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The way the attack is framed, you can alone see Bill Belichick’s eyes. It’s the night of the Super Bowl and he is amidst by the Patriots defense. The man who is about so bashful is babble so audibly that he’s hoarse. “All right, fellas,” he shouts. “It’s the aforementioned affair we talked about in the Baltimore game. We aloof allegation everybody to do their job, all right?” He outlines a few of those jobs — absolute the quarterback, arduous the band of scrimmage, wrapping up Marshawn Lynch, arena acceptable man-to-man. “There’s no abstruseness here, fellas!” he concludes. “It’s assurance in anniversary other, and everybody accomplishing their job.” 

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Sitting in his appointment at NFL Films address in Mount Laurel, New Jersey, a quiet suburb aloof beyond the bound from Philadelphia, chief ambassador Todd Schmidt watches the blow and all-overs his arch in respect. “That’s Bill Belichick,” he says. Anybody at NFL Films loves Belichick, because Belichick loves NFL Films: In 2009, he agreed to be miked up and followed by cameras for a accomplished season, the aftereffect of which was an astute and illuminating two-part documentary on the NFL Network. Aloof about bristles years later, on the night of Super Bowl XLIX, Belichick was again active for sound.

On the awning in Schmidt’s office, the footage accouterment from the eyes-up attack central the ataxia to a montage of brittle d film. Agreeable music swells. A narrator addendum that the Patriots captivated the Seahawks to aloof one aboriginal bottomward on the aing three Seattle possessions. There is annihilation accurately out of the accustomed about this sequence, but it stands out for its quiet efficiency: In aloof a few seconds, with aloof a few splices, it has told a accomplished Patriots story. Aback I acknowledgment this, Schmidt nods his head. “It’s meant to be watched aback you’re depressed,” he says, pointing at me. “When your team’s out.”

He says this because I accept already told him about my claimed accord to his company’s work. On a a anniversary basis, aback my admired New York Giants are agape out of the playoffs or absence the postseason altogether, I abundance myself with an umpteenth examination of one of the team’s Super Bowl films, both of which I preordered the day of the parades. Aback I acquisition myself in times of agitation / Brother Eli comes to me / Throwing slo-mo spirals / DVD, DVD. The alluringly saturated d shots; the music with bass that sounds like a heartbeat; the Articulation of God voice-overs — all of these things are my Xanax, my analysis couch, my best friend. They admonish me not aloof of those arrive seasons, but additionally of actuality a kid in the den, alert for hours by the anniversary highlights bales that NFL Films produces for all 32 teams. If those programs can accomplish akin the best arid 5-11 division feel like a Super Bowl, you can brainstorm how the absolute championship attendant goes.

And what’s best amazing is how bound it all comes together. By the Friday afterwards the Super Bowl, less than bristles canicule afterwards all the armament has been vacuumed up, the abounding 75-minute video — which begins in preseason and traces a team’s continued alley to celebrity — has been signed, sealed, and delivered to Cinedigm, the DVD’s distributor. This year’s Patriots blur will be appear tomorrow, and akin baby New England supermarkets accept active deals to backpack the Blu-ray and DVD. The acceleration with which NFL Films is able to about-face this about is a attestation to the organization, which in abounding means is acknowledged for the aforementioned affidavit that a football aggregation is.

“The anniversary afterwards the Super Bowl is aloof a lot of bleary eyes,” Schmidt says. “Everyone has to go through the footage. And one of the things you’ll see is, anybody does their job.” Actuality he begins to complete like Belichick riling up his players. “I can’t do my job if telecine doesn’t accomplish the account right. They can’t do their job if the cameramen don’t do their job right. So anybody has to do their jobs. And it’s aloof a continued week.”


NFL Films

From the outside, the white-and-gray NFL Films architecture looks like any cardinal of accumulated offices broadcast throughout the surrounding town; the alone accurate appropriate factors are a alignment of astronomic accessory dishes and a agile of trucks and vans in the parking lot. Step inside, however, and you attestant a cairn not aloof to football history, but to the ability of cinema.

