Flagstone IM challenged us to elevate their brand profile with a big idea: Millions of people’s hard-earned savings are “asleep” – earning little or no interest. We brought this insight to life with a campaign starring a character made entirely of money, fast asleep. The campaign spanned three 30″ TV adverts, Out-of-Home (OOH) posters, and a suite of digital and social assets.

We followed artist Rabab Tantawy as she created the first ever original artwork to appear on an F1 car. The piece featuring Egyptian Nubians made its debut at the dramatic season finale in Abu Dhabi. Our team produced a short documentary and a suite of social assets for McLaren Racing and Vuse – delivering high-impact content at Formula 1 speeds.

 

A brand campaign for NBC GolfPass, featuring Rory McIlroy. With its countless offers, reduced Tee times and access to the best golf coaches – we positioned GolfPass as the “world’s most remarkable golf club.” The campaign included seven TV commercials, broadcast across the US and UK.

Sky Sports approached us for a highlights show covering the Clutch Golf Tour. We convinced them to go a step further— to tell the real stories behind the players. They may not be famous, but what they have on the line is arguably even greater.

We followed several players, exploring their lives, their families, and the sacrifices they’ve made to compete. The result: a two-episode documentary series, aired on Sky Sports in 2024 and 2025.

Gravity Media, a global leader in live production and content, and media services and facilities, is pleased to announce the appointment of Rudy Dendleux to the position of Managing Director of Gravity Media France, effective April 2026. In this new role, Rudy will oversee the continued growth of the company’s French operations, focusing on its Specialist RF Capabilities, whilst also driving the development of the company’s end-to-end solutions.

Since joining the business in 2003, Rudy has been an integral part of the business, first serving as President of the Technology division for over seven years. His deep understanding of the company’s operations, as well as his extensive experience in technology and leadership, make him the ideal candidate to lead the growth of the business in the French market.

“Rudy has been a key part of our success over the years and has shown exceptional leadership in his previous role. His vision, technical expertise, and passion for innovation make him uniquely qualified to drive our strategy forward in France,” said Bart De Maeyer, Regional CEO at Gravity Media. “We are confident that under Rudy’s leadership, our French operations will continue to excel, driving meaningful innovation, deepening customer relationships and delivering high-quality solutions that meet the evolving needs of our market.”

In his new position, Rudy will continue to focus on delivering cutting-edge solutions and maintaining the company’s strong presence in France while further strengthening its capabilities in RF, and integrated solutions for the company’s diverse client base.

Rudy commented on his appointment, saying, “I’m honoured to take on this new role and continue building on the solid foundation we’ve already established in France. I look forward to working with our talented teams to scale our operations in the region while ensuring our offering remains relevant and commercially impactful for our customers.”

Gravity Media is committed to its mission of providing high-quality production, content, media services and facilities solutions, whilst strengthening its leadership in the market. With Rudy at the helm of the French operations, the company is poised to continue its trajectory of success in the region.

 

PRESS COVERAGE

Gravity Media, a global leader in production and content and media services and facilities, has delivered broadcast and technology solutions for one of the Australian racing calendar’s marquee events, the TAB Golden Slipper Day at Rosehill Gardens, and now turns its focus to The Star Championships at Royal Randwick, both key highlights of the Sydney Autumn Racing Carnival.

The Sydney Autumn Racing Carnival features many of Australia’s most prestigious Group 1 races headlined with the TAB Golden Slipper Day at Rosehill Gardens on March 21, with attention now turned towards Royal Randwick for The Star Championships on April 4 & 11 featuring the celebrated Doncaster Mile, Asahi Super Dry TJ Smith Stakes, Queen Elizabeth Stakes, and Schweppes Sydney Cup.

Gravity Media is working in collaboration with the Sky Racing and the Australian Turf Club to deliver host broadcast services across the Sydney Autumn Racing Carnival, as well as with the Seven Network for Group 1 racing, while also supporting individual all-screens coverage requirements throughout the race days.

