................................................................................................ 33
CREDITS ................................................................................................................................................................................................ 33
PROGRAM DELIVERY ............................................................................................................................................................................ 33
AUDIO CONFIGURATION ........................................................................................................................................................................ 33
CALM ACT ......................................................................................................................................................................................... 33
TRANSMISSION NOTE ............................................................................................................................................................................ 33
INTERNATIONAL PROGRAMMING ............................................................................................................................................. 34
SYNOPSIS/TV LISTINGS FORM ....................................................................................................................................................... 31
EXAMPLES OF A SYNOPSIS............................................................................................................................................................. 37
MUSIC CUE SHEET FORM ............................................................................................................................................................... 39
USAGE REPORT FORM ..................................................................................................................................................................... 40
3DEPARTMENTAL CONTACTS
Phone Number Fax Number Internet Address
PACKAGED SHOW UNIT
Kathy Cook, Coordinating Producer 860-766-8396 860-589-3499 Kathy.Cook@espn.com
Rich Williams, Senior Producer 860-766-0507 860-589-3499 Richard.A.Williams@espn.com
Elizabeth Edwards, Production Coordinator 860-766-8698 860-589-3499 Elizabeth.K.Edwards@espn.com
CONTENT PLANNING
Content Planning Team 860-766-4077 ContentPlanning@espn.com
CREATIVE SERVICES/GRAPHICS
Kathy Rajcula, Graphics Systems Manager 860-766-2377 Kathy.Rajcula@espn.com
CREATIVE SERVICES/MUSIC
Claude Mitchell, Coordinating Director Music 860-766-2197 860-766-2428 Claude.A.Mitchell@espn.com
Kevin Wilson, Music Director 860-766-4467 860-766-2428 Kevin.M.Wilson@espn.com
Jon Conti, Music Coordinator (Packager Services Music) 860-766-9015 860-766-2428 Jon.P.Conti@espn.com
PROGRAMMING/FORMAT ANALYSIS
Stephanie Holmes, Director On-Air Mngmnt, Programming 860-766-4285 860-766-4228 Stephanie.Holmes@espn.com
Greg Bushman, Director On-Air Mngmnt, Programming 860-766-3039 860-766-4228 Greg.Bushman@espn.com
Kim Lode, Sr. Manager, Format Analysis 860-766-2533 860-766-2415 Kimberly.Lode@espn.com
Deb George, Associate Manager, Format Planning 860-766-2557 860-766-2415 Debbie.George@espn.com
Anne Moynihan, Associate Manager, Format Planning 860-766-4422 860-766-2415 Anne.Moynihan@espn.com
Marc Goodwin, Sr. Format Analyst 860-766-7183 860-766-2415 Marc.A.Goodwin@espn.com
Eddie Perez Jr., Format Analyst II 860-766-4769 Eddie.PerezJr@espn.com
PRODUCTION – CONTENT SCREENING
Kelly Anthony, Sr. Manager, Content Screening 860-766-5346 860-766-4228 Kelly.M.Anthony@espn.com
Jani Burke, Manager, Content Screening 860-766-2725 860-766-4228 Jani.M.Burke@espn.com
COMMERCIAL OPERATIONS
Scott Atkinson, Director, Commercial Operations 860-766-2499 860-766-1522 Scott.Atkinson@espn.com
Joe Staskiewicz, Manager, Commercial Operations 860-766-7340 860-766-1522 Joseph.Staskiewicz@espn.com
Craig Doucette, Manager, Media Clearance 860-766-7188 860-766-1522 Craig.P.Doucette@espn.com
REMOTE TRAFFIC
Brian Burney, Manager, Remote Traffic 860-766-4309 860-766-2419 Brian.Burney@espn.com
MARKETING (DROP-INS)
Matt Weimer, Associate Director Media Scheduling 860-766-2670 860-766-2421 Matthew.Weimer@espn.com
Shaun Leska, Associate Writer Producer 860-766-2112 860-766-2421 Shaun.M.Leska@espn.com
Tony Lewis, Associate Writer Producer 860-766-5093 860-766-2421 Anthony.J.Lewis@espn.com
INTERNATIONAL & DEPORTES PRODUCTION
Mike Vicki, Producer 860-766-4549 860-766-2433 Mike.vicki@espn.com
Jo Allevato, Coordinating Producer 860-766-7352 860-766-2433 Jo.Allevato@espn.com
ESPNU PROGRAMMING & PRODUCTION
John Vassallo, Sr. Coordinating Producer 704-973-5032 860-766-4823 John.Vassallo@espn.com
Mike Moore, Executive Producer, ERT 704-973-5031 Mike.H.Moore@espn.com
ESPN3 PROGRAMMING & PRODUCTION
Stos Hall, Coordinating Producer 860-766-0651 860-766-2415 Stos.Hall@espn.com
Jerry Vaillancourt, Production Manager 860-766-2336 860-766-2415 Jerry.Vaillancourt@espn.com
NETWORK CONTROL 860-766-4628 Network_Control@espn.com
NETWORK CONTROL ADJUST SUPPORT 860-766-5923/5924 Network Control Adjust Support@espn.com
TRANSMISSION 4
860-766-2289 Transmission@espn.comESPN, Inc., the largest purveyor of sports programming in the world, is committed to airing the highest quality sports programming.
