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 world leading global provider of complex live creative production and media services, today detailed its collaboration with Aware Super to deliver its key yearly event, the Annual Members’ Meeting, on Thursday 20 November.

The Aware Super Annual Members’ Meeting is a key yearly event where the super fund presents its financial performance for the past year and outlines its strategic plans and outlook for the future, offering members a chance to learn about investments, retirement, and governance, and to submit questions directly to the leadership team.

This year’s production utilised Gravity Media’s state-of-the-art production centre in Sydney as a central hub.

Gravity Media worked with the super fund to ensure an elevated visual experience for livestream viewers by deploying a 3-camera setup in its HD studio with a dedicated 9m x 2.4m LED wall and state-of-the-art video and audio control rooms.

The team at Aware Super also harnessed several supporting facilities, including make-up room, green room, and private production meeting rooms enabling efficient dress rehearsals and live production.

Gravity Media backed up the livestream with an experienced technical crew of 14 onsite at its production centre in Sydney.

The event streamed live on Thursday 20 November with a recording available to watch for free on Aware Super’s website from December 19.

 

Stanhope announced today that Gravity Media, a global leader in production and content and media services and facilities, has signed a new 10-year lease for an additional 9,000 sq ft in the WestWorks building at White City Place. The move increases Gravity Media’s total space by over 30%, to 38,000 sq ft, totalling three-quarters of the entire floor of the building.

Gravity Media has been based at White City Place since 2022, running a world-class media hub that delivers live sport, entertainment and media production for clients around the globe. The office expansion will provide room for further growth in its specialist facilities, adding to Gravity Media’s network of cutting-edge production centres spanning countries across the globe including in Europe and Australia.

Gravity Media’s facilities at White City Place bring together production, post-production, and live studio capabilities under one roof based around a fully fledged 2110 media fabric with dedicated master control rooms, 11 production control rooms with 10 audio control rooms, 13 flexi control rooms, 6 multiple off tube commentary booths and 4 vision control facilities as well as 11 edit suites, 5 replay areas, 2 media management rooms and client desking.

David Camp, Chief Executive, Stanhope PLC, says “We are delighted Gravity Media has chosen to expand their facilities with us at White City Place. As a world-leading broadcast and production company, they are an integral part of the growing cluster of media and entertainment businesses in the White City Innovation District, reinforcing White City Place as one of London’s most dynamic creative hubs. We look forward to supporting their continued growth.”

Jamie Hindhaugh, Regional CEO at Gravity Media, says “We are delighted to take the next step in our journey at White City Place.  This expansion marks a significant milestone for our expert team of innovators and broadcast specialists. As our business grows, the additional capacity allows us to scale operations, advance our technical capabilities, and deliver exceptional productions to an ever-expanding client base. Being part of such a vibrant creative community gives us the chance to forge stronger connections with leading media players here on site and across the wider area.”

White City Place sits at the heart of the distinguished White City Innovation District, alongside Imperial College London and Scale Space, creating a hub for creative businesses, academic organisations, life science companies, and technology startups in a setting that supports research collaboration and development.

 

PRESS COVERAGE

With the Kings League Italy gearing up for the start of its 2025/26 season later this month, significant updates have been announced.

The new league season follows the successful Kings World Cup Nations 2025, which combined 7-a-side football and entertainment, welcoming 16 national teams made up of former footballers, influencers and content creators.

The Kings World Cup Nations, held from 1-12 January 2025 in Milan and Turin, recorded an audience of 100 million viewers and 1.5 billion social impressions, with live coverage on Twitch, YouTube, TikTok and traditional broadcasters in more than 60 countries.

The rules of the format included 40-minute matches, unlimited substitutions, special weapons and more, with teams led by streamers and influencers.

Gravity Media Italy managed the broadcast production, stage set-up, lighting, LED walls, audio and filming with innovative cameras, drones and augmented reality, creating an immersive experience both in the arena and for viewers at home.