The production will see Gravity Media deliver a major broadcast operation across Rosehill Gardens and Royal Randwick, deploying combined 32 cameras positioned on and around the tracks, supported by state-of-the-art high-definition outside broadcast facilities, satellite and uplink services, along with cellular and cloud-based technologies.

Together, this infrastructure will capture every moment of the racing action for audiences across broadcast and digital platforms.

Sky Racing’s Senior Manager of Tech Services and OBs, Ryan Osinga, noted that the Sydney Autumn Racing Carnival stands as one of the world’s premier racing series, deserving a world-class broadcast to match its prestige.

“We are thrilled to continue our long-standing collaboration with Gravity Media to deliver a comprehensive, all-screens experience for racing fans,” Mr Osinga said.

Australian Turf Club’s Head of Media and Broadcast, Brett de Vine, said the $46.1 million Sydney Autumn Racing Carnival is viewed around the world.

“Sydney racing is recognised as amongst the best and most colourful of anywhere in the world and Autumn sees some iconic events,’’ Mr de Vine commented.

“We are delighted to join with Gravity Media and all of our broadcast partners to present an exciting and dynamic coverage to many tens of millions of viewers around Australia and beyond.’’

Gravity Media’s Sales Director, Ben Madgwick, noted the Sydney Autumn Racing Carnival is one of the standout moments on the Australian sporting calendar for Gravity Media.

“We are proud to collaborate with our partners on the Sydney Autumn Racing Carnival to deliver thrilling, world-class racing to passionate audiences,” Mr Madgwick said.

Beyond the Sydney Autumn Racing Carnival, Gravity Media plays a significant role in the coverage of many of the world’s most recognised racing events across broadcast, subscription and streaming platforms. These include the Sydney Spring Racing Carnival including the TAB Epsom, Silver Eagle, TAB Everest, Moet & Chandon Spring Champion Stakes, Golden Eagle and Chandon Ladies’ Day, along with The Big Dance, Howden Victorian Derby Day, Lexus Melbourne Cup Day, Crown Oaks Day and TAB Champions Stakes Day at the Melbourne Cup Carnival, the Sportsbet Caulfield Cup, Sportsbet Caulfield Guineas and Ladbrokes Cox Plate during the Melbourne Spring Racing Carnival, the TAB Gold Coast Magic Millions kicking off the year.

 

PRESS COVERAGE

Montreux Jazz Festival has announced a new multi-year collaboration with Gravity Media, a global leader in live production and content, and media services and facilities, who will become the Festival’s Audio Visual Production Provider following a robust proposal process for a 3+2-year agreement.

Gravity Media will work in close collaboration with Montreux Media Ventures (MMV), the Festival’s dedicated audiovisual production arm, to deliver world-class live and recorded coverage across the Festival’s stages, platforms and broadcast partners.

Gravity Media succeeds RTS (Radio Télévision Suisse), the Swiss public broadcaster, who has worked with the Festival for the last five years and will remain a key Montreux Jazz Festival partner.

2026 marks the 60th edition of the legendary festival, which has welcomed some of greatest artists of all time to the shores of Lake Geneva, from David Bowie and Prince to Aretha Franklin, Etta James, Quincy Jones, Bob Dylan, Elton John, Kendrick Lamar, Nina Simone and many more.

MMV has developed a distinctive approach to live music production that applies the emotional grammar of cinema – movement, narrative progression, spatial depth and refined colour authenticity – to live broadcast, transforming coverage into immersive storytelling.

Rather than simply documenting performances, MMV’s philosophy is to translate the feeling of being inside the venue for audiences watching around the world, using storytelling through editing, audience POV shots, and a deliberate progression from wide shots to close-ups to build emotional momentum.

The partnership will build on the Festival’s advanced technical and creative production model, including a UHD S-Log3 master workflow and real-time development for broadcast delivery via a live colour grading station, ensuring show-specific control and a consistent “Montreux look” that remains faithful to each artist’s stage design and lighting

Gravity Media is deploying its Nova 105 outside broadcast vehicle, in full IP delivery mode, configured across two stages within a single XXL truck to provide enhanced production capacity and flexibility. The system supports P25 camera formats and wide-sensor camera workflows, including Sony Venice II integration, enabling premium cinematic output. The agreement forms part of a multi-year contract and includes dedicated technical staffing to ensure consistent, high-level operational support.