ESPN, Inc. reserves the right to consider a program unsuitable for air as a result of a packager’s/producer’s failure to follow ESPN,
Inc.’s guidelines. To this end, we insist on the following:
PRIOR TO PRODUCTION
In ADVANCE of taping your show, the following must be discussed…
with your Coordinating Producer and/or Content Planning depending on the network (ESPNClassic / ESPNU / SEC /
Longhorn)
HD or SD production
ESPN/ABC Packager Guidelines
Talent clearance and dress
Graphics and Animation
Replay wipe
Event, show, and commercial formats
Sponsor guidelines and in-show sales elements
Billboard and promotional requirements
Facilities/Lighting
Show content clearance
ESPN3 needs
Equipment clearance
Production approaches and budget
Video imaging (if appropriate)
Music cue sheets
Usage Report Form
Banners & Mic clips
DVD or FTP screening copies of both rough cut and/or edit master
Show delivery, transmission and closed captioning questions
with Kathy Rajcula, Graphics Systems Manager (860-766-2377)
HD production
Graphics elements
with Content Planning (860-766-4077)
HD production
Closed Captioning
Delivery of program tapes to Bristol
with Scott Atkinson, Director, Commercial Operations (860-766-2499)
HD production
Commercial instructions
Commercial elements
with Joe Staskiewicz, Manager, Commercial Operations (860-766-7340):
HD production
Billboards
Features
with Craig Doucette, Associate Manager Media Screening, Commercial Operations (860-766-7188):
HD production
Advertising restrictions
Advertising content
PAGE 5 OF 40If event is Live or Tape Delayed:
with Brian Burney, Manager, Network Traffic (860-766-4309):
* HD production
* Transmission procedures
* Check-in procedures
with Matt Weimer, Manager, Editorial Promotions (860-766-2670):
* HD production
* Drop-in promos
PROGRAM/COMMERCIAL FORMAT
Please confirm your program’s commercial format with the Format Analysis Team before the start of production (please see
Departmental Contacts on page 4).
Please start the beginning of the show at time code 01:00:00:00. Leave a minimum of 30 seconds between segments for
commercial holes. Begin your next segment at the time code of the top of the next minute, with a 30 second minimum gap. Do
NOT leave black holes the length of commercial breaks. Commercials are NOT inserted on master show tapes, nor do we roll
through.
PROGRAM LENGTH
If you have produced an event live to tape that ran exceptionally long or short, please discuss with your Coordinating Producer the
possibility of producing the show to the next half hour. With approval of Content Integration (for short turnaround events) or
Program Planning, it is possible to extend or shorten the length of the scheduled air. If approval is obtained, please ensure Content
Planning (860 766-4077) is contacted.
PAGE 6 OF 40OVERALL CONTENT
CONTENT STANDARDS
ESPN programming must be suitable for family viewing. Programming must not contain any sexual references, obscene gestures,
nudity or profanity. Any show delivered with inappropriate content will have audio and/or video edited or may be pulled from the
schedule.
Solicitation of funds is forbidden, as is content advocating controversial policies or positions. Editorial commentary is not suitable
program content. The use of 900 and 800 numbers within a show is generally forbidden and is permitted only if cleared in advance
with ESPN.
Do not include commercial plugs, Internet URL addresses, sponsored features or promotional considerations (including 507
disclosures), interactive triggers or applications of any type, unless they have been cleared in advance with ESPN. Do not accept
any considerations (free travel, hotel rooms or cash) provided in order to get exposure in any of our programs without first securing
approval from ESPN. If approval is secured, disclosure of this arrangement must be made in the form of a “507” textual credit at
the end of the show in the form: “airfare provided by…” A “507” is a credit for an individual, product or service as required by
Federal Communications Act Section 507. If a commercial sponsor buys advertising time within a show, for which a consideration
is already provided, no additional disclosure is necessary. Please ensure this is established and agreed upon at the time of signing
(the contract).
