Gravity Media, the leading force in production and content, media services and facilities, has today been unveiled as the new main sponsor of Wycombe Wanderers Women’s Football team for the 2025/26 and 2026/27 football seasons.
This partnership marks a powerful alignment between a company deeply committed to the growth of women’s sport and a club targeting promotion to the Southern Region Women’s Football League (SRWFL) and with bold ambitions to climb the football pyramid.
The announcement follows Gravity Media’s successful delivery of host broadcast services for the UEFA Women’s EURO 2025, a record breaking tournament that captivated millions and underscored the unstoppable rise of the women’s game with an historic victory for England’s Lionesses. Gravity Media, having been at the heart of that global broadcast effort, is now reinforcing its dedication by investing locally in the game’s future, showcasing women’s football from the elite stage to the local pitch.
This sponsorship reflects Gravity Media’s belief in the transformative power of league football to inspire the next generation. Wycombe Wanderers Women (W3) strive to be the best on and off the pitch, also actively supporting local community initiatives through Wycombe Wanderers Foundation and inspiring the next generation of young female players. The club has a strong vision to create a unified club structure with a progressive, player-centred environment focussed on aspiration, development and performance with a clear development pathway from first kick to first team.
Jamie Hindhaugh, CEO of Gravity Media UK, commented:
“With our outside broadcast operations based out of High Wycombe, it was important for us to invest in our local community and we can’t think of a better place to show our new logo than on the shirts of the Wycombe Wanderers Women’s team. We have a passion for sport; from the top tiers of international competition right through to local clubs with big ambitions. This partnership reflects everything we value; community, collaboration and a shared drive to succeed.”
Nigel Kingston, President of W3, said:
“We are delighted that Gravity Media have agreed to back our Women’s team for the coming season and look forward to their knowledge and experience in global media production helping to drive W3 forward both on and off the pitch”. The Gravity Media logo will now proudly feature on the Women’s team’s home and away kits for the 2025/26 and 2026/27 season, further strengthening the bond between broadcast innovation and community sport.”
Gravity Media UK CEO, Jamie Hindhaugh, added:
“England’s historic win in the Euros has been a pivotal moment for the women’s game and we want to do all we can to help build on that legacy. Wycombe Wanderers Women are not only inspiring role models within their community but also a team with vision and determination. Together with the Lionesses, they represent the future of football and we’re excited to support them on their journey.
There are very few global sporting events that can match the history and pedigree of The Championships, Wimbledon. The All England Lawn Tennis & Croquet Club’s (AELTC) annual event will be 150 years old in two years’ time, and our specialist camera division will be celebrating an unbroken quarter of a century of involvement with The Championships itself next year.
In 2001, we supplied the baseline track system and a single camera for Centre Court coverage. This year we supplied 44 remote camera systems on a typical day to Wimbledon Broadcast Services, which has been the host broadcaster since 2018, with Gravity Media specialist RF division provided exclusive RF cameras throughout the grounds. The cameras encompassed everything from compact rail systems to PTZ cameras, to robotic heads, to specialist units mounted on the Umpires Chair on the show courts, to a special gimbal-mounted unit on a hoist that you would more typically find on a helicopter. And they captured everything from close-up tennis action to press room coverage to beauty shots of the Wimbledon grounds from early in the morning to late – sometimes very late – at night.
In short it is the biggest annual project we get involved in as far as the amount and sheer variety of kit that we supply at an event. All in all, it takes around 100 crew days spread over an 18-day period to rig all the cameras. Only the Olympics is a bigger reoccurring project, and that only happens once every two years, not every year in SW19.
A HISTORY OF INNOVATION
WBS has an excellent track record of innovation when it comes to mounting the annual two-week coverage of The Championships. In 1967, Wimbledon provided the first ever colour broadcast in Britain, and recently WBS has helped pioneer remote production by providing simultaneous IP feeds to Rights Holders, been an enthusiastic early mover in ramping up fan engagement via expanded online coverage, created hugely successful dedicated apps, and more. Its use of specialist cameras is part of this overall heritage, and the organisation has come a long way since that initial railcam deployment on Centre Court 24 years ago.
One of the unique aspects of Wimbledon is that the built environment is very much a part of the whole event, and a lot of thought and effort has gone in over the years to make sure that any new cameras introduced are as unobtrusive as possible, as well as minimising seat kill. For example, the pill box style openings on the northern baselines on both Centre Court and Court One are custom-built hide structures that house rail cameras. These take three people a couple of days to build each.