Nick Bonard, CEO of Montreux Media Ventures, said: “Since 1967, the Montreux Jazz Festival has been a pioneer in technological and artistic innovation. Our new collaboration with Gravity Media builds on this legacy, enhancing our distinctive cinematic approach to live music production and taking the festival’s world-class performances to new creative heights.”

Chris Demeulemeester responsible for International Projects & Sales at Gravity Media said:

“Gravity Media is widely recognised for delivering world-class sports coverage, but this iconic music event is another fantastic opportunity to showcase the breadth of our end-to-end media services and facilities capabilities. Large-scale live music productions demand the same precision, technical excellence and collaborative approach as major sporting events. Our team thrives on capturing the atmosphere, scale and emotion of these moments, and we’re proud to bring our proven live broadcast capabilities to yet another landmark event on the global stage.”

Alongside live festival coverage, MMV will also begin producing monthly livestreams of legendary performances its UNESCO-registered audiovisual collection in the coming months. The series will begin in February with Alanis Morissette: Live at Montreux (2012), with further iconic shows to follow.

 

PRESS COVERAGE

Gravity Media, a global leader in production and content and media services and facilities, today detailed the broadcast technology and television production undertakings to deliver the long-awaited return of the world’s largest short film festival, Tropfest, on YouTube.

Gravity Media was selected by the Tropfest Foundation to deliver the broadcast technology and production requirements for Tropfest’s live festival at Centennial Park in Sydney, deploying multi-camera coverage and one of its state-of-the-art outside broadcast trucks.

Devoted cinephiles across Australia and internationally were delivered a front row seat to the festival atmosphere in Centennial Park courtesy of Gravity Media’s diverse camera setup, including RF handheld and jib cameras, designed in collaboration with the Tropfest Foundation.

Tropfest returned on 22 Feburary 2026 after a six-year hiatus, inviting emerging filmmakers to submit a creative 7-minute short featuring the Tropfest Signature Item “Hourglass” with finalists displayed live to festivalgoers on the big screen at Centennial Park, audiences worldwide on YouTube, and an expert jury—including Australia’s own Margot Robbie.

Alongside the global livestream on YouTube, Gravity Media also supported the coordination of big screen vision, including the playback of the nominated short films.

Nigel Naseby, Account Manager – Media Services & Facilities at Gravity Media said:

“Gravity Media thank the Tropfest Foundation for selecting us to provide the broadcast technologies and production requirements for the hotly anticipated return of Tropfest and the delivery of the global livestream on YouTube.”

Gravity Media, a global leader in production, content, media services and facilities, has deployed a state-of-the-art remote production gallery to support ITV Studios’ MultiStory Media programming at its new Covent Garden facility in London. The solution will enable the production and broadcast of 900 hours of live daily programming each year across three flagship shows: Lorraine, This Morning and Loose Women.

The new studio, which launched in January 2026, features a 360-degree set with LED walls designed for rapid turnarounds between shows. Production has been built with sustainability at its core: a single, high-specification remote gallery produces and broadcasts all three live daily programmes, as well as additional productions outside of MultiStory Media transmission, significantly reducing the need for onsite infrastructure and travel.

The remote production infrastructure includes approximately 45,000 metres of video, audio, SMPTE, data and fibre cabling, supporting 13 technical equipment racks and nine wall boxes across 34 camera positions. Together, this creates a resilient, future-ready infrastructure that enables flexible remote production from day one.

Gravity Media’s Remote Production service uses high-bandwidth, low-latency fibre, satellite, broadband and mobile network technologies to transmit footage in real time to Gravity Media’s Production Centre in White City, where engineering, editorial and creative teams enhance content for final delivery.

Phase 2 of the project, launching later in 2026, will build on this foundation by adding advanced graphics and finishing capabilities, supporting the delivery of even more premium, visually compelling broadcasts to ITV’s audiences.