Your program may not contain any material constituting or relating to a lottery, a contest of any kind in which the public is unfairly
treated or any enterprise, service or product that tends to encourage, abet, assist, facilitate or promote illegal or legal gambling.
You may not make any appeal for funds, nor any appeals which consist of, in whole or in part, political advocacy or issue-oriented
advertising. All public service announcements (PSAs), paid or unpaid and regardless of source, must be approved in advance by
ESPN. ESPN prohibits features/spots from religious institutions, whether proselytizing or not.
CHARITIES
Charitable initiatives are strictly prohibited without prior approval. If approved there can be no “call to action” within content. (i.e.
- no solicitation of funds; no driving viewers to a website) No graphic for a charity website is permitted. Talent should not ask an
athlete what charity he is competing for - the cause may be referenced, without specific mention of a charity or foundation. If an
athlete does reference a charity in conversation, every attempt should be made to redirect the conversation back to the cause and not
the charity.
GAMBLING
Please do not use any footage of patrons or people from inside a casino without a signed release, or other venues which show
gambling in any form. You may show the outside of a casino or the Vegas strip.
LIQUOR
Approved distilled spirits creative is permitted to air any time of the day within shows with an acceptable audience composition of
viewers who are 21 or older. Guidance will be taken from industry norms on appropriate audience composition levels.
Distilled liquor advertising will not air in NFL or any college programming (including related shoulder programming). It will also
not air in young skewing, amateur, and Outside the Lines programs. Additional Programming restrictions are subject to ESPN’s
discretion, and are subject to change at any time.
*For All NBA telecasts, between 8:00 PM and 9:00 PM (EST), 100% of distilled spirit advertising must be Social Responsibility
messages. After 9:00 PM, there must be 25% Social Responsibility messages.
Definitions
1. A malt beverage is defined as a fermented product made from malted barley with hops. The term encompasses all types of
what is commonly referred to as “beer,” including sweetened or citrus-flavored beer products such as Smirnoff Ice, Doc Otis,
Mike’s Hard Lemonade and Zima.
2. Hard liquor products are those made by a process of distillation, or which have a distilled alcohol component. Examples
include Jack Daniels whiskey and Bailey’s Irish Cream.
PAGE 7 OF 40ESPN does not allow any product placement in content time including bottles, drinks, glasses, bar taps, etc. Any creative containing
bottles/drinks should be avoided in main camera shots. Logos are permitted when a sponsor has paid to own an event; however this
signage should be the in background of shots. Shooting in a bar environment is not acceptable.
Post-event celebratory champagne shots and drinking from the bottle in that situation is acceptable.
BRANDING
As you may know, ESPN2 is branded onscreen as ESPN. You must use ESPN mic flags, banners, replay wipes, graphics, score
bugs, and any network-branded animations (i.e. billboard panels); even if your show is airing on ESPN2. Promo graphics may
contain an ESPN2 logo if that is the network to which we are driving viewers for a particular show. However, the presentation of
the show itself will always be ESPN. ESPN2 branding takes place only in promos, in the ESPN2 ‘bottom line,' and/or within the
HD pillar bars.
Banners and Camera stickers for HD productions should feature the ESPN logo. Please work with our Production Coordinators
here in Bristol to obtain the materials necessary to accomplish this branding.
SOCIAL MEDIA
Website mentions are only permitted with prior approval from your ESPN production contact and are limited to one per hour. You
may only drive viewers to league sites, rather than sponsor or third-party sites. (A league site can include a digital extension of a
sponsor’s promotion.)
REPLAY WIPE
The replay wipe is a tool provided for the transition to and from replays. It MUST be used for all replays of action. It is NOT to
be used as a transitional element for any other purpose.
GRAPHICS
You must contact your Production Coordinator, or Kathy Rajcula of Creative Services, regarding your show's graphic
needs. Kathy.rajcula@espn.com or 860-766-2377
Unless you have received prior approval all graphics (including ABC) must be branded as ESPN, with the exception of
productions airing on ESPNU. If your show is live, or airs within 72 hrs of the event, and you have promos scheduled, all promos
must have the appropriate logos. (See page 9 for further information.)
ESPN has graphics packages available for Viz and Duet. If you do not have either graphics platform, there are a small amount of
targa graphics available via the ESPN FTP site.
For those editing using the Avid system, you will also need to purchase the Avid Plug-in from Chryon Corp. To purchase the Lyric
Software, you will need to contact Chyron Corporation directly:
Mike Casserly Regional Sales Manager - 973-313-9305.
