Sony broadcast camera filmed the Super Bowl LX between the Seattle Seahawks and New England Patriots.
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The Sony Tech Behind the Super Bowl — What 100 Million Viewers Don’t See

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Most people watch the Super Bowl for the touchdowns, the halftime show, and commercials. What they don’t see is the enormous amount of technology required to deliver every tackle, replay, celebration, and slow-motion shot to more than 100 million viewers worldwide.

Behind every camera angle and crystal-clear broadcast is a small army of engineers, producers, camera operators, and technicians working together to make sure football’s biggest game reaches your screen without a hitch.For Super Bowl LX, Sony once again played a major role in making that happen. From professional broadcast cameras and lenses to advanced replay systems and tracking technology, the company supplied much of the equipment used to capture the action inside Levi’s Stadium.

Here’s a closer look at the Sony gear, systems, and behind-the-scenes innovations helping bring the biggest sporting event in America to life.

New England Patriots quarterback Drake Maye captured in Sony High-Frame-Rate footage at an NFL game.
Patriots’ quarterback Drake Maye featured in Sony’s High-Frame-Rate (HFR) footage | Image: Sony

The Biggest Broadcast in Sports

Calling the Super Bowl a football game almost feels like underselling it. Every year, it becomes one of the most-watched television broadcasts on the planet, attracting more than 100 million viewers in the United States alone, with millions more tuning in from around the world. For a few hours, the game becomes the centre of the sporting universe, bringing together die-hard NFL fans, casual viewers, advertisers, celebrities, and even people who couldn’t tell you the difference between a touchdown and a field goal.

That level of attention comes with enormous pressure behind the scenes. Unlike a regular-season game, there are no second chances when you’re broadcasting the Super Bowl. Every camera angle, replay, graphic, player introduction, halftime performance, and post-game celebration needs to be captured flawlessly in real time. It’s one of the most complex live productions in sports, requiring hundreds of cameras, miles of cabling, dozens of production teams, and enough technology to rival a Hollywood film set. When more than 100 million people are watching at once, “good enough” simply isn’t good enough.

Sony Alpha 1 mirrorless cameras are used for professional sports photography and Super Bowl coverage.
Sony Alpha 1 Mirrorless Cameras | Image: Sony

Why the NFL Turned to Sony

Producing the biggest television broadcast in America leaves almost no room for error. Each replay must be clear; every slow-motion shot should show details viewers might miss; and every important decision must be backed by reliable technology. That’s one of the main reasons the NFL officially partnered with Sony, naming the company its official technology partner and using its products and services across many aspects of the game.

Sony’s Hawk-Eye technology supports NFL officiating by providing advanced optical tracking and replay systems that assist with game-critical decisions. The company is also working with the league to develop next-generation line-to-gain measurement systems, helping officials make more accurate calls during some of the most important moments of a game. On the sidelines, Sony technology powers new coach communication systems, while its Beyond Sports division helps transform player-tracking data into interactive visual experiences designed to engage a new generation of football fans.

Perhaps what’s most impressive from Sony is how deeply it has embedded itself throughout the NFL ecosystem. Its cameras have been trusted by broadcast partners including CBS, FOX, NBC, and ESPN for decades now, while The Associated Press has relied exclusively on Sony imaging equipment for NFL coverage since 2020.

According to Neal Manowitz, President and CEO of Sony Electronics North America, the company’s goal extends well beyond simply supplying equipment. “We are committed to creating the future of sports with technology, and constantly driving innovation to positively impact the world of athletics for players, coaches and fans alike,” he said. It’s a vision that closely aligns with the NFL’s push to modernize everything from officiating and coaching communication to fan engagement.

Manowitz also said that Sony is now involved in professional photography, broadcast production, advanced line-to-gain tracking, and better in-stadium experiences. “This partnership stems from years of integration into the NFL across these many different areas, and we are excited to officially join forces and pursue our passions together with one of the largest sports organizations in the world.” When viewers watch the Super Bowl, they are seeing not just a football game but one of the most advanced live productions in sports.

NFL coach Matt LaFleur wears a Sony league-issued headset on the sideline during an NFL game.
NFL Coach Matt LaFleur is using Sony’s league-issued headset on game day | Image: Sony

The Sony Technology Behind the Super Bowl

Sony’s role at Super Bowl LX extends far beyond supplying a few cameras around the stadium. In what the company describes as its most advanced Super Bowl presence to date, Sony’s technology will touch almost every aspect of the game, from coach communication and officiating to player tracking, photography, and the live broadcast itself.

