By all accounts, it was a SUPER Sunday packed with super charged entertainment. "Everything seemed just a little bigger than life, this year"¦the set-up, the halftime entertainment and the game itself", says Lee Estroff, a senior Director of Bexel Broadcast Services. That said, who really was "The Boss" on location in the days leading up to this momentous event?

Some say it was the crew at NFL Films doing their normal provision of International feeds to broadcasters all over the world ...but this year, they also produced the NFL Network's "around the clock" coverage from both Raymond James Stadium and from all the hot spots around Tampa...

Some say it was NEP (using its ND3 typically showcased for NBC Sunday Football Night coverage) at the very center of the Super Bowl coverage.

Some say it was Bruce Springsteen (with the E Street Band) responsible for a halftime performance that turned out to be one of the best halftime shows ever. Bob Muller oversaw technical operations of the halftime show, produced out of NEP's Denali truck. "We took feeds from 12 Sony HDC-1500 cameras that NBC will use for game coverage plus have another nine cameras of our own," says Muller. "We had three jib cameras, four handheld cameras, and two robotic cameras on the stage"¦"

But, since this is the Bexel website, who do you think we voted in as the real "Boss" of the show? "Well, us "¦Bexel, of course!" quips Estroff, on-site in pre-production, providing a full array of Bexel's signature broadcast services and world class broadcast rental equipment and working closely with NFL Films, Jeff Howard, NFL Films' primary tech manager, NEP, Muller and a host of broadcast engineers in preparation for the big day. Once again, Bexel proved to be the premier broadcast service organization in the television industry, providing a quality of service, unmatched anywhere in the world.

In the end, the production of Super Bowl XLIII (as aired by NBC Sports) drew a record TV audience, provided countless thrills for football fans, and, more important, has the production team at NBC Sports beaming over a production that exceeded expectations. "The NBC, NFL Films, NEP and Bexel technical crews ran flawless production..."

And next year? Well, what an interesting question for the broadcasters to ponder. For the first time, we are faced with a new Super Bowl logistic and the end of an era in terms of the production. The 2010 change relates to the Pro Bowl, the annual equivalent of an All-Star game that has historically been played in Hawaii after the Super Bowl.

More from Bexel's Lee Estroff: "Next year the game will be played the week prior to the Super Bowl and in the same stadium as the Super Bowl. That move, for at least next year, will mean that broadcasters and production crew who have typically enjoyed (and required) the ability to set up for the Big Game over the course of at least seven or even eight full working days will have to gear up for the big game in a much tighter window. And because ESPN will air the Pro Bowl and CBS Sports will air the Super Bowl only seven days later it might require both to share some facilities. And then there is getting all of the international broadcasters and media in place"¦oh boy, can't wait!"

Don't worry, Lee, it will all work out in a picture perfect way"¦it always does. Whenever Bexel takes on a challenge (especially logistical in nature) there is reason for hope and confidence. That's because, in these tight production situations, there can only be one real boss: Bexel Broadcast Services.

Want to talk about it? Contact Lee Estroff directly HERE: lestroff@bexel.com