Kate Rendle, Director – Global Sales Director at Gravity Media commented:

“Remote production allows us to deliver the broadcast quality ITV’s audiences expect, while reducing environmental impact and operational costs. By centralising production, we can manage multiple live feeds, maintain high technical standards and build greater resilience into daily live production.”

 

PRESS COVERAGE

Gravity Media, a global leader in production and content and media services and facilities, delivered the OFC Professional League with comprehensive coverage and television production across all Australian matches to international audiences. 

The 2026 edition of the eight-team competition kicked off on January 17 with Gravity Media partnering with the Oceania Football Confederation for the third round in the first phase. 

The OFC Professional League brings together the best clubs in the Oceania region in a new competitive format to compete in a high-performance, FIFA supported competition from January to May. 

The partnership with Oceania Football Confederation saw Gravity Media deliver broadcast technologies, and create, produce, and deliver the complete all-screens coverage of the Australian matches of the OFC Professional League on FIFA+. 

The production undertaking for the OFC Professional League in Melbourne involved multi-camera coverage coupled with state-of-the-art high definition outside broadcast and production trucks. 

Across the third round of the OFC Pro League, Gravity Media deployed its state-of the-art technology for all 15 matches hosted at Heidelberg United FC and the Home of the Matildas in Melbourne. 

Replays and live coverage of the OFC Pro League are available in Australia and internationally on the FIFA+ website and via the FIFA+ app, available on iOS and Android. 

Stuart Larman, Head of OFC Professional League at Oceania Football Confederation, said:  

“The launch of the OFC Professional League represents a historic step forward for club football in Oceania and a defining moment for the professional game in our region. From day one, our ambition has been to raise standards on and off the pitch, building a competition that drives excellence, credibility and long-term commercial growth. 

Partnering with Gravity Media ensures we are delivering a league that reflects that ambition and sets a new benchmark for professional football in Oceania.” 

Nigel Naseby, Account Manager – Media Services & Facilities at Gravity Media said: 

“The OFC Professional League is one of the most exciting innovations in the international football space and Gravity Media is thrilled to be a part of the Australian stages of the competition. We’re proud to have collaborated with the Oceania Football Confederation to deliver dedicated coverage to audiences across the globe.”

 

PRESS COVERAGE

*English version below

De slimste weg van data naar graphics

In onze voetbalverslaggeving gaan we de Amerikanen achterna: steeds vaker krijgen we cijfers en statistieken te zien over zaken als balbezit, balveroveringen, passnauwkeurigheid of schoten op doel. Om de workflow van data naar graphics te ondersteunen, hebben ze bij Boost Graphics een nieuw platform: Next Editorial. ‘We laten AI zelfs al meedenken, dat levert mooie suggesties op.’

De kleur van de veters zal nog net niet worden vastgelegd, maar verder ontsnapt weinig aan de dataverzameling rond sportwedstrijden. Van elke speler kunnen eindeloze statistieken worden overlegd, van speelminuten tot voltooide passes, afgelegde afstand en heatmaps voor balcontacten. En dan hebben we het alleen nog over voetbal, maar vrijwel elke sportbond heeft contracten met zogenaamde ‘statproviders’, die alle mogelijke gegevens over wedstrijden, teams en spelers vastleggen en gegroepeerd kunnen uitserveren. Dat gebeurt alleen niet altijd even overzichtelijk, vertelt Jeroen van Rossum, director of operations bij Boost International. “De data die we in graphics op het scherm willen tonen, worden aangeleverd in verschillende formats. In de huidige werkwijze werkt de redacteur samen met de graphics operator om te bepalen welke data interessant zijn. Dan maakt de operator van die data een graphic en zet deze vervolgens live. Met Next Editorial heeft de redacteur niet alleen een tool beschikbaar die inzicht geeft in de beschikbare live data, hij kan die vervolgens ook zelf in een graphic template zetten als preview, die hij kiesbaar kan maken voor de operator. De benodigde graphics zijn er dus een stuk sneller, dat scheelt nogal tijdens een live-uitzending met de nodige tijdsdruk. Daarnaast hebben we een AI-functionaliteit toegevoegd die inhoudelijk suggesties kan doen op basis van de beschikbare live data.”

