The Super Bowl is one of the most watched sporting events in the world. In 2024 the CBS transmission of the Super Bowl broke an audience record of 123.4 million viewers, that made it the most watched broadcast in USA since the 1969 moon landing. We had the immense pleasure of contributing to this broadcast with the concept design and execution of the teams "Specialty Shoot", which is a film shoot created with players of both teams to promote the game. 

Below you can see a montage of of the final result captured from CBS air transmission on February 11th, 2024:

The Super Bowl is one of the most watched sporting events in the world. In 2024 the CBS transmission of the Super Bowl broke an audience record of 123.4 million viewers, that made it the most watched broadcast in USA since the 1969 moon landing. We had the immense pleasure of contributing to this broadcast with the concept design and execution of the teams "Specialty Shoot", which is a film shoot created with players of both teams to promote the game. 

Below you can see a montage of of the final result captured from CBS air transmission on February 11th, 2024:

The Super Bowl is one of the most watched sporting events in the world. In 2024 the CBS transmission of the Super Bowl broke an audience record of 123.4 million viewers, that made it the most watched broadcast in USA since the 1969 moon landing. We had the immense pleasure of contributing to this broadcast with the concept design and execution of the teams "Specialty Shoot", which is a film shoot created with players of both teams to promote the game. 

Below you can see a montage of of the final result captured from CBS air transmission on February 11th, 2024:

Welcome to our Football Real-time cinematic, showcase!  We created this page to walk you through our latest Unreal engine Broadcast cinematic which is created for American football.

We are Unreal Service Partners since 2022 and have worked in pushing the boundaries of what can be achieved with Unreal engine for Broadcast.  Our latest broadcast cinematic was used by NBCUniversal Telemundo  during the worldcup transmission, you can see more information HERE. 

As our other broadcast cinematics, the main concept is to create a "mini shortfilm" with cinematic style that has some clear narrative of a situation within the sport and can be used as an opener for the transmission of the game BUT ALSO has the ability of being edited in real-time and render extremely fast which allows for last minute editorial and creative adjustments.

We see a big potential for this project within NFL and/or COLLEGE Football.

The Super Bowl is one of the most watched sporting events in the world. In 2024 the CBS transmission of the Super Bowl broke an audience record of 123.4 million viewers, that made it the most watched broadcast in USA since the 1969 moon landing. We had the immense pleasure of contributing to this broadcast with the concept design and execution of the teams "Specialty Shoot", which is a film shoot created with players of both teams to promote the game. 

Below you can see a montage of of the final result captured from CBS air transmission on February 11th, 2024:

As the game was taking place in Las Vegas, we wanted to use the Vegas landscape as a tool for the concept. We decided to propose the use of ICVFX (In camera Visual effects) to immerse the players into the Vegas landscape in combination with 3D animations of the corresponding team logos following CBS design guide.

As the game was taking place in Las Vegas, we wanted to use the Vegas landscape as a tool for the concept. We decided to propose the use of ICVFX (In camera Visual effects) to immerse the players into the Vegas landscape in combination with 3D animations of the corresponding team logos following CBS design guide.

As the game was taking place in Las Vegas, we wanted to use the Vegas landscape as a tool for the concept. We decided to propose the use of ICVFX (In camera Visual effects) to immerse the players into the Vegas landscape in combination with 3D animations of the corresponding team logos following CBS design guide.

As the game was taking place in Las Vegas, we wanted to use the Vegas landscape as a tool for the concept. We decided to propose the use of ICVFX (In camera Visual effects) to immerse the players into the Vegas landscape in combination with 3D animations of the corresponding team logos following CBS design guide.

As the game was taking place in Las Vegas, we wanted to use the Vegas landscape as a tool for the concept. We decided to propose the use of ICVFX (In camera Visual effects) to immerse the players into the Vegas landscape in combination with 3D animations of the corresponding team logos following CBS design guide.

The structure of the overall graphics package that CBS created for the Super Bowl LVIII, had 2 main components: The Vegas landscape as a tool to present information, and 3D motion graphics of each of the teams. Based on this structure we proposed a shooting in which the players will leave in this visual duality as well. We proposed to shoot them in an stylized version of  "Las Vegas" using ICVFX and then switching the screens to giant motion graphics to support each team. That would give us the visual variety the original graphics package had.

Below you can see the diagrams of the shooting proposal:

The structure of the overall graphics package that CBS created for the Super Bowl LVIII, had 2 main components: The Vegas landscape as a tool to present information, and 3D motion graphics of each of the teams. Based on this structure we proposed a shooting in which the players will leave in this visual duality as well. We proposed to shoot them in an stylized version of  "Las Vegas" using ICVFX and then switching the screens to giant motion graphics to support each team. That would give us the visual variety the original graphics package had.