Carmela Calcasola Graphics Administrator - 631-845-2036; FAX 631-845-3895
Once you contact either your production coordinator or Kathy Rajcula, you will receive instructions regarding ESPN’s graphic
format. All graphics packages can be downloaded via the ESPN FTP site. Log-on information will be provided to you by either
your production coordinator, or Kathy Rajcula. You will receive the ESPN HD/SD safe title grid as part of your graphic disc. It is
vital that you use this specific grid and adhere to its guidelines. Anything outside of the designated areas can be cut off by other
graphic elements inserted in the ESPN program stream. Please keep in mind that a “bottom line” is one such element. We do not
compress the video. You will be asked to correct any program with graphics outside of our safe title. If a situation arises that is
not covered in the graphics manual, you must call Kathy to discuss a solution. Please do not create your own graphics. Do not
use ESPN, Inc. graphics on non-ESPN, Inc. productions, including home video. Unless it is sponsored, the opening HD presenting
animation should no longer be used. See safe title image below:
PAGE 8 OF 40SALES ELEMENTS / WEBSITE MENTIONS
ESPN approval is required for all planned in-show sales elements & features. Send all copy for your Sales elements to your PSU
contact in advance of production or you may be asked to remove them from the show. Website and/or Hashtag mentions are generally
limited to 1 per hour and also limited to “League” websites unless given prior approval by ESPN.
PROMOS
In live or short turnaround programming (airing within 72 hours of the event), ESPN, Inc. requires a minimum of three drop-in
promos to be provided by Broadcast Promotions for other ESPN, Inc. programming for every hour of program content. Time for
these drop-in promos comes out of show content. All questions regarding music within a promo must be directed to the Music
department.
Drop in promos can be found on our ftp site:
FTP Access:
Full Grid Promos:
ftp://promos:n3tw0rk@ftpdrop.espn.com/
Username: promos
Password: n3tw0rk
Promo copy can be found on the web:
http://on-air-promos.espn.com/
1) Click the network on which the show is airing.
2) Click the date on which the show is airing.
3) Find the show on that date.
4) Click on it to read the promos.
MUSIC/LICENSE AGREEMENTS
With respect to all musical compositions played during the course of your show, you must provide ESPN with your program(s)
cue sheets containing the name of the selection, composer, publisher and publishing affiliation (ASCAP, BMI, or SESAC) for all
music in the program. A cue sheet must be completed and submitted by entering your cue information via the Soundmouse system
no later than 2 weeks after the date of airing. Soundmouse is a web-based system used by ESPN for cue sheet reporting. Access to
soundmouse requires a user name and password. Please email the ESPN Music Department at MusicDepartment@espn.com to get
your credentials set up.
Once a producer or Packager has submitted a cue sheet, it will be reviewed by the Music Department for approval. If there are
questions on the content in the cue sheet, it may be rejected and you will be notified. A member of the Music staff will follow up
for further clarification. In addition, you will also have to provide all documentation (e.g., license documents) evidencing your
PAGE 9 OF 40clearance from the copyright holder. IF YOU DO NOT PROVIDE ALL OF THE REQUIRED DOCUMENTATION, ESPN
MAY BE CHARGED FEES THAT IT WILL, IN TURN, PASS ON TO YOU.
Please refer to the provided Soundmouse user guidelines and FAQ for further instructions on how to enter music cue information
into Soundmouse. The ESPN Music Department staff is available to provide Soundmouse training sessions as needed. If you are
interested in setting up a training session, please email the ESPN Music Department at MusicDepartment@espn.com
NOTE THAT ESPN DOES NOT RELY ON ASCAP OR BMI LICENSES, SO IT IS YOUR RESPONSIBILITY TO
OBTAIN ALL NECESSARY PERFORMANCE RIGHTS.
ALSO PLEASE NOTE THAT YOUR MUSIC CLEARANCES MUST COVER ALL USES ESPN IS AUTHORIZED TO
MAKE OF THE PROGRAMS UNDER YOUR AGREEMENT WITH ESPN AND ALL TERRITORIES COVERED BY
THE AGREEMENT (E.G., IF ESPN HAS THE RIGHT TO DISTRIBUTE THE PROGRAMS VIA ALL MEANS AND
MEDIA THROUGHOUT THE UNIVERSE, THEN YOUR MUSIC CLEARANCES MUST ALSO COVER THAT
REGARDLESS OF WHETHER THE INITIAL INTENDED USE OF THE PROGRAM IS ON ESPN OR ESPN2 ONLY).
ESPN has created a collection of library music, that we own, which is available to all ESPN Productions. If you are interested in
using this music, please contact Packager Services or the Music department at MusicDepartment@espn.com . You will be required
to sign an “ESPN Music Release” stating that you agree to use this music only for ESPN productions. The completed form should
be signed and submitted to the Music Department and/or the Packager Services Unit. ESPN also maintains a library of licensed
production music for use by its various in-house platforms. That library is not an available resource for out of house packagers and
producers, and you should not expect to make use of it unless Packager Services and the Music department clear that use in
advance. That approval is the exception rather than the rule, and will only be granted in unusual circumstances.
