“As for 11/9 Chicago specifically (since this is what your source cited), everything from the production perspective was up and running 100 percent correctly. We tested and retested audio, video, video playback, headset communication, internet connection and last-minute stunts to be performed during the show (I have video of all of this as well).
“During the day we did have a pre-recorded segment that was delayed due to talent, not production and once we were set to shoot that we had an issue with wireless communication and after troubleshooting we found that the transmitter for those units had been somehow unplugged and then an uneducated crew member didn’t have their talk back toggle activated in the truck to speak to members on the crew not on the chat lines of the units that had been unplugged. Our in-show stunt that we rehearsed before the doors opened was also unplugged and once our lighting people notified us in the truck that they did not have a signal from the effects box that was ringside, I sprinted from the truck to troubleshoot, found the problem and plugged it back in. Unfortunately, it takes about 15 minutes for the effect to warm up and that wasn’t enough time to be useful for the finish of the match it was needed for.
“As far as the recorded “Slaughterhouse” for BeIN Sports, it went off with no issues, but once we were ready to go live, we lost the internet connection from the venue. Our Engineers and I jumped to find the problem, ran a new line to the venue’s modem, it still didn’t work.
“We did have redundancy in place, but that takes a few minutes to get the YouTube keys reconfigured and reassigned to the new transmission device. In total, we were without internet for 10 minutes.
“When I relayed this info to the bosses, they decided not to go live and delayed the airing of the broadcast to the next day.
“Then during the Matt Riddle tag team match, there was a big brawl involving a lot of extras around the commentary desk. Our audio distribution unit was disturbed causing us to lose Joe and Tom for a few minutes while we sent Engineers ringside to fix and re-patch. They did fix the problem, and we continued the show.
“I guess, in the end, when it came down to all those `small things,’ they added up and since I was the person in charge of that department, Management felt I needed to be replaced. I have no ill will towards Court Bauer or anyone else on his staff and accept his decision.
“I also wish them nothing but the best because they have a very dedicated and passionate group of people working behind the scenes. I want to see every single one of them succeed! “
Marquez also commented on the Observer report on the story saying that he never have spoken to Bauer on MLW finances or the WWE settlement.
“I also don’t know one thing about his WWE settlement,” Marquez said. “Over the years I have been employed by MLW to direct the broadcast, be on-air talent, produce pre-recorded material and be their Director of Production. When I was directing the show, we used standard, professional mobile production trucks.
“At that time, James Ontivero was in the role of Director of Production, and he staffed the crew and vendors. There was a period where I was not with MLW and Go Pro was brought in to do all the production. A while after, Ontivero contacted me to return to the company as a producer and on-air talent, I accepted.
“Go Pro was still handling all aspects of broadcasting. After a few months back, Bauer called to inform me that Ontivero was no longer with them and asked if I would take over the role as production head and continue my producing and on-air duties, I accepted. “
Marquez said that Go Pro didn’t quit.
“Go Pro did not quit, they were not rehired as a company, but several of their crew members were hired individually. Management then provided me with instructions to source television/video production, lighting vendors and a budget. Within 14 days I had everything in place, and we went into our first production together. “
Marquez noted he has spent 34 year years working in the television industry. He has produced and directed local news, major sports, all combat sports and pro wrestling and has won two Emmy awards.
“No matter the production budget, from a few thousand dollars to millions of dollars, there will be production mishaps,” Marquez said. “For example, the Netflix Paul/Tyson special event. They had their fair share of audio problems, talent’s IFB/communication failures, wrong graphics and pre-recorded packages airing out of order plus a few more “small things.”
