149th Kentucky Derby: NBC Sports Boosts Marquee Broadcast With Roaming Cinematic Camera, Remote Production of Pre-Race Show

Senior Producer Lindsay Schanzer aims to build on 2022 debut

With horse racing’s greatest spectacle, the 149th running of the Kentucky Derby, at iconic Churchill Downs this Saturday, NBC Sports is back in the saddle with an armory of 51 cameras (including a new cinematic version that will roam the grounds); onsite support from NEP Group; a completely remote production of the pre-race show from NBC Sports headquarters in Stamford, CT; and a production crew prepared for multiple possibilities at an event known for delivering dramatic moments.

“After a string of unpredictable Derby Days, we know full well that anything can happen on the first Saturday in May,” says Lindsay Schanzer, senior producer, NBC Sports. “I think I speak for everyone when I say that we can’t wait to find out what this year has in store.”

Cinematic Look: ARRI Camera Adds Extra Flair to Broadcast Complement

Covering every possible angle of the 147-acre campus is a tall task. With 170,000 spectators expected to be on hand for the showcase race this weekend, the broadcaster is poised to spotlight not only areas accessible to fans but behind-the-scenes areas reserved for owners, jockeys, and horses. One camera in the private areas is an Atom One POV in the stewards room.

From left: Keith Kice, John Roché, and Tim DeKime inside NEP ND1 at Churchill Downs

In public spaces, NBC Sports will deploy a cinematic ARRI camera that will be amongst the crowd during the lead-up to the race as well as on the track as the horses make their way to the starting gate. The equipment will be used by local camera operator Eric Girgash with assistance from NBC Sports Director, Digital Workflows, Kamal Bhangle.

“It’s going to be roaming from different parts of the track,” says Keith Kice, senior director, technical operations, NBC Sports. “[The video feed] will be fed to the compound and used live on the broadcast.”

From a production perspective, the camera is expected to supplement the broadcast with a different flair from previous iterations of the Kentucky Derby.

“For the most part, we’re looking for it to cover the fashion,” notes Schanzer, “all of the color that makes this race one of the greatest events in American sports. We expect to pepper it through the broadcast to give you the flavor of the venue.”

As for coverage of the actual race on the 1¼-mile track, five cameras will feature super-slow-motion capabilities, including a handheld Sony HDC-5500 and four hard Sony HDC-5500’s (one at Turn 1, one past the finish line, another outside the finish line, and one inside the finish line). Also being deployed are a Sony HDC-4800 in 4K, seven handheld Sony HDC-5500’s (one operated by Sports Broadcasting Hall of Famer Ken Woo), six hard Sony HDC-3500’s, five Sony HDC-P50’s, five Sony RF HDC-2500’s, three Sony F-55’s, two Sony HDC-4300’s, and two Sony HDC-1500 Clock Cams. Out of the 51 cameras, 38 will have Canon lenses: nine 122 x 8.2, eight 24 x 7.5, eight 11 x 4.7, five 111 x 8.3, five 14 x 4.3, and three 95 x 8.6.

From left: Keith Kice, Tim DeKime, and John Roché at the pre-race studio set near Turn 1.

In the compound, the network is opting for a hybrid production model. NEP Broadcast Services, spearheaded by Technical Manager and Sports Broadcasting Hall of Famer John Roché, is supplying ND1 A, B, C, and D units. A Broadcast Sports International (BSI) trailer will be parked as the main hub for all RF cameras and workflows. And an office trailer will be on hand for editors working onsite.

Offsite, a control room in Stamford will handle production of the pre-race show on USA Network. A transmission kit will send the video feed from the onsite set to the facility 800 miles away. Five editors will be working from Stamford or their respective homes.

Aerial View: Winged Visio, Live Drone Hover Over the Track

A sport that can take particular advantage of aerial angles is horse racing, and that fact was notable after Rich Strike’s run to victory in the 2022 Kentucky Derby. Racing at 80-1 odds, the horse was the second-biggest long shot in the event’s illustrious history. Tapping the Winged Vision airplane that captured footage from the sky, a replay immediately after the race’s conclusion demonstrated how far Rich Strike traveled to work through the pack and into the lead down the home stretch. Leveraging the iso track system that identifies each individual horse from this high angle, this combination of technologies will be available at a moment’s notice.

“We knew that people paid attention to it and liked it,” says Schanzer, “so one of the things I’m thinking about is spending a little bit more time up in the air on race replays. It’s a different look that people aren’t used to seeing, and it shows the perspective of the field and how moves are made.”

Also in the air during the race will be a live drone. Used for generic scenics of the environment, it’ll fly at a safe distance above the infield. Beverly Hills Aerials Chief Aerial DP Caleb Descognets will operate the drone, which carries a Sony HDC-P50 camera.

“We’re trying out some different lenses for more cinematic looks shown on various elements of our show,” notes Kice. “In our third year, [Churchill Downs] has definitely become accustomed to having us around with a drone.”

On the ground, two live JockeyCams will be in play for the main event. Debuted in 2021 and deployed last year, the RF wearable devices will display what the jockey is seeing from atop the horse during the sport’s most famous gallop.

Second Year in Charge: Schanzer Remains Prepared To Adapt on the Fly

NBC Sports’ Lindsay Schanzer: “It’s a matter of recognizing that the horse that entered 24 hours prior to the race could cross the line first.”

Inside NEP ND1 A unit, Schanzer will take her seat as senior producer of the Kentucky Derby for the second time; last year, she became the first woman in the history of the race to produce the broadcast. Even though she has been lead producer for the Preakness Stakes, Breeders’ Cup, and Royal Ascot since 2020 and for the Belmont Stakes since 2021, Churchill Downs is an entirely different experience. Coming off her debut appearance, her main goal is to stay light on her feet and shift her attention to whatever comes her way.

“It’s a matter of being prepared for anything and recognizing that we can talk about horses, possible outcomes, and stories, but the horse that entered 24 hours prior to the race could cross the line first,” she says. “Another important thing is to embrace the moment. Last year reminded me that great things happen in this sport.”

New Look in 2024: Renovations at Churchill Downs Begin for the Derby’s 150th Running

Churchill Downs has an extensive legacy, but, after this weekend, the venue will undergo more renovations to celebrate next year’s commemoration of the launch of the Kentucky Derby in 1875.

“They’ve already completed a new Turn 1 set for us,” says Kice. “There’s an entirely new bar area underneath the Turn 1 grandstand. They’re continually making upgrades to this track.”

Fans attending next year’s race will enjoy the full scope of changes, but, from an operational perspective, this year’s team was able to work around the temporary paddock — a permanent one will be built in time for 2024 — and find the right spots to cover horse racing’s crown jewel.

“We [initially] struggled with where we were going to put our paddock cameras since the new structure is shaped like a horseshoe instead of a straight line,” says Tim DeKime, VP, sports operations, NBC Sports. “We ultimately came up with solutions for those challenges.”

Coverage begins at noon ET on Saturday, May 6 for early races and concludes with the Kentucky Derby at 3 p.m. ET on NBC and Peacock.