For those of you unfamiliar with license agreements, you should be aware that you generally cannot just ask for “a license” from a
library or composer and expect to get all necessary clearances. In additional to a television “synchronization” license (the type of
license most familiar to composers and publishers), you must specifically ask for “direct performance rights” From the publisher or
copyright owner. Then you have to check the paperwork carefully, because many boilerplate licenses will not contain performance
rights even if you asked for them. If you want a quick fix, just give your music source the following paragraph, and insist that it be
made part of your license:
Notwithstanding anything to the contrary set forth herein, this license specifically grants the right to perform the licensed
compositions as contained in programs exhibited or transmitted to viewers of the program containing the music. This right to
perform such compositions shall extend in perpetuity beyond the expiration of the term of this license insofar as licensee may
continue to make or authorize performances of the compositions via the exhibition or transmission of audio/video programs (or
parts thereof) provided the compositions were synchronized into the programs (or the relevant parts) during the term of this
license.
Any production that licenses commercial music for use in its programs is required to deliver a second, sanitized version of that
program in which all commercial music is replaced by music that has been cleared in perpetuity for the purposes of re-airs.
Sanitized shows must be delivered with a separate cue sheet that reflects the changes in music. In addition, as with the
paperwork for the version that includes commercial music, you should provide all documentation (e.g., licensing agreements) that
show you have secured the proper clearance from the copyright holder.
Submission via the Soundmouse system is the required method of music cue sheet delivery. The only exception is for programs
that run exclusively on espn3.com. Until further notice, cue sheets for espn3.com only programs may be emailed directly to the
Music Department at the following email address: music.c.sheets@espn.com.
Soundmouse_FAQ ESPN-Soundmouse
ESPN FINAL.DOC User Guide.pdf
PAGE 10 OF 40THIRD PARTY FOOTAGE USAGE
As the largest purveyor of sports programming in the world, ESPN is committed to distributing its content across multiple
platforms. To accomplish this, it is imperative that ESPN be aware of any third-party clips or content included in your production.
These third-party elements—even those that may have been provided by ESPN to assist your production—must be properly
identified to ensure that ESPN is familiar with the sourcing and rights associated with every part of our distributed content. This is
commonly referred to as “Usage Reporting.”
You are required to submit a Usage Report any time third-party elements are used in your production. Usage reports should be
submitted at least one week prior to the show’s initial air date. A Usage Report form is available on our website at
http://psu.espn.com. All Third Party Footage Usage Reports should be emailed to Renee Clift - Renee.Clift@espn.com.
Usage reports should include a description of each piece of content not originally shot for your production, the length and exact
location of this material within your finished program, the source/rights holder of the content (including, when this is believed to be
ESPN) along with the contact information for that source, and a brief description of the rights obtained (for the avoidance of doubt,
the clearances obtained must be consistent with the clearance requirements of your agreement with ESPN unless otherwise
approved in writing by ESPN). Please note that just because ESPN provides footage or other materials to you for the Program(s)
does not mean that the footage or material is clear for use. You are responsible for obtaining any necessary clearances (if ESPN
owns or controls the copyright in the footage or material provided to you by ESPN, you must obtain a written license from ESPN
covering such footage or material). Usage reports are to be submitted for all programs that contain third-party elements along with
copies of any licenses, clearances or permissions obtained for such use. If no third-party elements were used, no usage report is
required. Please note that ESPN now considers this to be a contractually-required deliverable, and final payment will be
withheld pending satisfactory receipt.
Please contact our Packaged Show Unit or Content Rights Management team with any questions.
PAGE 11 OF 40WatchESPN App
WHAT IS IT?
The WatchESPN App makes our programming – and your shows - available to customers on the internet in addition to linear TV.
RIGHTS ISSUES?
Some video and audio in ESPN shows may not have been cleared for use on the internet. When those clips air, we must remove or
“scrub” them from the internet feed.
WHAT IT MEANS FOR YOU:
This will affect all video and audio (such as radio calls) that you acquire from outside sources. Whenever you acquire the rights to
such video and audio, you must also acquire internet clearance. Otherwise, it will be scrubbed.
The key phrase to use when speaking to rights owners is to ask for clearance for “ALL OF ESPN'S LINEAR NETWORKS."