One of the biggest highlights this year is the first time Sony’s NFL Coach’s Headsets will be used at the Super Bowl. These headsets, introduced across the league at the start of the 2025 season, are based on Sony’s 1000X headphone series and have been redesigned to meet the NFL’s requirements. They provide clear communication even in noisy stadiums, helping coaches and staff stay connected during important moments, regardless of noise or weather.

Sony is also making a big impact with its cameras. Over 175 Sony cameras will be set up around Levi’s Stadium on game day, including top broadcast cameras, high-speed systems, Alpha 1 II and Alpha 9 III models, and G Master lenses. NBC Sports, the Associated Press, NFL photographers, and production crews will use these cameras to capture everything from touchdowns to the emotional moments that define the Super Bowl.

Sony’s Hawk-Eye technology will be used at the Super Bowl for the first time as part of the NFL’s new Virtual Measurement system, helping officials make faster and more accurate first-down calls. Sony is also providing replay and video review tools, along with its advanced SkeleTRACK system. This system tracks 29 points on each player and works with ball-tracking technology to create one of the most advanced player-monitoring setups ever seen in pro football.

Sony professional cameras and telephoto lenses are stocked inside a camera support depot for Super Bowl LX.
Sony Imaging Pro Support Room | Image: Sony
Sony super-telephoto camera lenses prepared for professional sports photography at Super Bowl LX.
Sony Imaging Pro Support Room | Image: Sony

“Our partnership with the NFL is built on a shared commitment to innovation,” said Theresa Alesso, President of Imaging Products and Solutions Americas at Sony Electronics. “This year’s Super Bowl reflects how Sony technologies work together through data, communication, and imaging to support every moment of the game, from the field to the broadcast to the fan experience.”

Broadcasters who bring the game to fans everywhere share this confidence. “As the biggest game and the most-watched show of the year, the Super Bowl production requires tools we can trust,” said Ken Goss, NBC Sports EVP of Studio and Remote Operations. “Working with Sony allows us to flawlessly deliver every angle, replay and on-field moment to viewers watching around the world.” For millions of viewers at home, everything looks seamless. For the teams behind the scenes, it is the result of years of innovation coming together on one Sunday night.

Hawk-Eye SkeleTRACK virtual measurement system analyzing football positions during an NFL game.
Hawk-Eye’s SkeleTRACK System | Image: Sony

Inside Hawk-Eye’s SkeleTRACK System

While cameras capture what fans can see, Sony’s Hawk-Eye SkeleTRACK system focuses on everything they can’t. Making its Super Bowl debut this year, the technology creates a detailed digital model of the action on the field by tracking 29 points on every player, along with real-time 3D tracking of the football itself. The result is a remarkably accurate view of player movement, positioning, speed, and ball location throughout every snap.

The system works alongside Zebra Technologies’ RFID tracking technology to provide the NFL with one of its most advanced player-tracking environments to date. Beyond helping broadcasters tell a better story, the technology gives the league deeper insights into how plays develop, how players move through space, and how key moments unfold in real time. It also supports officiating and game analysis by providing another layer of precision when split-second decisions matter most.

Most of this technology works quietly in the background for people watching at home. Still, whether it’s creating new graphics, improving player stats, helping with replay analysis, or showing how a big play happened, SkeleTRACK is always working behind the scenes. It shows that today’s Super Bowl uses much more than cameras and commentators to bring fans closer to the game.

A professional photographer uses a Sony G Master super-telephoto lens to capture sports action.
Sony Imaging Pro Support Room | Image: Sony

How Sony Captures Every Moment

Filming the Super Bowl takes much more than just aiming a camera and hitting record. Each touchdown celebration, hard tackle, coach’s reaction, and crucial replay must be caught from several angles at once. To pull this off, Sony has set up a wide range of imaging technology across Levi’s Stadium, building a network that can capture every moment of the game.

This setup goes well beyond regular broadcast cameras. Sony’s technology helps NBC Sports, the Associated Press, NFL photographers, in-stadium crews, and even the halftime show. From ultra-slow-motion replays and dramatic player introductions to sideline photos and aerial views, almost every angle you see on game day comes from Sony’s imaging system.