“After the experience at the Peppino Vismara Sports Centre in Milan, production is now moving from this ‘sports citadel’ to Cologno Monzese, on land adjacent to our headquarters, where one of the most renowned television production centres in Italy is already operating,” said Claudio Cavallotti, managing director of Gravity Media Italy.

“We are pleased to further strengthen the partnership with Kings League Lottomatica.sport Italy, with the goal of building a new arena that will soon host event productions, replicating the model adopted in the previous edition.”

The technological setup remains the same; the main change comes in the area of logistics. While in Milan the control rooms were housed in external containers, in Cologno Monzese the audio and video control rooms and support areas are integrated within the production centre building, improving organisation and operational efficiency.

The Kings League action will take place in the Fonzies Arena, a tent structure that will cover 5,000sqm, with a well-maintained pitch and high borders. Stands will be able to accommodate around 500 spectators for a close and engaging experience.

The filming layout remains the same, with broadcast cameras, auxiliary units, goal-line microcameras, drones and augmented reality.

The dynamic lighting system and large LED panels will display replays, customised graphics, scores and interactive content in real time, while the entire production will continue in HD 1080p.

Franco Morelli, managing director of Kings League Lottomatica.sport, stated: “We are pleased to relocate the headquarters of Kings League Lottomatica.sport Italy next to the new Fonzies Arena in Cologno Monzese, a true media hub in the Milan area. We would like to thank the mayor and the municipal council, as well as Gravity Media Italy, a partner with whom we are glad to continue our journey together.”

Gravity Media Italy continues to serve as the official service provider for broadcast and logistics activities of Kings League Italy.

The timeline sets full operational readiness of all facilities by 6 October, with the transfer of technical structures starting on 10 September, confirming the commitment of Gravity Media Italy’s team to ensuring continuity and quality in the production of a format now followed worldwide.

© 2025 EMG Italy / Gravity Media – Presspool PressOffice RobertoLandini

Gravity Media, the leading force in production and content, media services and facilities, today detailed the combining of forces of Gravity Media’s teams in Australia and Belgium to deliver the broadcast technology and television production undertaking that saw Gravity Media create and deliver the broadcast and packaged content for the Pho3nix Sport with Purpose in Switzerland.

The complex undertaking underlines Gravity Media’s global creative production and technology capabilities in combining forces across multiple territories to deliver every on-screen element for the event.

A team from Gravity Media in Australia crossed the globe capturing the essence of Sport with Purpose, the stories of Olympians and young athletes in eleven countries whose lives are shaped by Pho3nix initiatives.

From the rainforests of Rwanda, the Swiss Alps, the streets of Bangkok, the hustle and bustle of Lagos in Nigeria, and multiple locations in South Africa, Ghana, Austria, Switzerland, Poland, UK, Australia, and the Philippines, Gravity Media’s Australian team of five has completed a significant logistical and production undertaking utilising ten road cases of broadcast and filming equipment, including 4K cine-cameras, specialised super-slo, and mini-cameras and all sound, lighting and rigging production requirements.

Following six weeks of filming and production, Gravity Media’s post-production team in Sydney has created 11 mini-documentaries for the inaugural Pho3nix Sport with Purpose Charity Gala held in the iconic Dolder Grand in Zurich, Switzerland on 19 September.

Gravity Media’s in-house creative team in Sydney was also engaged in the production of all screen content and graphic design for the inaugural Pho3nix Sport With Purpose Charity Gala.

Gravity Media’s team in Belgium was then appointed to deliver the broadcast technology and production undertaking for the global broadcast of the Gala across the Pho3nix Foundation’s social channels, accessing one of Gravity Media’s state-of-the-art high definition outside broadcast trucks, an array of jibs, cine Steadicams, Glambot and drone camera technologies and a crew of 25.

The Pho3nix Sport with Purpose Charity Gala featured host James Corden and Laura Woods with headline guests such as Usain Bolt, Anthony Joshua and Chris Froome, marking a celebration of creating meaningful impact through the power of sport through grants, educational programmes, and awards to shape a positive future for children.