Last year we introduced a new flown rail onto Centre Court to provide an additional moving angle high up in the back of the court. This was a complicated project to install and required close liaison with the AELTC but shows how the camera positions can evolve. It was originally envisaged as purely a beauty shot – Wimbledon is unusual in the number of beautycams we run throughout the fortnight, 16 this year – but we noticed directors cutting to the flown rail shots more and more in-between rallies and integrating them into the overall coverage of the actual matches. As a result, we upgraded the system for this year with improved lens stability.
There was also bespoke camera mounts on the Umpire’s Chairs on the two main courts (redesigned after the chairs were changed in 2023) plus the NetCam, developed in-house and mounted on the centre strap of the net capturing both players, plus numerous remotes positioned all around the site.
The majority of these remotes are our own self-developed SMARThead™ systems. As well as being dotted around the main courts, on the outside courts we rig five of them in Camera 1 positions two weeks before play starts. These need to be perfectly rigged, aligned, and weatherproofed from the start, as any adjustments made during The Championships require driving a cherry picker through the site to the camera and then being off-site again by 9am, and we avoid doing this as much as possible.
The robotic hoist cam is worth mentioning too. By using the sort of stabilised gimbal that you would usually find on a helicopter, we can use the full length of the lens and can zoom in tight onto anything of interest without any image shake. It can also stay aloft all day, even in adverse weather (the last dry event was in 2019, and there have only been eight tournaments without rain interruptions in the past 100 years), providing iconic images from across the grounds and of its 42,000 daily spectators.
This year there were 1500 hours of match footage captured alone, and many more hours from the beauty cameras and practice courts. WBS started providing a live behind-the-scenes feed to Rights Holders in 2023, and this necessitated us adding additional SMARThead™ positions; showing the arrivals journey from the new Somerset Road player’s entrance through a tunnel under the road into the club, and three more located in exclusive, usually hidden areas such as the Players Lawn and the entrance to The Championships dressing room – which is one of the few areas where our cameras do not venture.
CAPTURING THE CHAMPION’S WALK
In terms of RF, Wimbledon is a complex job. It’s a large site to be running wireless cameras on, but given the public access to most of it – over half a million spectators over the fortnight – and the unique ambience of the environment, RF cameras are an important alternative to yet more cable runs. Our specialist RF division installs up to 40 antennas across the site, allowing 16 broadcast cameras to roam all across the grounds. In recent years, such has been the demand we have maxed out the 2 GHz spectrum, and had to switch some units over to 7 GHz.
As well as the camera positions and the camera technology, over the years the RF has evolved too. More antennas have been added to ensure the Rights Holders can get the coverage they want from the areas they want, especially the practice courts. More data transmitters have also been added to ensure camera control works reliably everywhere.
One of the benefits of having a multi-year supply contract with a project of this nature is that you can invest properly to improve the coverage at key areas. This has come into focus in recent years thanks to the unique broadcasting challenge of the Walk of Champions. This consists of live Steadicam footage of the players exiting their dressing rooms and walking through the AELTC buildings to the Court itself before the Final, then the winner ascending to the balcony afterward. These paths follow a tortuous route through the buildings which was always an RF challenge for live broadcasting.
In recent years our long-term relationship with The Championships and WBS has enabled us to place antennas in the ceiling voids of the corridors and elsewhere along the route. These are disguised in the false ceiling so that they don’t detract from the look and feel of the Wimbledon environment and are a vital component in providing this one-of-a-kind footage to the live audience around the world.
And there are always a lot of people watching. Through 39 separate broadcast agreements, in 2025 The Championships was transmitted to over 220 territories around the world. Wimbledon says that because of the overlap of terrestrial, cable, satellite and internet streaming transmissions, it is impossible to calculate exact figures of the number of people who follow The Championships each year; but it is safe to say that it is seen by more people throughout the world than any other tennis tournament.
We’re delighted to be a part of that and, as the Championships have ended and the winners crowned, the Gravity Media specialist teams are already hard at work at plans for 2026 and beyond.
Watch this space…
The 82nd Goodwood Member’s Meeting was a weekend of speed, style, and history set against the unique backdrop of the South Downs and our comprehensive, end-to-end production was on site to cover it all as we celebrated our fourth year as a production partner for Goodwood!