Then, please notify your contact in the Packaged Show Unit and inform them that the material is either cleared or not cleared. Most
programming agreements state that it’s the packagers’ responsibility to acquire all clearances; if the video/audio cannot be cleared
for “all linear networks,” you must let ESPN know.
WatchESPN FAQ’s:
Q – How can I access the WatchESPN App?
A – Access to WatchESPN live video is determined by your TV provider and, in some instances, your internet service
provider. WatchESPN network customer access is now available to a wide variety of cable providers.
Right now, Bright House Networks, Time-Warner Cable, and Verizon customers can access the service. Soon, other cable
providers will be on board.
Q – How does ESPN physically “Scrub” uncleared video/audio?
A – A new team is assigned to watch ESPN programming 24/7. Using the information they get from sources like you,
they literally push the “scrub” buttons; this either blurs the video, mutes the audio, or both.
Q – Which ESPN “networks” are available with the WatchESPN App?
A – ESPN, ESPN2, ESPN3, ESPNews, and ESPNU. Buzzer Beater & Goal Line are also available, but should not affect
you at this time.
Q – What about customers who receive ESPN’s networks by means other than cable TV?
A – If you do not receive TV service from the listed providers, but receive high-speed internet from Verizon, you will
have access to ESPN3.
PAGE 12 OF 40PRODUCTION
REMOTE PICKUP LICENSES - (RF Mics, In-car cameras, blimp cams, etc.)
It is the responsibility of the producer or packager to make arrangements to order equipment, obtain proper licensing and
coordinate all frequencies with the local frequency coordinator for the market. Merely doing a show for ESPN does not give you
permission to use our license. We cannot transfer our license to anyone under FCC regulations. For clarification pertaining to
licensing, contact Dana Underhill, Assoc Manager Remote Operations – dana.underhill@espn.com - 860-776-2278.
Inappropriate language over radio frequencies has become a serious matter. The use of inappropriate or obscene language can
cause revocation of RF licenses by the FCC. RF must be used in accordance with all FCC rules and regulations.
DRESS CODE
Please discuss talent dress ahead of taping with your Coordinating Producer. ESPN or ESPNU sport shirts can be provided when
this attire is appropriate. No logos other than ESPN or ESPNU are to appear on jackets, shirts, hats or other attire without ESPN,
Inc. approval. Location logos are normally acceptable; sponsor logos are not.
WIND SCREENS
The only appropriate colors for microphone windscreens are black, charcoal gray and dark blue.
LIGHTING
Events produced indoors have minimum lighting requirements. See your Coordinating Producer for the specific requirements for
your event. In general, the performance area must be evenly lit to at least 125 foot candles.
EXCLUSIVITY INFRINGEMENT
If there is a problem on site with another organization infringing on ESPN’s exclusive rights to the event, follow these procedures:
Inform the offending individual or organization of ESPN’s exclusivity and ask that they cease their activities.
Inform the on-site representative of the organizer of the event and request that they take steps necessary to stop the
infringement.
Contact the Program Director for your event.
CREDITS
Do not include any credits for individuals, products or services, except as required by Federal Communications Act Section 507
AND pre-approved by ESPN, Inc.
If your contract specifically provides that your company takes a production credit, you may do this prior to the copyright notice.
The style and wording are properly formatted on the ESPN graphics disk. Depending on your contract, the wording is either
“Produced by ESPN, Inc. in association with ______________.” or “Produced by ___________ in association with ESPN, Inc.”
This credit is lower third text over the transparency provided. Do not use your company’s logo or replace the formatted credit with
something of your own design. Do not place your production credit over black. Do not voice over your production company
credit.
COPYRIGHT AND CLOSE
Unless your contract provides that you retain the copyright, please end your programs with the following video graphic only, no voice
over:
Graphic: © 20XX ESPN, Inc., All rights reserved. ESPN. the Worldwide Leader in Sports
*If your contract allows your company a production credit, it should precede the copyright. Do not place the copyright over black.
PAGE 13 OF 40POSTPRODUCTION
Postproduction requirements will vary depending upon the service or services on which the show airs and future contract rights;
however, all shows must be posted with a separate graphics pass. You must be prepared to deliver all animation elements,
including hi-cons and all moving and still backgrounds, to ESPN on a separate tape. All aspects of postproduction should be
thoroughly discussed with the Coordinating Producer prior to shooting so that you will be prepared to meet all specific
requirements.
CLOSED CAPTIONING
It is the responsibility of the producer or packager to ensure that all programs air and/or are delivered to ESPN with closed
captioning at the producer’s or packager’s expense. We require packagers to use closed captioning vendors approved by ESPN.