The gala shared personal stories from Olympians and emerging athletes whose lives have been shaped by Pho3nix initiatives, such as the Pho3nix Kids Football in Rwanda, Move 4 Life parkour in Thailand, and Kids Fun Runs in Ghana, which demonstrate how sport can create new pathways for children and communities across the globe.

The Pho3nix Foundation is a global non-profit founded and chaired by philanthropist Sebastian Kulczyk.

At the helm of this landmark event is Mana Group, the Pho3nix Foundation’s strategic delivery partner.

Gravity Media was appointed by Mana Group to deliver the creative production outcome for the Pho3nix Foundation

Mike Purcell, Head of Production at Gravity Media Australia commented:

”It is a pleasure for Gravity Media to partner with Mana Group to tell and highlight the wonderful story of the Pho3nix Foundation’s work. To see first-hand the social impact the Pho3nix Foundation brings to kids, local organisations, communities, and athletes globally, brings to light the importance to keep kids active and support up and coming athletes. It is Sport With Purpose.”

Nathalie De Mey, Project Coordinator at Gravity Media Belgium commented: 

“For Gravity Media in Belgium, it was great to be collaborating with our team in Australia for the first time. We are delighted to be involved in this valuable project, not only because of the impact of the Pho3nix Foundation, but also because it transcends boundaries within Gravity Media. We are proud to be one global powerhouse brand and contribute to such an important social initiative.”

Trent Taylor, CEO of Mana Group commented:

“The Pho3nix Sport with Purpose Gala is a landmark moment that showcases the life-changing power of sport, and we are proud to have appointed Gravity Media to help bring these stories to life on a global stage. Their ability to combine world-class creative production with broadcast technology across multiple continents ensures that the impact of Pho3nix initiatives, from Rwanda to Bangkok to Zurich, will be shared with audiences everywhere. Mana Group’s partnership with Gravity Media builds on years of collaboration across some of the world’s most ambitious sporting projects, and together we are delivering a production worthy of the athletes, children, and communities whose stories will inspire the world.”

The appointment of Gravity Media to create and deliver the production outcome for the Pho3nix Foundation builds on Gravity Media’s long-term partnership with Mana Group which sees Gravity Media working with Mana Group across an array of events including Sub7 and Sub 8 broadcasts and documentaries, Super League Triathlon, Ironman, Stawell Gift and Greatest Mental Health Awareness for New South Wales Department of Education.

PRESS COVERAGE

Gravity Media, a world leading global provider of complex live creative production and media services, today outlined its swift delivery of connectivity solutions to enable the Video Assistant Referee (VAR) for the second of two Soccer Ashes fixtures on September 9, contested at Go Media Stadium in Auckland.

This 103-year old event sees both the Australian and New Zealander sides competing to secure a wooden casket containing the cigar ashes of the 1923 team captains, with this year’s Soccer Ashes seeing both countries each hosting a home game for the first time in the series’ history.

A key element of Gravity Media’s partnership with Football Australia for the Auckland clash was to provide connectivity between New Zealand and Australia, within a tight timeline, delivered through Gravity Media’s wide-reaching capabilities within the state-of-the-art Production Centre Sydney to enable the VAR services.

The technology solution allowed Football Australia to operate remotely from Gravity Media’s Sydney Production Centre with access to multiple camera angles, slow motion replays, and constant communication with on-field referees.

The undertaking for the second clash in the 2025 Soccer Ashes in Auckland adds further depth to Gravity Media’s long-term partnership with Football Australia in providing technical and connectivity services for VAR.

Lewis Watterson, VAR Project Manager at Football Australia commented:

“Working to a tight timeline, Gravity Media provided the critical connectivity services for the New Zealand v Australia match from Auckland. Ensuring that both the Hawk-Eye and Football Australia facilities were fully operational to enable VAR. Their support was essential in making the system run seamlessly on matchday.”

Working with Calrec as its audio partner enables Gravity Media UK to seamlessly integrate audio streams, as well as deliver the potential to adapt to future requirements as its needs change.

