For Johnson and his counterparts, typically a soundman, a field-level shooter, and another shooter who patrols the action from press-box level each Sunday afternoon, each game offers a new chance to create their very own masterpiece. "There's no director in your earphones telling you which shot to capture and how they want it done," says Johnson. "It's all up to you and your creativity. You've got to know the game to follow the right stories at the right time. You've also got to know where and how to shoot your scene setters - shots like storm clouds gathering, tailgate partiers, or stadium fixtures such as the massive pirate ship in Tampa.

"My claim to fame has to be capturing Eugene Robinson of the Packers lighting into his defensive teammates during Super Bowl XXXI," Johnson continues. "Robinson told each one of them, 'Punch them in the mouth.' He said it over and over. The Packers shut down the Patriots in the second half and won the game."

Capturing moments like this is what makes NFL Films tick. Perhaps that's why it has more than 80 Emmys to its credit. Or maybe it's because NFL Films doesn't rest on its laurels, but instead, constantly looks for ways to advance its game. It was, after all, the first to wire coaches and players for sound, the first to score original music for sports films, and the first to produce blooper reels. More recently, it has produced national TV commercials, music videos for MTV, and helped coordinate the football action on feature films such as Jerry Maguire, Rudy, and The Waterboy.

Whatever the reason, none of this would have been possible without the Sabol family.

NFL Films was born when Ed Sabol purchased the rights to the 1962 NFL championship game for $3,000, doubling the previous rights holder's bid.