Betere storytelling

Die nieuwe functionaliteit kijkt mee in de data die wordt verstrekt door de statistiekleverancier. Omdat deze AI-tool de data leest en de context kent, kan de redacteur ’m gebruiken als een soort Copilot. Van Rossum: “Kijk, zegt het systeem, deze cijfers kunnen voor jou relevant zijn. Het is een recommendation engine. Het voordeel voor de redacteur is dat die in meerdere live databronnen kan zoeken om combinaties te maken tussen twee teams, om maar wat te noemen, of om juist heel specifieke info van één speler weer te geven. Hij heeft dat allemaal in een overzichtelijke interface beschikbaar, waarmee hij de graphic meteen kan voorbereiden. Dan ziet hij ook hoe het eruit komt te zien op het scherm.” Het voordeel gaat verder dan enkel tijdwinst. Doordat de redacteur de gesuggereerde of zelf voorbereide graphics snel in een vorm kan gieten, kan de operator zich volledig focussen op de wedstrijd. Van Rossum: “Als er extra info te geven is, dan komt de redacteur daar mee. Zo maak je samen het inhoudelijke verhaal, je hebt daar meer tijd voor. En zo krijg je betere storytelling. Next Editorial is een tool die de inhoudelijke mensen rondom een sportwedstrijd niet alleen ondersteunt en meer inzicht geeft, maar ook de snelheid van het live zetten van data in de vorm van graphics enorm verhoogt.”

AI als ondersteuning

Next Editorial is halverwege het vorige voetbalseizoen voor het eerst ingezet in Frankrijk en wordt sinds dit seizoen standaard bij iedere competitiewedstrijd in Ligue 1 gebruikt. De eerste ervaringen met het systeem zijn erg positief, ook de AI-tool werd in de eerste testfase goed ontvangen. De functie is beschikbaar binnen het platform, maar zal in de verschillende landen gefaseerd worden geïntroduceerd. “De redacteuren moeten ermee leren werken. Ze gaan hopelijk ervaren dat het fijn werkt als je slimme suggesties krijgt. Dat mag iedereen in zijn eigen tempo doen, maar ik verwacht dat ze dit snel zullen omarmen. We zetten AI in als ondersteuning, daar zit de meerwaarde ervan.”

 

ENGLISH VERSION BELOW

Boost Graphics’ new platform: Next Editorial

The smartest route from data to graphics

In football coverage, we are following the American lead; we are seeing more and more numbers and statistics on things like possession, ball recoveries, pass accuracy and shots on target. To support the workflow from data to graphics, Boost Graphics has launched a new platform, Next Editorial. The platform even lets AI think along, yielding smart suggestions.

They may not log lace colour just yet, but very little escapes data collection around sports matches. For every player there are endless statistics, from minutes played to completed passes, distance covered and heat maps for touches. And that is only football. Virtually every sports federation has contracts with stat providers, who record data about matches, teams and players and deliver it in grouped formats. That does not always arrive in an equally clear way, says Jeroen van Rossum, director of operations at Boost International. “The data we want to show as on-screen graphics is supplied in different formats. In the current workflow the editor works with the graphics operator to decide which data is interesting. The operator then turns that data into a graphic and puts it live. With Next Editorial the editor not only has a tool that gives insight into the available live data, but they can also place that data directly into a graphic template as a preview, which they can make selectable for the operator. The required graphics are produced much faster, which makes a big difference during a live broadcast with time pressure. On top of that we have added an AI feature that can make content suggestions based on the available live data.”

Better storytelling
The new feature analyses data from the stats providers. Because this AI tool reads the data and knows the context, the editor can use it like a copilot. Van Rossum adds, “In effect, the system highlights which numbers may be relevant — it acts as a recommendation engine. The advantage for the editor is that they can search across multiple live data sources to make combinations between two teams, for example, or to display very specific information about a single player. All of this is available within a clear interface, where the editor also sees how it will look on screen and can prepare the graphic immediately.”