Please confirm your method of closed captioning with Content Planning ahead of time. Sponsorships may be sold for closed
captioning but only within the contractually agreed upon billboard or feature time and subject to the other terms of your agreement
with ESPN, including the Advertising Guidelines. Your slate at the head of the tape, and tape labels affixed to both tape cassette
and tape case, should confirm closed captioning. For each show, an electronic copy (preferably in wordpad format) of the closed
captioning transcript must be sent to espntranscripts@espn.com with the program code and title # in the subject line.
*Please note there are differing CC requirements for ABC.
PROTECTION OR VIEWING COPIES
The producer or packager of any show to which ESPN has rights in perpetuity, must keep a file copy of each show with split music
and effects tracks so that if for any reason the music needs replacing, the task easily could be accomplished.
It is the responsibility of the producer or packager to make and keep appropriate protection copies of show masters. ESPN strongly
recommends the packager’s protection copy be closed captioned to possibly save future expenses to the packager. ESPN, Inc. does
not return show masters, nor do we make individual copies of shows unless contractually obliged. Subject to ESPN’s prior
approval, the producer or packager should make 1/2” VHS or DVD copies for private screening purposes (e.g., for sponsors,
clients, talent, and participants). ESPN, Inc. cannot provide these.
A completed show should only be sent to ESPN after all parties concerned with the show have signed off on the final product. If
the producer or packager desires to make a change once the show has arrived at ESPN, they must check with the Content Planning
team first. The changes should be made using the protection copy, and a new set of tapes sent to ESPN. The master tape will not
be returned to the producer or packager. The new master and clone (primary & back-up) must be clearly marked “REVISED.” Any
changes also will require the packager, at their expense, to provide closed captioned tapes. Please see the “REVISION” section for
more details.
SCRIPTS
Please keep a copy of any scripts, rundowns, or competitor lists for each show. If ESPN, Inc. has international rights to the
program, a representative from the multilingual service of ESPN International may call to ask you to forward such information to
them.
PLEASE CONTACT YOUR COORDINATING PRODUCER OR PRODUCTION COORDINATOR/MANAGER WITH
SPECIFIC PRODUCTION QUESTIONS. WE ARE HERE TO ASSIST YOU.
PAGE 14 OF 40TRANSMISSION REQUIREMENTS FOR ESPN PACKAGERS
Below are the guidelines for packaged transmission from ESPN packagers. If these guidelines are not followed, ESPN will book
the transmission and bill back the packager with a 20% mark-up.
Transmission plan for sending Standard Definition and High Definition live and tape-delayed programming to Bristol must
be coordinated with your Production Coordinator, Content Planning and Remote Traffic at least THREE WEEKS prior to
air. This is established by calling your Production Coordinator and Content Planning to make sure facilities are available
to take in your feed and then by calling Remote Traffic and confirming the method of Transmission intended.
The two only acceptable methods of transmission for ESPN Broadcast are either fiber or uplink…Microwave within the
transmit chain is NOT ACCEPTABLE.
If using a fiber circuit, please coordinate the receive loop with Remote Traffic prior to booking the circuit with the fiber
provider. This is crucial in order to maintain continuity within the ESPN compound.
If using a transportable uplink, a dedicated phone line is required in the uplink truck. Also, this truck must be fully
redundant (meaning backup transmitters and digital encoders onboard)
All feeds, whether live or tape, must have an A.D. on the phone to coordinate the feed with ESPN Network Control and/or
ESPN Transmission: it should not be left solely to the technical personnel. You can reach Network Control at (860) 766-
4628, and Transmission at (860) 766-2289. Network Control and/or Transmission, in advance of feeding, must clear all
feeds.
Written confirmation of transmission arrangements must be emailed or faxed to Remote Traffic at (860) 766-2419 at least
TWO WEEKS prior to air. Information needed as follows:
ELEMENTS REQUIRED ON CONFIRMATIONS
1) Standard Definition or High Definition Transmission
2) Who booked the satellite (if subleased by packager)
3) Who is the satellite broker (what company provided the satellite space)
4) Who extends and goodnights the feed…with a 24-hour phone number
5) Telephone numbers on remote or feed point and designations, cellular if available
6) Who is the Uplink, uplink operator, cell phone number
7) Satellite being used or fiber confirmation
8) Digital Satellite parameters
9) For HD feeds – who is the ESPN approved encoding company, cell phone
10) Closed captioning already on tape or captioning as it feeds
STANDARD DEFINITION (SD) REQUIREMENTS:
Standard Definition fiber and digital feeds require four channels of audio and are strongly preferred over analog
satellite.