Completing its latest expansion phase, Gravity Media’s Production Centre facility in London White City has extended its remote and distributed production capabilities with the addition of three Calrec Audio Argo consoles and ImPulse DSP cores to its existing Calrec infrastructure. The expansion not only maximises production efficiency but provides the potential to further develop production capacity with more nuanced, powerful and robust control.

Since 2024, Gravity Media’s Remote Operations Centre (ROC) in White City, London has provided production, post-production, and live studios services for a wide range of live sports and entertainment customers. Servicing clients like Formula E, ATP Media and TNT Sports, the 30,000-square-foot ROC has extended its capacity with two 48-fader Calrec Argo S consoles and a 36-fader Argo M, which are fully integrated into the facility’s native ST 2110 network topology.

“Our London Production Centre was a 2110 facility from day one, but we also knew there was going to be a lot of legacy audio feeds that we’d need to incorporate into that,” says Gravity Media’s Senior Audio Engineer Neil Ottley.

“We needed an audio partner that was able to allow us to fully integrate all those audio streams seamlessly but also have one eye on the future because we are already part way through a phased expansion of our Production Centre. Calrec fit the bill and the fact that its IP Gateways, ImPulse cores, and Hydra2 networking products work seamlessly together really worked for us.”

The expansion of its audio facility with Calrec Argo at its heart means The Production Centre in London White City now has nine dedicated sound control rooms, with the Argo consoles complementing Gravity Media’s existing Calrec Artemis surfaces. The facility also manages six flexible multi booths for off tube commentary, voiceover, and other roles. The development has enabled Gravity Media to continue to refine its workflows, simultaneously increasing its throughput while reducing both its financial outlay and environmental impact.

“Over a 24-hour period we had 160 people at our Production Centre broadcasting live tennis from Rome, rugby from London and Formula E from Tokyo,” says Paul Sykes, Chief Facility Engineer for Gravity Media. “That’s 160 people who are not taking flights to Tokyo or Rome and having to book hotels. It means we can utilise all our equipment and use it multiple times a day.”

Gravity Media’s investment in Calrec’s Argo technologies means it is already looking at how it can deliver even more control in the future with the latest iteration of Calrec’s True Control 2.0 technology. True Control 2.0 is enabling Gravity Media to not only develop the scale of its remote production at its London Production Centre, but across a new generation of outside broadcast units primed to deliver more efficiencies and even more robust redundancy.

True Control 2.0 expands remote and distributed production ecosystems by giving broadcasters full operational access to any enabled cores and surfaces, wherever they are. Each controller console can access up to five other consoles simultaneously to give broadcasters much greater levels of remote control without the limitations of mirroring or parallel controlling.

“True Control 2.0 can be utilised across the Argo range, our existing RP1 remote production units, as well as Calrec’s Type R,” says Ottley. “That really expands the level of control that we’ve got across all of those devices and opens up things like dynamics, EQ, delay, and any other processing that you need to produce a true remote mix from our London facility. The combination of the Argo mixers and the truck builds that are currently going on with Gravity Media means we now have the opportunity to do a true remote control of a surface onsite. It means we can use an Argo at our facility to control a console at a venue and access the full range of control that currently we can’t utilise. Having that ability really expands what we could do in the future.”

Meeting current needs by delivering agile solutions for its customers as well as comfortably adapting to emerging production demands is not the only benefit of Gravity Media’s adoption of Calrec’s remote and distributed technology.

“Adopting True Control 2.0 across the whole ecosystem is enormously flexible,” says Calrec Sales Manager Anthony Harrison. “It’s more environmentally sustainable and gives broadcasters greater control and confidence by seamlessly integrating on-site and remote operations.”

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.

A New Era in Tennis Production 

EMG / Gravity Media and ATP Media have introduced a cutting-edge remote production workflow for ATP Media Studios, further enhancing its flexibility on delivering innovative broadcast solutions. This development follows the success EMG / Gravity Media had in Formula E, where the team implemented a similar system to reduce carbon emissions and logistical complexity. 