The benefit goes beyond saving time. Because the editor can quickly shape the suggested or self-prepared graphics, the operator can focus fully on the match. “If there is extra information to add, the editor brings it in,” says Van Rossum. “That way you build the story together and have more time to focus on the content, which ultimately leads to better storytelling. Next Editorial not only supports the editorial team during a live sports match and gives them greater insight, it also greatly increases the speed at which live data can be taken on air as graphics.”

AI as support
Next Editorial was first deployed halfway through last football season in France and has been used by default for every league match in Ligue 1 since this season. The first experiences with the system were very positive, and the AI tool was also well received in the initial test phase. The feature is available within the platform and will be rolled out in phases across different countries. Van Rossum concludes, “Editors need to learn how to work with it, and everyone can adopt it at their own pace, but I expect they will embrace it quickly. We use AI as support; that is where its value lies.”

Gravity Media, a global leader in production and content and media services and facilities, delivered the Australian Open 2026 with a bespoke international broadcast centre and large-scale IP production environment. Together, this formed the technical backbone for Tennis Australia’s creative, editorial and operational delivery of the tournament to audiences worldwide.

The 2026 tournament marked the 12th year of the broadcast and technology partnership between Gravity Media and Tennis Australia, and the 22nd year Gravity Media provided host broadcast technical facilities for the Australian Open.

A dedicated team of 75 specialists from Australia, the UK, the Netherlands, Belgium and Germany designed, deployed, and operated the Melbourne Park broadcast centre, managing over 100 tonnes of fly-away infrastructure and more than 150 broadcast cameras across the precinct.

Across Melbourne Park, 172 camera sources captured every match and surrounding activity, including:

An extensive RF and communications network supported seamless operations throughout the site, with 48 Bolero antenna positions enabling 150 belt packs for presenters, production staff, and rightsholders.

The production galleries and audio control rooms were housed at Tennis Australia’s headquarters and was connected via 500 metres of fibre and dual 700-gig data links to the central equipment room at the broadcast compound.

The facilities comprised 10 production galleries, nine audio control rooms, and 11 ViBox systems covering the outside courts. In total, the environment supported over 130 operating positions and more than 150 multiviewers displaying approximately 1,700 picture-in-picture sources.

Signal routing was managed through a large-scale IP and baseband system providing a 4,000 x 4,000 routing environment, while over 2,500 audio signals were handled through a hybrid Audio Live and Calrec solution. This fully IP-based architecture enabled the integration of live match coverage, highlights production, and digital content workflows.

Across the 15-day tournament, Gravity Media delivered more than 200 hours of coverage to international and domestic rights holders, including Nine Network in Australia, ESPN, Eurosport, CCTV, and WOWOW.

As part of the 2026 deployment, Gravity Media refreshed the technical furniture across the production facilities, replacing workstations that had been in service for more than a decade while maintaining the established layouts developed with Tennis Australia.

In the lead-up to the Australian Open, Gravity Media delivered broadcast and technical facilities for the United Cup in Perth and Sydney, as well as the Brisbane International and Adelaide International.

For the United Cup, Gravity Media provided outside broadcast production trucks and facilities in each city, accessing 28 cameras, multiple EVS replay and edit suites and Livetools equipment for use by teams and players. Additional bespoke fly-away production systems were implemented in Sydney so that Tennis Australia could integrate coverage from multiple cities into a fully produced “world feed” for delivery across international broadcast and subscription platforms.

The Adelaide International and Brisbane International were supported with state-of-the-art high-definition outside broadcast trucks, using 22 cameras across each site to deliver bespoke coverage for Tennis Australia and its domestic and international broadcast partners.

In addition to its role as host broadcast technical partner, Gravity Media continued to support international broadcast partners, including ESPN and Eurosport, with production and technology services for their Australian Open coverage.

Eamonn Curtin, Chief Commercial Officer of Gravity Media said:

“The Australian Open continues to be one of the most complex and rewarding productions in the world of live sport. Delivering this coverage is a true demonstration of the collaboration and expertise of our teams across Australia and Europe. 2026 builds on our legacy of collaboration and we’re proud to support Tennis Australia in bringing this iconic tournament to audiences everywhere.”

 

PRESS COVERAGE