For analog satellite feeds (since only 3 subcarriers are available): 6.2 MHz stereo left, 6.8 MHz stereo right, and
5.8 MHz international sound.
For SD digital or fiber feeds: channel 1 is stereo left, channel 2 is stereo right, channel 3 is international stereo
left and channel 4 is international stereo right
All SD digital satellite transmissions must have a bandwidth of 18 MHz, FEC=3/4, symbol rate = 13.235 Ms, and
be MPEG 4:2:2. Also, please indicate which type of encoder is being used. See above for audio configuration.
Other parameters will be considered upon consultation with ESPN Remote Traffic (860-766-4309).
SD fiber feeds must have a bandwidth of 45Meg and coordinated through Remote Traffic prior to ordering.
All SD feeds require at least 30-minute test-period- THIS IS MANDATORY- when it is time to test, the Production
truck must stop pre-production and begin the transmission test. The test should be initiated by Remote by calling
Bristol Transmission @ (860) 766-2289.
HIGH DEFINITION (HD) REQUIREMENTS:
All HD feeds must be discussed with Brian Burney 860-766-4309 prior to coordination
High Definition feeds require 6-8 channels of audio depending on the production:
Ch. 1 Generic Pgm L/T
Ch. 2 Generic Pgm R/T
Ch. 3 Int’l Stereo L
Ch. 4 Int’l Stereo R
Ch. 5 Commercial music PGM Stereo L/T (if no commercial music this must match channel 1)
Ch. 6 Commercial music PGM Stereo R/T (if no commercial music this must match channel 2)
PAGE 15 OF 40Audio Loudness/Calm Act
ESPN requires all of its programming to be delivered in compliance with the Congressional mandate regarding program
loudness. The ATSC RP A/85 should be used as a guideline for all program audio content delivered to ESPN. The
standard program loudness is to be no greater than -24 lkfs on average.
All HD satellite feeds must have a bandwidth of 36MHz, FEC ¾, and a minimum bit rate of 40.461. We do accept
MPEG2, MPEG4 encoding as well as DVB-S and DVB-S2 modulation utilizing QPSK or 8PSK.
270MHz fiber may also be used. Please coordinate fiber company and line with Remote Traffic prior to ordering
860-766-2555.
HD uplinks and encoding companies must be pre-qualified with ESPN Transmission and must be on the Remote
Traffic approved list. Please call Remote Traffic at 860-766-2555 to verify before hiring.
All HD feeds require at least a 60 minute test period. When it is time to test, the Production truck must stop pre-
production and begin the transmission test. The test should be initiated by Remote by calling Bristol
Transmission @ (860) 766-2289.
Remote Traffic Contacts: (Please create a distribution list using the following email addresses)
Kevin Gauthier – Coordinating Director Kevin.gauthier@espn.com 860-766-4213
Brian Burney – Senior Manager brian.burney@espn.com 860-766-4309
Adam Whitlock – Senior Manager adam.p.whitlock@espn.com 860-766-4406
Judy Borbas – Remote Traffic Producer judy.borbas@espn.com 860-766-2088
Barbara Karas – Sr. Coordinator Barbara.karas@espn.com 860-766-2089
Peter Wychulis – Remote Traffic Producer peter.wychulis@espn.com 860-766-2087
Doreen Fournier – Sr. Coordinator doreen.fournier@espn.com 860-766-2090
Peter Moran – Coordinator III peter.moran@espn.com 860-766-4408
Stephen Mascoli – Coordinator III stephen.j.mascoli@espn.com 860-766-7448
Rich Rappi – Coordinator III Richard.rappi@espn.com 860-766-3696
Ryan Wentworth – Coordinator III ryan.wentworth@espn.com 860-766-7822
Pichou Etinde – Coordinator III Pichou.t.etinde@espn.com 860-766-3528
Brian Sanders – Coordinator III brian.p.sanders@espn.com 860-766-8343
Hector Hernandez – Coordinator II hector.a.hernandez@espn.com 860-766-7023
Kari Gonska – Coordinator II kari.a.gonska@espn.com 860-766-2920
Kris Franklin- Coordinator II Kristopher.p.franklin@espn.com 860-766-9077
Daryl Timothy- Coordinator III Daryl.A.Timothy@espn.com 860-766-5114
Martin Vilem – Coordinator II Martin.Vilem@espn.com 860-766-0121
Oscar Serrano – Coordinator I Oscar.Serrano@espn.com 860-766-8694
Neang Ne – Coordinator I Neang.Ne@espn.com 860-766-7471
Transmission – 860-766-2289
Network Control – 860-766-4628
Content Planning – 860-766-4077
ESPN HD QUALIFIED UPLINK VENDORS
For a list of ESPN HD qualified uplink vendors, please contact ESPN Remote Traffic.
PAGE 16 OF 40You can also read