Below you can see the diagrams of the shooting proposal:

The structure of the overall graphics package that CBS created for the Super Bowl LVIII, had 2 main components: The Vegas landscape as a tool to present information, and 3D motion graphics of each of the teams. Based on this structure we proposed a shooting in which the players will leave in this visual duality as well. We proposed to shoot them in an stylized version of  "Las Vegas" using ICVFX and then switching the screens to giant motion graphics to support each team. That would give us the visual variety the original graphics package had.

Below you can see the diagrams of the shooting proposal:

The structure of the overall graphics package that CBS created for the Super Bowl LVIII, had 2 main components: The Vegas landscape as a tool to present information, and 3D motion graphics of each of the teams. Based on this structure we proposed a shooting in which the players will leave in this visual duality as well. We proposed to shoot them in an stylized version of  "Las Vegas" using ICVFX and then switching the screens to giant motion graphics to support each team. That would give us the visual variety the original graphics package had.

Below you can see the diagrams of the shooting proposal:

The structure of the overall graphics package that CBS created for the Super Bowl LVIII, had 2 main components: The Vegas landscape as a tool to present information, and 3D motion graphics of each of the teams. Based on this structure we proposed a shooting in which the players will leave in this visual duality as well. We proposed to shoot them in an stylized version of  "Las Vegas" using ICVFX and then switching the screens to giant motion graphics to support each team. That would give us the visual variety the original graphics package had.

Below you can see the diagrams of the shooting proposal:

Based on the concept described above and once CBS approved this direction, we worked on developing style frames of different locations in the city to shoot with ICVFX and how the graphic "treatment" in the screen would look as well.

At the same time, we started developing the workflow on how to switch seamlessly from one "environment" to another one since one was ICVFX with ghostframe for 2 cameras and the second one was just graphics renders running on monitors. 

Below you can see some of our style frames: 

Based on the concept described above and once CBS approved this direction, we worked on developing style frames of different locations in the city to shoot with ICVFX and how the graphic "treatment" in the screen would look as well.

At the same time, we started developing the workflow on how to switch seamlessly from one "environment" to another one since one was ICVFX with ghostframe for 2 cameras and the second one was just graphics renders running on monitors. 

Below you can see some of our style frames: 

Based on the concept described above and once CBS approved this direction, we worked on developing style frames of different locations in the city to shoot with ICVFX and how the graphic "treatment" in the screen would look as well.

At the same time, we started developing the workflow on how to switch seamlessly from one "environment" to another one since one was ICVFX with ghostframe for 2 cameras and the second one was just graphics renders running on monitors. 

Below you can see some of our style frames: 

Based on the concept described above and once CBS approved this direction, we worked on developing style frames of different locations in the city to shoot with ICVFX and how the graphic "treatment" in the screen would look as well.

At the same time, we started developing the workflow on how to switch seamlessly from one "environment" to another one since one was ICVFX with ghostframe for 2 cameras and the second one was just graphics renders running on monitors. 

Below you can see some of our style frames: 

Based on the concept described above and once CBS approved this direction, we worked on developing style frames of different locations in the city to shoot with ICVFX and how the graphic "treatment" in the screen would look as well.

At the same time, we started developing the workflow on how to switch seamlessly from one "environment" to another one since one was ICVFX with ghostframe for 2 cameras and the second one was just graphics renders running on monitors. 

Below you can see some of our style frames: 

LAS VEGAS (ICVFX) Treatment:

LAS VEGAS (ICVFX) Treatment:

LAS VEGAS (ICVFX) Treatment:

LAS VEGAS (ICVFX) Treatment:

LAS VEGAS (ICVFX) Treatment:

GRAPHICS (Pre-rendered backgrounds) treatment:

GRAPHICS (Pre-rendered backgrounds) treatment:

GRAPHICS (Pre-rendered backgrounds) treatment:

GRAPHICS (Pre-rendered backgrounds) treatment:

GRAPHICS (Pre-rendered backgrounds) treatment:

During the Specialty shoot you only have a few minutes with the players since they are preparing for the most important game of the season.

As we defined the look of the shoot, we created a series of Animatics to visually convey the type of motion we envisioned the players doing. This was really useful for CBS Sports to define the style of action they wanted the players to perform during the shoot.  

During the Specialty shoot you only have a few minutes with the players since they are preparing for the most important game of the season.

