For Most Valuable Promotions' UK debut at Olympia on April 5, 2026, we supplied a multi-camera package, a fibre setup and a camera operator to production company ProjeKt Gap for the live Sky Sports broadcast. It was the first major boxing night at Olympia since its £1.3bn redevelopment, with 2 world title main events in the National Hall.
The Brief
ProjeKt Gap needed a full camera setup for a fight night going out live on Sky Sports, covering the ring from every angle.
That meant remote cameras, a long lens for ringside close-ups, a jib, and clean signal from the ring to the gallery across a big arena hall.
The kit went out on April 4 for setup and came back after the event on April 5.
The Crew
Alongside the kit, we supplied 1 freelance camera operator for both days.
What We Supplied
Cameras and lenses
- 2 x Sony FR7 PTZ cameras, each with a Sony FE PZ 28-135mm f/4 G lens
- 2 x Sony FX6 with Sony FE 16-35mm f/2.8 G Master and 24-70mm f/2.8 G Master II lenses
- Canon CN10 25-250mm on a Vocas E-PL mount adapter
Control and monitoring
- Sony RM-IP500 PTZ controller
- SmallHD Cine 24" and Cine 18" high-bright monitors
- 55" 4K monitor on a Unicol stand
- 2 x SmallHD Ultra 7 on-camera monitors
Signal
- 2 x 100m and 2x 200m fibre optic multicore cables
- 11 x Blackmagic fibre converters (Mini Converter Optical Fibre 12G)
- 20 x LC fibre joiners
Support, audio and power
- Libec JB-30 mini jib
- 4 x Sachtler Video 20 tripods
- 2 x Avenger Combo Steel Stand 20
- 4 x DPA 4488 headset mics with LEMO adapters
- 2 x IDX 145Wh V-Mount battery kits
How It Came Together
A boxing ring is a small space you need to see from every side, at all times. The 2 FR7s gave the production remote angles, both controlled from a single RM-IP500, with no operator needed beside each camera.
The CN10 did the heavy lifting from distance. Its 25-250mm range gets from a full-ring wide to a tight shot of a fighter's face without leaving the camera position. The Vocas adapter puts the PL-mount lens on an FX6.
Distance was the other challenge. Olympia's National Hall is a big room, and normal SDI runs only go so far. Fibre multicore and 11 Blackmagic converters carried the signal cleanly over the long runs between the cameras and the monitors.
The jib added sweeping shots over the ring, and the FX6s with G Master zooms covered everything else, from ringside to the crowd.
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