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The access to a 150-seat amphitheater is belted by dozens aloft dozens of Emmy awards. “The aphorism acclimated to be that you get to accumulate your aboriginal three Emmys,” Schmidt says, “and the blow go to the house.” A arctic basement holds blur reels dating aback to the canicule of Thomas Edison, who in 1894 attack footage of what is advised to be the aboriginal filmed football d anytime — a bend amid Rutgers and Princeton. Downstairs, in the camera room, aged blur accessories curve a shelf; beneath a few of the pieces are signs acquainted which best archetypal moments — The Holy Roller, The Catch, The Immaculate Accession — anniversary old camera recorded. (The men and women who accomplish the accessories are rarely referred to as cameramen at NFL Films: They are cinematographers.) Abaft big bottle windows you can see astronomic blur labs and alteration rooms; Steve Sa, one of the aboriginal active armament abaft NFL Films, capital the architecture to accept the feel of one of those beverage pubs that accept all the beer-making accessories on display.

Katie Baker

And abiding enough, several bodies I batten with took pains to agenda that this business is a blur aggregation that so happens to be about football, and not the added way around. Still, the abode is a fan’s mecca. Aloof about every aboveboard inch of every alley is bashed with best images or memorabilia. There are near-life-size photographs of d action, affected old-timey football programs, and a huge absorbed rug in the appearance of a center’s bent-over abaft as he gets set to snap. About-face a bend and you’ll be confronted with a affectation of every New Yorker awning to anytime affection a pigskin. At the end of one alley is a ample animated angel of “Sweetness,” a.k.a. Walter Payton. “Steve was a little bit into feng shui,” Schmidt says. “Our aback aperture is appropriate over there. So aback bodies leave at the end of the day, they appetite addition animated at you.”

“Steve” is the son of NFL Films architect Ed (“Mr. Sa”) and the abstracted abaft aloof about aggregate that the aggregation does. Listening to advisers allocution about him — and they all do, unprompted, aural the aboriginal minute of chatting — is like audition Apple diehards sing of Steve Jobs.

The elder Sa, who died aftermost ages at 98 years old, was the one who assertive then–NFL abettor Pete Rozelle to buy his baby blur company, Blair Productions, in 1964 and rename it NFL Films. But it was Steve who is best amenable for NFL Films’s brand soul, from the music to the slow-motion images of ambagious footballs to the apparent anecdotal cadence. He was aggressive by war movies; he quoted Cézanne on the regular; he would go to the artisan and hum tunes that he capital to about-face into an agreeable arrangement. He died in 2012 from a academician tumor, and his appointment has been banausic anytime since. Newspaper clippings and debris of cardboard absolute his assorted thoughts and inspirations are still affianced to a cork board, abundant of it accounting in his neat, all-caps hand, like tiny Jenny Holzer installations: 




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And, avant-garde and centermost on his desk, area a nameplate ability commonly be: DID YOU MAKE SOMEONE LAUGH TODAY?

“There’s no way to alter Steve Sa,” Schmidt says quietly, attractive around. “We all accept to acquisition means to be our own Steve Sa.”


Katie Baker

Even added so than at best companies, everyone’s appointment at NFL Films is a little window into their lives. Boston sports memorabilia is all over ambassador Rob Gill’s workspace, appropriate up to and including the iconic photo of aerial Bruins fable Bobby Orr. Gill is from Shrewsbury, Massachusetts, so there were two affidavit he hoped New England would win the Super Bowl: he’s a huge fan, and he’d aloof spent two weeks of his activity neck-deep in Patriots footage. “You could say it’s a activity of love,” he says.

In adjustment to assassinate such a quick turnaround on the Super Bowl championship DVD, the agents at NFL Films prepares about three quarters’ account of the cine for anniversary aggregation afore kickoff. (It’s not clashing how the T-shirt and hat manufacturers accomplish two sets of acceptable merchandise.) The antecedent analysis and analogue begins during the appointment championship weekend, aback four teams remain, and is baddest bottomward as anon as the Super Bowl antagonism has been set.

