Editing Stats

The Workflow

The Workflow:

At the 2026 Miami Open, the photo team under Hard Rock Stadium implemented a fully networked, real-time workflow designed to move images from capture to delivery with minimal latency. Throughout the two-week tournament, photographers transmitted images via on-court Ethernet and card drop systems into a centralized FTP ingest server, where editors immediately began culling and captioning. Automated metadata templates standardized file handling from the moment of ingest, while PhotoShelter Smart Galleries dynamically sorted images by match, player, and key moments upon upload.

The Impact:

High-volume coverage at scale: 167 matches covered, 540,668 total frames captured, and 18,584 images edited and delivered.

Automated organization and routing: Images were tagged and sorted in real time using PhotoShelter AI and Smart Galleries, making content instantly accessible across editorial pipelines without manual intervention.

The Remote Cameras

Remote Camera Setups:

Miami Open

6 Remotes

At the Miami Open, we deployed up to six remote cameras simultaneously—all Canon R1 bodies—positioned across Stadium Court, fully networked and powered to cover every match, with management handled by Canon EMR.

Stadium Court Remote Map

Canon EMR

Management, Viewing, and remote shooting

The Chair Umpire Remote

For every match, both on-court remotes were active, including a uniquely positioned unit mounted beneath the chair umpire seat—featuring a Canon EOS R1 paired with an RF 28–70mm f/2L USM—delivering a distinctive angle not captured by any other still camera.

Chair Umpire Remote BTS

The Broadcast Pit Remote

For the broadcast pit remote, we developed a custom solution on the fly after newly installed sheet metal—intended to clean up the pit’s appearance and prevent stray balls—completely blocked our planned angle. After identifying the issue during initial deployment, we used a rain delay window to coordinate with the engineering team, ultimately cutting a precise lens port into the panel using a metal hole saw matched to the lens diameter. The panel was reinstalled with the camera positioned behind it, preserving both the broadcast aesthetic and the shooting angle - in the span of 40 minutes. The setup featured a Canon EOS R1 paired with an RF 135mm f/1.8L IS USM, delivering a clean, compressed perspective from a previously inaccessible position.

Broadcast Pit Remote BTS

Catwalk Remotes

Throughout the tournament, we continuously adjusted the angles of our catwalk remotes to capture alternate perspectives and acomodate various requests, maintaining three cameras permanently positioned in the catwalk.

Catwalk Remotes BTS

Catwalk Fisheye Remote

For our marquee night match of Carlos Alcaraz vs Joao Fonseca, we deployed a wide fisheye setup—featuring a Canon EOS R1 paired with an EF 8–15mm f/4L Fisheye USM—to capture the atmosphere and crowd, using it exclusively for that occasion.

The Trophy Remote

For the trophy stage remote, we deployed a wide fisheye setup using a Canon EOS R1 paired with an EF 8–15mm f/4L Fisheye USM, positioned low on the presentation platform to capture a full-scene perspective of the ceremony. This angle emphasized the scale and energy of the moment from within the stage environment itself, creating a perspective that places the viewer directly inside the celebration.