Here’s Full List of Sony Tech and Products used during the Super Bowl LX:

NBC Sports Broadcast Coverage:

  • 35x Sony HDC-5500 system cameras
  • 2x Sony HDC-4300 system cameras
  • 6x Sony HDC-P50A POV cameras (including 4K units)
  • 11x Sony HDC-P50 POV cameras
  • 1x Sony HDC-P31 POV camera
  • 3x Sony PXW-FX9 cinema cameras
  • 2x Sony PMW-F55 cinema cameras
  • 1x Sony ILME-FR7 PTZ camera
  • 1x Sony BRC-AM7 PTZ camera
  • 2x Sony ILX-LR1 aerial cameras
  • 1x Sony HDC-P50 specialty camera

Halftime Show Production:

  • 11x Sony VENICE 2 digital cinema cameras
  • 3x Sony BURANO digital cinema cameras
  • 1x Sony FR7 Cinema Line PTZ camera

Levi’s Stadium In-Venue Production:

  • Sony HDC-3500 UHD cameras
  • Sony HDC-5500 high-frame-rate cameras
  • Sony HDC-3500 RF wireless cameras
  • Sony ILME-FX3A shallow depth-of-field cameras
  • Sony E-mount lenses

Photography & Sideline Coverage:

  • Associated Press:
    • 55 Sony camera bodies
    • 80 lenses, 15 PDT-FP1 portable data transmitters
  • 10 Sony UHD cameras:
    • HDC-3500 (hard positions)
    • HDC-5500 (HFR), HDC-3500 (RF wireless)
    • ILME-FX3A (RF shallow depth of field) with Sony’s E-mount lenses sideline & photography Support
  • NFL Focus Photography Team:
    • 8 Sony cameras
    • 20 lenses
  • Sony Imaging PRO Support:
    • 45 Sony full frame mirrorless cameras
    • 90 E-mount lenses
    • 12 PDT-FP1 Portable data transmitters
    • PXW-Z200 camcorders
Carolina Panthers fans fill Levi’s Stadium in San Francisco during Super Bowl 50 in 2016.
San Francisco Levi Stadium Super Bowl 50 L on February 7, 2016 | Image: Getty Images

What 100 Million Viewers Never See

While fans focus on the touchdowns, the halftime show, and dramatic moments, an enormous operation is underway behind the scenes. These operations are months in the making before the kickoff, with hundreds of engineers, producers, camera operators, photographers, replay technicians, and broadcast specialists already at work preparing the technology that will bring every moment of the game to screens around the world. Testing, tracking systems, and camera positions all need to manage live data feeds and instant replays; every detail needs to work flawlessly when the game begins.

Over 175 cameras, Hawk-Eye tracking technology, coach communication systems, photographers, and broadcast crews all work together in real time to create an experience that seems effortless for viewers at home. Most fans never think about the technology behind a replay of a game-winning touchdown or a perfectly timed slow-motion shot, and that’s the goal. When everything runs smoothly, the focus stays on the game, and the technology quietly supports it in the background.

By the time confetti falls and a new champion lifts the Lombardi Trophy, the cameras, tracking systems, and broadcast crews have quietly done their job—capturing the moments fans will remember for years. While it’s tempting to focus on the big plays and celebrations, none of it would be possible without the behind-the-scenes dedication and precision.

Sony Imaging Pro Support depot stocked with professional cameras and super-telephoto lenses for Super Bowl coverage.
Sony Imaging Pro Support Room | Image: Sony
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Pro-Ject’s $2,799 CD Box RS2 Tube Gives the Humble CD a Luxury Upgrade

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  • CDs are getting the audiophile treatment again, sitting somewhere between the ritual of vinyl and the convenience of digital music.
  • Top-loading design brings back the ritual of physical music.
  • Rigid aluminum construction and a low-vibration SUOS drive help reduce jitter and unwanted noise.
  • It’s Pro-Ject’s first RS-series CD player with an integrated DAC, pairing a PCM1796 converter with a balanced dual-E88CC tube output stage.
  • At US$2,799, this is CD playback turned into a luxury purchase.

The compact disc was once supposed to be the future of music, until streaming arrived and turned shelves full of CDs into something many of us packed away years ago. Now, with physical music enjoying something of a second life, Pro-Ject is making a rather expensive argument for digging those old discs back out. The new CD Box RS2 Tube takes the familiar CD player and gives it the full audiophile treatment, combining a dedicated top-loading mechanism, high-end DAC, balanced circuitry and a pair of vacuum tubes inside an aluminum body.