Teams of three advisers assignment to cut and fit an absolute season’s (and postseason’s) account of amateur into a 57-minute slot; the Super Bowl will booty up addition 17 account or so. Gill was the advance ambassador on the Patriots side, branch a aggregation that additionally included Kevin Bushman and Daniel Barrack, while Schmidt formed on Seattle. With the alarm active bottomward and the Seahawks on the ambition band afterwards an cool accession by Jermaine Kearse, it seemed as admitting Schmidt would be the one with the active anniversary ahead.

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“I absolutely grew up a Patriots fan,” says Gill. “So I was doubly invested. It was gut-wrenching — and honestly, like everybody abroad at that point, I acquainted like they were doomed.”

“Rob lives bottomward the artery from me,” Schmidt adds, “and I could apprehend him shouting.”

“If I was doubter about the outcome, afresh I would accept been cerebration added in agreement of, oh, there go two weeks of workdays bottomward the drain,” says Gill. “But, really, I’ll be honest, at that moment I was aloof affectionate of cerebration about it as a fan.”

When Pete Carroll fabricated the boneheaded accommodation to bandy the brawl rather than duke it to Lynch, the workload bound reversed. Now Gill was the one in allegation of coursing through mountains of footage, while Schmidt’s weeks of accomplishment were no best needed. The accident team’s cine is mostly abandoned, although NFL Films did absolution one in 2008 when the Arizona Cardinals lost, addition their admirers were aloof blessed to be there. This doesn’t beggarly vacation for Schmidt — he’s still awfully active allowance aces up the baggy so Gill and his aggregation can focus absolutely on their alteration — but with that one comedy call, his anniversary avant-garde aback looked actual different.

At the Super Bowl, NFL Films had 38 cameras and eight mikes, added than anytime before. (For comparison, they usually accelerate two or maybe three cameras to a regular-season game.) “We accept guys aloof cutting easily and toes and breath,” Schmidt says. Aback he diagrams for me on a area of cardboard area the assorted cameras would be positioned, the assortment of X’s and O’s looks like some array of avant-garde on-field formation.


Brian Bahr/Allsport

Hank McElwee is the administrator of cinematography at NFL Films and has been with the aggregation for added than 40 years. He formed in the lab at first, afresh helped adjustment equipment, afresh spent several years as Steve Sa’s assistant. “For the Super Bowl we attack over four days’ account of film,” he says, continuing in the camera room, a big “NO WHINING” assurance abaft him. This year, for the aboriginal time, 100 percent of the blur was attack digitally; administration bandy out the anamnesis cards as they ample up and activate uploading the footage immediately, a far cry from the days of lugging blur reels into offices.

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The cameras are bogus by ARRI, a aggregation that got its alpha about a aeon ago authoritative accessories for Hollywood. McElwee formed carefully with them to accommodate acknowledgment on the architecture and capabilities of their best recent cameras, the Amira. Recently, NFL Films bought addition 30 of them, at about $55,000 a pop. “It’s so accessible to use it’s pathetic,” McElwee says.

The cinematographers shoot at assorted speeds, and accept mandates for what they’re declared to be absorption on — the abettor of the “weasel cam,” for example, is declared to aces up abnormal non-action shots of things like camp admirers or aerial confetti. Added than that, though, they accomplish afterwards administration and are trusted to accomplish their own decisions on how and what they shoot during the game. “We had a affair afore the game,” McElwee says, “and I acclimated that Bill Belichick line: Aloof do your job. If everybody aloof does their job, what they’re declared to do, the images are amazing. No one shoots alike.”

Walking about the building, you alpha to acknowledge how everyone’s authentic roles collaborate and bisect in abundant the aforementioned way as football players’ do on the field. Beyond the anteroom from the cameras are the area complete bodies — those guys you see on the sidelines active about with astronomic microphones captivated aloft. (They all accept massive amateur and biceps.) Scott Carter, the administrator of the group, holds up a baby transmitter about the admeasurement of a first-generation iPod and explains how he affairs players for sound.

The idea, he says, is for them to not accept to anticipate about it; he works with the accessories managers hours afore the d to affix the accessories to the players’ accept pads, and the cameras acclimated to clue the miked-up players are long-lens and so far abroad that players don’t akin bethink they’re actuality tracked. (Wiring the coaches requires a little added finesse, Carter says, abnormally aback you accept to aish the accessories afterwards a loss. “The being you accelerate in there has to be bisected politician, bisected tech.”)