As we defined the look of the shoot, we created a series of Animatics to visually convey the type of motion we envisioned the players doing. This was really useful for CBS Sports to define the style of action they wanted the players to perform during the shoot.  

During the Specialty shoot you only have a few minutes with the players since they are preparing for the most important game of the season.

As we defined the look of the shoot, we created a series of Animatics to visually convey the type of motion we envisioned the players doing. This was really useful for CBS Sports to define the style of action they wanted the players to perform during the shoot.  

During the Specialty shoot you only have a few minutes with the players since they are preparing for the most important game of the season.

As we defined the look of the shoot, we created a series of Animatics to visually convey the type of motion we envisioned the players doing. This was really useful for CBS Sports to define the style of action they wanted the players to perform during the shoot.  

During the Specialty shoot you only have a few minutes with the players since they are preparing for the most important game of the season.

As we defined the look of the shoot, we created a series of Animatics to visually convey the type of motion we envisioned the players doing. This was really useful for CBS Sports to define the style of action they wanted the players to perform during the shoot.  

This project was not exempt from a few technical challenges, and here there is a list of technical details that might be relevant to highlight:

• The entire shoot was done at 60 FPS so the unreal engine environments had to perform at about 110 FPS to hit the requested frame rates for shooting.
• The entire city of LAS VEGAS was prepared since the shots were not truly defined until the last few days, there were around 35 sub-levels streaming in real-time to an Unreal persistent level.
• The optimization of the scene was the most challenging aspect of the Unreal Engine preparation, it took about 3 weeks with 3 artists to optimize the entire city to run at such high frame rates. 
• During production, multiprocessing was used with different GPUs rendering the inner and the outer frustum.
• The ICVFX production was using 2 simultaneous frustums using Ghostframe technology

This project was not exempt from a few technical challenges, and here there is a list of technical details that might be relevant to highlight:

• The entire shoot was done at 60 FPS so the unreal engine environments had to perform at about 110 FPS to hit the requested frame rates for shooting.
• The entire city of LAS VEGAS was prepared since the shots were not truly defined until the last few days, there were around 35 sub-levels streaming in real-time to an Unreal persistent level.
• The optimization of the scene was the most challenging aspect of the Unreal Engine preparation, it took about 3 weeks with 3 artists to optimize the entire city to run at such high frame rates. 
• During production, multiprocessing was used with different GPUs rendering the inner and the outer frustum.
• The ICVFX production was using 2 simultaneous frustums using Ghostframe technology

This project was not exempt from a few technical challenges, and here there is a list of technical details that might be relevant to highlight:

• The entire shoot was done at 60 FPS so the unreal engine environments had to perform at about 110 FPS to hit the requested frame rates for shooting.
• The entire city of LAS VEGAS was prepared since the shots were not truly defined until the last few days, there were around 35 sub-levels streaming in real-time to an Unreal persistent level.
• The optimization of the scene was the most challenging aspect of the Unreal Engine preparation, it took about 3 weeks with 3 artists to optimize the entire city to run at such high frame rates. 
• During production, multiprocessing was used with different GPUs rendering the inner and the outer frustum.
• The ICVFX production was using 2 simultaneous frustums using Ghostframe technology

This project was not exempt from a few technical challenges, and here there is a list of technical details that might be relevant to highlight:

• The entire shoot was done at 60 FPS so the unreal engine environments had to perform at about 110 FPS to hit the requested frame rates for shooting.
• The entire city of LAS VEGAS was prepared since the shots were not truly defined until the last few days, there were around 35 sub-levels streaming in real-time to an Unreal persistent level.
• The optimization of the scene was the most challenging aspect of the Unreal Engine preparation, it took about 3 weeks with 3 artists to optimize the entire city to run at such high frame rates. 
• During production, multiprocessing was used with different GPUs rendering the inner and the outer frustum.
• The ICVFX production was using 2 simultaneous frustums using Ghostframe technology

This project was not exempt from a few technical challenges, and here there is a list of technical details that might be relevant to highlight:

• The entire shoot was done at 60 FPS so the unreal engine environments had to perform at about 110 FPS to hit the requested frame rates for shooting.
• The entire city of LAS VEGAS was prepared since the shots were not truly defined until the last few days, there were around 35 sub-levels streaming in real-time to an Unreal persistent level.
• The optimization of the scene was the most challenging aspect of the Unreal Engine preparation, it took about 3 weeks with 3 artists to optimize the entire city to run at such high frame rates. 
• During production, multiprocessing was used with different GPUs rendering the inner and the outer frustum.
• The ICVFX production was using 2 simultaneous frustums using Ghostframe technology