At US$2,799, this obviously isn’t the machine you buy because you’ve found a box of old CDs in the garage and want to hear them again. The CD Box RS2 Tube sits in Pro-Ject’s top-range RS2 line and is aimed squarely at listeners who still see physical music as part of the experience, right down to placing the disc onto the exposed top-loading mechanism and securing it with a magnetic clamp before pressing play.

Pro-Ject CD Box RS2 Tube
Pro-Ject CD Box RS2 Tube | Image: Supplied / Pro-Ject

Pro-Ject CD Box RS2 Tube Specifications

  • Supports: Red Book CD-DA
  • Tubes: 2x E88CC
  • DAC: Texas Instruments PCM1796
  • Digital outputs (S/PDIF): 1x optical TOSlink, 1x coaxial RCA
  • Analogue outputs: 1x RCA, 1x balanced XLR
  • Power supply: 20V/3000mA DC; 100–240V, 50/60Hz
  • Power consumption: 20W max.; <0.5W standby
  • Remote battery: 1x CR2032 / 3V or 1x CR2025 / 3V
  • Dimensions: 206 x 84 x 200mm (210mm including sockets)
  • Weight: 3.2kg without power supply
  • Finish: Black or Silver
  • Price:US$2,799

That top-loading mechanism isn’t there purely for theatre. Pro-Ject uses a SUOS DM-3381 Red Book CD-DA drive with its BlueTiger CD-88 servo system, developed specifically around conventional audio CDs rather than relying on a multipurpose optical drive. A magnetic clamp holds the disc in place, while the player’s gravity design and central mass point are intended to keep unwanted vibration under control.

The bigger difference comes after the disc has been read. Unlike a standalone CD transport, the RS2 Tube has its own Texas Instruments PCM1796 DAC, used in a fully differential configuration before feeding a balanced analogue output stage built around two E88CC vacuum tubes. Pro-Ject says those tubes are intended to bring warmth, fluidity and a more natural harmonic character to digital playback, with listeners able to connect through either balanced XLR or conventional RCA outputs.

It’s an interesting combination because CDs have spent decades being associated with convenience and digital precision, while glowing vacuum tubes belong to a much more romantic corner of the hi-fi world. Putting the two together feels almost deliberately contradictory, but that’s also what makes the CD Box RS2 Tube interesting: Pro-Ject isn’t reinventing the compact disc so much as treating it with the sort of attention normally reserved for expensive turntables and analogue systems.

The physical construction follows the same philosophy, with full aluminum casework, a large front LCD that can display track, time, and CD-Text information when available, and even an aluminum remote control rather than the lightweight plastic controller usually thrown into the box. At only 206mm wide but weighing around 3.2kg, it’s also considerably more substantial than its compact footprint might suggest.

Pro-Ject CD Box RS2 Tube
Pro-Ject CD Box RS2 Tube | Image: Supplied / Pro-Ject

There are some very deliberate limitations, though. This is a Red Book CD-DA player, not a do-everything digital source designed for SACDs, Blu-rays or a library of high-resolution files, which makes that US$2,799 asking price even more interesting. You’re paying for a machine built around doing one increasingly old-fashioned thing exceptionally seriously, rather than another box promising to handle every format imaginable.

And perhaps that’s really the appeal. Streaming gives you millions of songs almost instantly, but there’s still something satisfying about choosing an album from a shelf, physically loading it and listening without an app endlessly suggesting what should come next. CDs may not have quite the same ritual as lowering a stylus onto vinyl, but an aluminum top-loader with a magnetic clamp and two glowing vacuum tubes certainly gives them a little more ceremony.

At US$2,799, nobody needs a CD Box RS2 Tube simply to hear a compact disc, and there are obviously much cheaper ways to play the collection you already own. But necessity isn’t really what products like this are about; Pro-Ject has taken one of the most ordinary physical music formats of the past four decades and treated it like a genuinely high-end source component.

Pro-Ject CD Box RS2 Tube
Pro-Ject CD Box RS2 Tube | Image: Supplied / Pro-Ject
Pro-Ject CD Box RS2 Tube
Pro-Ject CD Box RS2 Tube | Image: Supplied / Pro-Ject

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