It was time to leave Boston and head to New York City via Bristol, Connecticut. But before we left, we were able to enjoy a breakfast buffet at the hotel. We then boarded the bus and started our approximately two hour journey. While not an Adventures by Disney trip, their hallmarks of magical luggage transport and bus snacks were still present on this ESPN Experience. Our bus entertainment was a selection of “This is SportsCenter” commercials and the 30 for 30 film, Four Days in October about the 2004 ALCS.
As a long-time ESPN viewer, you would sometimes hear stories about how the headquarters were in the middle of nowhere. I had thought that those tales were an exaggeration or that the area around the worldwide leader would be built-up by now. But, despite ESPN’s growth, it still feels like it is in a sleepy town. As our bus pulled in, it really hit home that we were at the home of such an iconic institution. We disembarked the bus and were split into two groups which were each led by a tour guide who works at ESPN with a “real job.” For example, our fantastic guide works in audio and has been with the company for 27 years. While being a tour guide is not her full-time job, she was an excellent storyteller and told many stories of her experiences through the years as well as the history of the company.
For the morning segment of the tour, we got to check-out a control booth, an audio booth, and various stages including the homes of SportsCenter, NFL Live, and Baseball Tonight, among others. We also got to see some parts of ESPN history including panels that were part of the original SportsCenter sets, mic flags through the years, and an eclectic collection of caps which also included a pair of mouse ears.
I have been on many soundstages through the years, but I was surprised by the size and versatility of the sets we saw. Many of them were much larger than I had expected, because my experience had always been that everything looked bigger on TV. They explained the various roles that go into each show such as directors, producers, graphic designers, audio engineers, and many more. There were also no photography restrictions so we had all the opportunities to get behind the desk and pretend to be ESPN anchors.
Our lunch was in a conference room and consisted of sandwiches, wraps, and a selection of sides and desserts. While we ate, we heard from ESPN MLB Analyst Doug Glanville. He shared stories from his playing career, his audition to join ESPN, and his time as a color commentator. He was very inspirational and insightful from both his perspective as an athlete and as a broadcaster. He was also very generous with time for Q&A for questions about either of his careers. I left that conference room a huge Doug Glanville fan.
For the afternoon portion of the tour, we were broken down to even smaller groups. This was so we could get some real hands-on experience. Our first stop was where they add some of the augmentation to highlights such as being able to spotlight a player or add the distance of a homerun. It was amazing how quickly and accurately they could add these special effects to make a clip pop. We also got to visit a graphics room where we could see how they use the touchscreen as well as make the graphics that appear on the screen. In a matter of moments, I was able to look-up a player, grab his picture, write a headline, and create my own ESPN graphic.
We then went to a command center to see how they turn feeds into a network broadcast. They showed us how they pull the broadcast, cue the commercials, and make it all seamless. They discussed how they sometimes have to pad a commercial break or cut an ad which causes them to adjust on the fly. They also discuss how they work out what to do when a game runs long or short. We then got to experience the highlight of the day: hearing the director call the show while we watched the product on the screen. It seems like complete chaos filled with constant adjustments but the broadcast appears calm and flawless.
Our last stop was the Catalyst Stage, which is a volumetric stage, similar to what is used on The Mandalorian. This small space can be used to create a variety of virtual environments. They created a special ESPN Experiences ballpark for us as the robotic cameras captured the moment. As they discovered we were Disney fans, they were able to also insert us into Disneyland on the fly. It was neat to see how ESPN is continuing to innovate with new technology.
It was then time to head back to the buses. We got ESPN Experiences mugs as we boarded, but the true takeaway was all the insight into how our favorite ESPN shows are made. On the way back, we saw the 30 for 30’s The House of Steinbrenner, Mike and the Mad Dog, and First Pitch. We took the 3 hour drive to Manhattan and arrived at our New York home: the Intercontinental in Midtown. We had the evening free and our ESPN Coach offered to give tours of the area to anyone interested, but I took the opportunity to see Aladdin where I happened to catch Julio Rey’s debut as an understudy of the titular character. He was fantastic and is a star in the making.
Upon returning to my hotel, I turned on ESPN. As I caught the wraparound studio programming during College Football, I realized I will never watch ESPN the same way again. I have such a greater appreciation for the high-paced environment behind these shows. I also gained such appreciation for the dedication and innovation of all the behind-the-scenes talent that is required to make these shows so effective. Everything on that screen has to be thought through from lighting, audio, graphics, staging, and so much more. I have been to nearly all of Disney’s studios from Burbank, Pixar, Lucasfilm, and more, but none have changed my perspective on their business more than ESPN. Thank you to all of those that took their time, particularly as ESPN enters their busy season of football, for sharing a peek behind their curtain.
For even more fun and to see it all in real-time, be sure to follow our ESPN Experiences Tour live blog.
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