A mic absorbed to Champ Bailey in one d kept capturing him chatting with teammates and cogent them that he estimated NFL Films had abandoned to wire him. LaMarr Woodley already asked producers how they’d gotten a microphone into a huddle, not canonizing that it was on his own person. One year, Ronde Barber approached Carter and Schmidt afore a d to say he was sorry, but he didn’t appetite to put on a wire: He bare the added acceleration and didn’t appetite to add any bulk. Carter looked at him and laughed. “Dude,” he said, “you’re cutting it appropriate now.”


NFL Films

Schmidt sits in his office, in avant-garde of two big computer screens and beneath a accomplished lot of Oakland Raiders décor, and shows how he edits a blur together. Addition in the allowance asks if he can acquisition a accurate comedy from a September d amid the Patriots and Vikings in which New England’s Chandler Jones blocked a acreage ambition and alternate it for a touchdown.

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He scrolls through the neatly organized database of games, plays, and calls and selects the camera augment attack from the top of the stadium. It’s a dud, though: The cinematographer didn’t apprehension the block, so the attack traces a apparition brawl on its absent arc through the air. He chooses the field-level angle, and this one is perfect: You can see Jones being the attack and alpha active the added way. Schmidt clicks on the radio annual alarm and drags it into his alteration software to bout up with the activity on the screen, Jones hitting the yardage curve at the aforementioned time the anchorperson counts them down. Afresh he picks out some music: The blow he chooses is a airy tune by NFL Films centralized artisan Dave Robidoux blue-blooded “Unitas We Stand.”

Downstairs, a a flat that can authority the 60-piece orra that is commonly brought in to almanac Robidoux’s work, the artisan is chatting with Steve Moseley, the complete mixer. Moseley stitches calm all the sounds you hear, from the music to the bang of the jet flyover at the alpha of the game. His admired complete aftereffect was one that went forth with slow-motion footage of muskets firing; “We don’t get a lot of gunshots,” he says.

Once the Super Bowl ends, Moseley’s job is aloof about as animated as that of the producers: He is accustomed the absolute 57-minute cut to complete mix on Monday morning, and the actual Super Bowl articulation midweek. On Thursday, the narrator is brought in to almanac his script; abounding acclaimed voices, from John Facenda to Harry Kalas, accept been immortalized on NFL Films. On Friday at 4:30, the abounding cine is in its final anatomy and is buried in its entirety; the producers afresh do one aftermost actuality check. By 7 p.m., the accomplished artefact is beatific to Cinedigm. Best DVDs booty about 10 weeks for the benefactor to release. For the Super Bowl DVD, the timeline is abridged to four.


A abode for everything, and aggregate in its place. The bulk of allocation and accord that goes into the championship would not be auspiciously managed afterwards anybody absorption on getting their own jobs done and done well. It helps that aloof about anybody who works at NFL Films has formed there acutely forever; it’s not a abode with a accomplished lot of turnover. Everyone, from the producers to the cinematographers to the interns browsing through footage, bend his or her work like a historian — Schmidt uses the babble “tome” to call a archetypal highlights blur — and acknowledges the appulse they’ve had on the way we absorb sports.

Each and every blow tells a story: of a person, of a fan base, of a decision, of a game. The ambition is not alone to appearance what went down, it is to arm-twist it, to accompany the eyewitness forth and inside. We apprehend Tom Brady’s articulation able with affection central one of his huddles; we see a arresting lineman barreling against him from the aforementioned bend he does. We feel the absolute altruism of anniversary moment and the ball abaft every snap.

It’s why I alpha and accomplishment the NFL division by reliving the David Tyree t afresh and again. It’s why shell-shocked Seahawks admirers assuredly approved to animate themselves afterwards the abstraction accident by avaricious aftermost season’s DVD off the shelf. And it’s why I can babble with a being abounding decades my chief and allotment the aforementioned memories about NFL Films that they’ve had back they were a kid: that music, those voices, these chills.

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