Alongside our OB truck NOVA 112, our team brought the action to life with over 30 cameras including drone aerials and onboard specialist cameras to capture every moment of this iconic event.
Boost Graphics, our specialist international graphics and virtual production subsidiary delivered the live graphics fully integrated with race timing and data.
The full production set up saw our team deliver over 20 hours of live TV coverage for the world feed, which was broadcast globally alongside a highlights show for ITV in the UK.
?♀️On a weekend of winners we had the privilege of covering over 55,600 of them compete in this year’s record breaking London Marathon.
Covering every step and every emotion across the 26.2 mile course our crew were across London, once again delivering facilities for the world’s biggest Marathon.
With our trucks based at sites around the course, our RF beaming live moments across the city and our aerial coverage capturing London’s beauty from above – we helped ensure every moment was seen and felt.
A big thank you to our amazing crews and congratulations to every runner that took part!
Our teams had the honour of being on-site at Westminster Abbey, working in close collaboration with our specialist camera division to provide facilities for the coverage of the VE Day 80th Anniversary service.
Supporting the coverage of this significant national event, our combined crews together with NOVA 139 rigged seven of our unique SMARThead remote heads with bespoke mounts specifically designed and engineered to integrate seamlessly within the historic architecture of the Abbey.
It is both a privilege and a point of pride to be a part of events that honour these defining moments of our nation’s history.
Under blue skies and the iconic Wembley arch, our crew helped capture an historic Emirates FA Cup Final and Adobe Women’s FA Cup Final.
From our teams in Manchester and London producing the World Feed for all rights holding broadcasters, NOVA 314 was also on hand to deliver the big screen experience on site, and our specialist camera team were there to add to the match coverage and cover all the incredible goal action.
Our team worked for Twofour for Season 2 of ‘I Kissed a Boy’ hosted by the fabulous Dannii Minogue and filmed under the southern Italian sun! Our Reality Fixed Rig kit brought the romance and drama to life with over 40 cameras rigged around the stunning masseria.
From our bespoke reality fibre hubs to RF over fibre transmission, we ensured seamless coverage as the cast moved throughout the beautiful grounds. Our custom touchscreen audio monitoring interface made it easy for producers to follow every whispered moment and unfolding story.
Over seven weeks across May and June we were privileged to support one of the UK’s biggest TV entertainment spectacles – the live finals of Britain’s Got Talent, as it took over the ITV Saturday night primetime slot.
Our team deployed our bespoke entertainment pod-based flypack system, complete with an extra large production gallery and sound area for the 15 camera coverage.
From standing ovations to red buzzers we helped to capture the thrill of the live finals to millions across the UK!
Our crew provided facilities for the live coverage of Trooping the Colour; from Buckingham Palace to Horse Guards Parade we helped capture every moment of this iconic event.
Our OB teams, alongside our specialist camera and RF teams delivered world-class broadcast facilities to ensure audiences around the world could experience the traditional pageantry involving 1350 troops and a flypast by the Red Arrows.
Our specialist cameras crews helped to cover a thrilling five days of finest thoroughbreds and glamour at Royal Ascot.
With teams onsite delivering tracking shots of champions and royal carriages from a 750m wirecam overhead to our latest tracking vehicle on the ground, capturing every thrilling story of every race!
Latest Milestone in the Company’s Green Strategy Aligns Cutting-Edge Technology with Environmental Responsibility
EMG / Gravity Media, the leading force in production, content, media services and facilities, today announced a groundbreaking milestone in sustainable broadcasting with the deployment of its fully electric 19T tender vehicle joining its fleet. As the first electric vehicle of its kind in the UK broadcast industry to support outside broadcasts, it will be used for London-based projects to assess performance and inform further electrification of the company’s fleet.
The introduction of this electric vehicle is a key part of EMG / Gravity Media’s ongoing sustainability strategy, which includes a commitment to reducing carbon emissions and transitioning to low-carbon operations. The company was recently awarded the DPP’s top Committed to Sustainability Mark and is the only outside broadcast facilities provider on the BAFTA albert Suppliers Directory, reinforcing its leadership in environmentally responsible broadcasting.
