SVG Sit-Down: DAZN’s Head of Tennis Sarah Milburn on the Importance of a Good Team and Good Partners

WTA Media's Head of Production leads a production team who manage the delivery of more than 50 International tournaments each year

As the sport of tennis has surged in popularity, more professional tournaments are being produced for television and streaming all around the globe.

Since 2017, the Women’s Tennis Association has driven production under the moniker of WTA Media, following a partnership with Perform Group. That deal – which was for 10 years and is the most financially lucrative media rights deal in the history of women’s sports – has seen WTA Media deliver thousands of matches.

That outfit is led by Sarah Milburn, the Head of Tennis for DAZN and the Head of Production for WTA Media. SVG spoke with Milburn about her career, how she got started, her advice for the next generation, and why working with good people and reliable partners is crucial in live sports production.

How did you get into sports broadcast?

I started out as a runner at Sky Sports bringing my love of sport and media, and combining the two. After making the teas for a while, I found myself carrying out multiple roles across many different sports, before taking up a full-time position on the Tennis production team. Working my way up the production team (it was so long ago content was still on tapes!), I ended up producing the ATP Tour coverage and US Open within Sky Sports galleries and on-site, before taking to the road with ATP Media – managing their content output and learning about on-site live operations. Wanting to see more of what the industry had to offer, I set up as a freelancer, before taking on a Head of Production role at Perform/DAZN (which was still within tennis). I just can’t seem to get away from it!

What have been some of the challenges in your role over the years?

Managing an international OB production during the Covid Pandemic was a game changer. As the whole world stopped, people and the industry still wanted to watch and play tennis. Making sure operational standards were met and the teams travelled safely for 2-3 years was, extremely difficult. We had partnered with AE Live at the start of the 2020 season, so they had about 5 events before Covid hit. Their calmness, support and understanding of our needs during the next few years whilst the world settled down again, providing us with remote solutions and always being available to contact with new challenges we faced, has been imperative to the ongoing success of this project.

How have production technologies and techniques changed over your career?

Thankfully, and rather fortuitously, we had already looked at remote production solutions and streaming our production operation on-site before Covid. This helped immeasurably, not only to keep costs down, but also operations going with fewer people. WTA Media now delivers in full via SRT and we use remote working production solutions in GFX (with AE Live) and for post production. 75% of our commentary output (over 2000 matches per season) is delivered remotely direct from commentators’ homes.

What have been the highlights of your career?

I’m very proud to have run an OB operation of more than 30+ Host Broadcasts each season, which can often change and we have to react very last minute. We have built a great work ethic and dynamic at WTA Media, where everyone is a joy to work with; you don’t get that everywhere.

What advice would you give to anyone looking to follow in your path?

Think about what could be done, not about what is already being done. There are far cleverer people than me working in all areas of technology and creativity who can support your ideas. Don’t be a silo, work as a team and support everyone you come across.