Superball is the Ukrainian championship at 6×6. We produced its 2019/2020 season at Hydropark Arena in Kyiv — a full round every Friday as one continuous four-camera broadcast, live to three national channels and to the competition's own audience at the same time.
Ten clubs, playing each other home and away, then the finals — around ninety matches across a single season, every one of them produced.
Each Friday was one broadcast, not five: four cameras, live cutting, instant replay and the full graphics package, running four hours and more without leaving air while the round played out in front of it.
A championship is not a fixture. It is the same production, repeated until the season ends, and it has to hold on the twentieth Friday as well as the first.
Superball runs ten clubs at 6×6. Every club plays every other club twice, which is eighteen rounds of five matches before the finals begin. The competition needed television-standard output for the fixtures the broadcasters were taking, and it needed the whole round produced whether television was taking it or not.
It also plays outdoors. Hydropark Arena is an open ground, and the season runs from September onwards, which means the production has to work in afternoon light, under floodlights, and in whatever the weather does in between.
We knew the ground. Earlier that year we had been official broadcaster for the Klitschko Cup at the same arena, for the same organiser, Mistosporty — twelve matches across two days to six countries. Superball asked for that standard every week for five months.
Not five separate streams. Four cameras, live cutting, instant replay and full graphics, on air from the first whistle of the round to the last — four hours and more in a single unbroken feed. A viewer arriving for the third match of the evening joins a broadcast already running, the way they would on a sports channel.
A four-camera multicam rig built and struck at an open arena, twenty times across a season that starts in early autumn. The sun in September and the floodlights in November are different problems, and the broadcast has to look like the same competition in both.
Xsport, Sport 1 and Setanta Sports each took fixtures across the season. The same production fed all of them and went out live on YouTube and Facebook alongside, so the clubs whose match was not on television that week were not on a downgraded feed.
We designed and animated Superball's full TV package — scores, clocks, club identities, round and season framing — and ran it on every match of every round. That is what makes ninety separate matches read as one championship, and it is what a broadcaster expects to see before it puts a competition on air.
Twenty weeks, outdoors, four cameras. You do not crew that the way you crew a final. — Kostiantyn Moseichenko, Well Run
Kostiantyn Moseichenko — Well Run
The championship was produced in full. Every round, every Friday, for twenty weeks, on television and on the competition's own channels at the same time.
Three national broadcasters carried Superball that season. The clubs whose fixtures they did not take were produced to the same standard, with the same graphics, on the same feed.
The number that matters is not four cameras or three channels. It is twenty — twenty consecutive weeks without a round missed, delivered by a crew that rotated through the season rather than an outside broadcast operation parked on the competition's budget for five months.
That is the difference between covering a match and running a championship.
The same season, at the same arena, we also produced the Marakana League — the championship of Kyiv — on Saturdays and Sundays. One engagement, two competitions, for one organiser.
Around ninety league matches plus the finals. Ten clubs playing home and away is eighteen rounds of five, produced across twenty weeks from September 2019.
No. Each round went out as one continuous feed — four hours or more, from the first whistle of the evening to the last, with live cutting, replays and graphics throughout.
Xsport, Sport 1 and Setanta Sports each carried fixtures across the season, and every round went live to Superball's YouTube and Facebook channels in parallel.
Hydropark Arena is an open ground. A four-camera rig was built and struck every week from September onwards, through changing light and weather, and the broadcast had to look like the same competition in week twenty as it did in week one.
The service behind this case
Federation-standard live production, TV graphics, and multi-platform delivery — built to run a season, not a single fixture.
National TVThree-camera live broadcast to Sport 1 over a proprietary internet pipeline — one of our earliest national-TV basketball productions, and the first real test of what became APEX OS.
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6 nationsA 4-camera multicam broadcast across two days at Hydropark Arena, Kyiv — delivered simultaneously to national TV and six countries' YouTube channels.
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APEX OS2-camera live broadcast of an American football match delivered to Sport 1, Ukraine — produced on APEX OS with live graphics, replays and encoding, distributed via Restream ME, with an aftermovie delivered alongside.
View caseTell us how many rounds, how many clubs, and which fixtures television is taking.