The Volvo FE Electric truck delivers a significant reduction in carbon footprint compared to traditional diesel vehicles, producing 96% less CO₂ and 98% less NOx in usage than an HVO-fuelled Volvo FE diesel truck. With zero tailpipe emissions, it contributes to cleaner air and a reduced environmental impact. This transition also enhances the driving experience with smoother and quieter engines, while reduced noise levels improve the quality of life for those living in urban areas near busy transport routes and broadcast venues.
Charging the vehicle
With a large fleet of over 65 commercial vehicles this new addition contributes to EMG / Gravity Media’s commitment to sustainability, supporting the transition to a greener future for the television and broadcast industry. To ensure seamless integration of the new vehicle, EMG / Gravity Media’s fleet department has undergone specific electric vehicle training provided by Volvo. This will equip them with the necessary expertise to operate and support the vehicle efficiently.
With a fully charged range of over 200 km while carrying a 5-tonne payload, the Volvo FE Electric truck is well-suited for urban-based productions. The truck features a Volvo FE Electric 4×2 chassis cab with a 19.5-tonne gross vehicle weight. It has a total energy capacity of 280 kWh, powered by four GEN 3 traction batteries. The truck is GSR2 compliant and incorporates advanced safety systems to enhance driver and pedestrian safety.
EMG / Gravity Media UK CEO, Jamie Hindhaugh commented, ‘Our commitment to innovation drives everything we do and part of that innovation is finding sustainable practices that not only reduce our environmental impact but that can deliver better ways of working. The introduction of our first electric tender truck is a significant milestone and reflects our dedication to supporting our clients with more sustainable programme delivery.’
“This is another important step in our sustainability journey,” added Rohan Mitchell, ESG Director, EMG / Gravity Media. “By deploying this electric tender truck to support our London based facilities deliveries, we are taking a decisive step towards reducing our environmental footprint and showcasing that cutting-edge broadcast technology and sustainability can go hand in hand.”
Amy Stokes, Head of e Mobility at Volvo Trucks, added: “We are proud to support EMG / Gravity Media in this pioneering move towards sustainable broadcasting. The Volvo FE Electric truck has been designed to deliver both performance and sustainability, and we are looking forward to seeing it play a key role in the future of live sports and entertainment production.”
EMG have taken significant step in its commitment to sustainability by signing an order with Volvo for our first fully electric 19T rigid tender vehicle. This pioneering initiative, marks EMG as the first OB provider to announce the adoption of electric trucks into its fleet with the vehicle being introduced in early 2024.
The decision to integrate the Volvo FE Electric unit into the EMG fleet has been on the horizon for the past few years, as EMG continues to work on its vision of more environmentally conscious operations. The vehicle was selected after evaluating different innovations offered by the market and conducting a demo with Volvo. EMG’s longstanding partnership with Volvo extends to a maintenance agreement that will ensure the vehicle’s ongoing reliability and performance during this crucial trial phase.
This latest addition follows EMG’s introduction of six Volvo FH (Forward High) tractor units in May, which aligned with the Euro 6 standard for cleaner exhaust emissions. While the vehicles in EMG’s fleet already adhere to the Euro 6 standard, the new Volvo FE Electric truck adds an impressive reduction in CO2 emissions. It produces 414 kg of CO2 compared to the previous 10,000 kg, making it a game-changer in terms of its environmental impact. EMG’s new Volvo FE Electric I truck will be equipped with four GEN 3 traction batteries, designed and built to meet Swedish impact and ECE R29 regulations.
Commenting on this pioneering milestone, Rohan Mitchell, EMG Group ESG (Environmental, Social, Governance) Director, stated, “EMG is committed to reducing its carbon footprint and promoting sustainability in the broadcast industry. This order signifies not only the acquisition of our first fully electric truck but also the beginning of a broader implementation of electric vehicles across our OB fleet. It’s an essential first step towards a more sustainable future, which will be backed by logistics planning, and training for our drivers and technicians.”
Hannah Burgess, Director of New Vehicle Sales at Volvo Trucks UK & Ireland, added, “It’s great to see EMG leading the way in its sector by specifying our standard-setting electric technology. We’re supremely confident that the Volvo FE Electric is the ideal match for EMG and will allow it to continue delivering top notch broadcasting while also accelerating its sustainability efforts.”
EMG’s adoption of the Volvo FE Electric truck is a testament to its unwavering commitment to sustainability, pushing the boundaries of technology in the broadcasting industry, and serving as a benchmark for others to follow.
