Who's to say the bulk entire operation will be based there anyway or any one particular place. NBC may choose to have to main newsroom elsewhere and have small newsrooms and broadcast sites in various places like CNN does.
Plus remote production technology means your presentation spaces and transmission facilities can be on different continents. (50Hz vs 60Hz origination is a thing to consider though)
I’d assume if NBC is involved it will be 60hz. Isn’t it easier from a technical perspective to drop a few frames rather than adding 10?
The challenges are pretty much identical - most decent quality converters can do either. It isn't as simple as discarding 10 frames or creating 10 new frames (that approach would be horrific in motion terms). Instead you create an entirely new 50 or 60 (*) frames from the source by motion detection, vector tracking and image interpolation.
It's a pain. And best avoided if at all possible. But sometimes this just isn't possible. (And don't think that a vision switcher with 'frame rate conversion' on its inputs, like the new BlackMagic mixers have, is a solution. The frame rate conversion is pretty basic and not by any stretch 'broadcast quality' - though some broadcasters also use sub-par conversion solutions in News...)
US Broadcasters with European bureaux usually keep them 60Hz and convert incoming 50Hz sources to 60Hz. European broadcasters usually take the opposite approach and run their US operations 60Hz and convert when content reaches the UK (this is partially historical, because handling PAL 50Hz in the US was near impossible, but Europe was a bit better at handling NTSC)
Also, noggin I remember reading a case study that a US based broadcaster tried a split production method, with the vision mixer panels here in the US and the crate back in the U.K. and there was little to no delay difference between switching onsite or remotely. Do you happen to have any insight on that?
That's not unusual in remote production these days. SVT in Sweden are doing lots of Remote production, and not just in sports, using this approach.
They recently ran 75 cameras remote from Åre and Östersund back to their main TV centre in Stockholm (using the Net Insight Nimbra J2K solutions with GVG LDX cameras and XCU CCUs - where the XCUs were in Stockholm not on site). Sound, Vision control, EVS, the vision mixer crate and graphics were also in Stockholm. However the director and vision mixer (person) were on-site - with multiviewer feeds generated in Stockholm fed back, and the GVG mixer top on-site. There was some latency - but it was entirely workable. (~160-200ms I think - 4-5 frames in PAL i25) AIUI the SVT team suggest not having an on-site full OB saved them ~10% in budget terms, and reduced their carbon footprint by removing a lot of air travel for control room crew (who didn't have to leave Stockholm).
They now use the same approach for Allsång på Skansen, a weekly open-air music show, broadcast from an open air venue in Stockholm. This has also removed the OB truck hire cost, they use a control room they already own back at their TV centre, and just have a smaller vehicle owned by SVT with interface gear, and a small production area with displays, talkback panels and a mixer top, plus some on-site RF capacity. There is still obviously a FoH sound operation, but the broadcast mix is done back at base in their TV centre.
AIUI Discovery Eurosport are aggressively pursuing this for a pan-European production operation - with two big centres in Chiswick Park and Hilversum - which will work into all the Eurosport national operations (on-site production teams, but remote control of GVG Kahuna 9600s, LiveTouch servers etc.) You can sit in a control room in Stockholm or Oslo, remotely producing using equipment in the UK or the Netherlands. All thanks to ST-2110. Latency is likely to be a bit more than the Swedish experience AIUI but still workable.
* 60Hz = 59.94Hz...