At the heart of this transformation are two newly designed remote production pods, built to streamline operations for ATP Masters 1000 tournaments and the Nitto ATP Finals. The initiative reduces on-site personnel while maintaining the highest broadcast quality, aligning with the industry’s push towards more efficient and sustainable production models. 

A Plug-and-Play Solution for ATP Masters 1000 and Nitto ATP Finals 

The project took about a year to develop and was delivered in January, in time for the start of the ATP Tour season. The pods are compact and designed to fit within a Q6 pallet, making them highly transportable via both air and sea freight. The Q6 pallet has a tare weight of 120 kg (265 lb) and a volume of 17.0 m³ (600 ft³) with a height of 243.8 cm (96 in). Their transportable nature allows seamless deployment between venues: while one pod is in use, the other is en route to the next tournament, ensuring there is never a delay in delivery and setup. 

The system provides a plug-and-play solution that integrates smoothly with ATP Media Studios’ existing engineering infrastructure, supporting world feed contribution and court feed distribution—the backbone of ATP Media’s broadcast operations. The pods significantly reduce the number of personnel required on-site while maintaining the same level of production quality expected from a world-class sports event. 

Key features of the ATP Media Studios pods include: 

This remote pod setup streamlines logistics and reduces costs, offering a more flexible and sustainable approach for ATP’s broadcasts. 

Remote Production at WestWorks 

The ATP Media Studios remote production model is fully integrated with WestWorks, EMG / Gravity Media’s state-of-the-art, 50,000-square-foot production facility in London. WestWorks serves as the central hub for live event feeds and supports both on-premise and distributed remote production workflows. 

With up to 90 outgoing video and audio lines and over 160 feeds coming into ATP Media Studios for a single event, the system delivers unparalleled efficiency.  

ATP Media Studios significantly reduces the reliance on on-site infrastructure while allowing a centralised production team to oversee multiple courts simultaneously​. 

Lessons from Formula E: Sustainable and Efficient Production 

The ATP Media pods are an evolution of EMG / Gravity Media’s work in Formula E, where similar remote workflows drastically cut costs and environmental impact. In Formula E, EMG / Gravity Media deployed two transportable production pods that connected to the WestWorks facility, reducing on-site personnel by 58% and air freight by 40%​. 

In both ATP Media and Formula E, the key to success has been robust connectivity. Tata Communications supplies primary and backup fibre connections, ensuring the seamless encoding and decoding of signals using H.264, H.265 HEVC, JPEG XS, and NDI over RTP technologies​. 

The Future of Sports Broadcasting 

The introduction of remote production pods for ATP Media Studios underscores EMG / Gravity Media’s leadership in transforming sports broadcasting through innovation. By integrating advanced remote workflows and leveraging the experience gained, they have created a model that enhances production quality while improving efficiency and sustainability. 

As the sports industry continues to evolve, remote production solutions like these are set to redefine how live events are delivered, reducing logistical challenges while maximising efficiency and broadcast excellence. With ATP Media Studios now benefitting from this pioneering technology, the future of tennis broadcasting is more agile, cost-effective, and environmentally conscious than ever before. 

EMG and Gravity Media successfully merged in January 2024, creating one of the world’s largest broadcast technology and production companies. This combination of talent, innovation, and resources now delivers broadcast, production, and post-production solutions across many of the world’s most-watched live events.  

TNT Sports is the ultimate home for sports fans in the UK and Ireland, available across all major TV platforms it offers an impressive line-up of channels. The TNT Sports portfolio of premium live sports rights, previously carried by BT Sport, includes the Premier League, UEFA Champions League, UEFA Europa League, UEFA Conference League, Gallagher Premiership Rugby, Investec Champions Cup, EPCR Challenge Cup, MotoGP, Cricket, UFC, Boxing and WWE.   

An established partnership  

Following on from a longstanding relationship, EMG / Gravity Media needed to integrate TNT Sports into its cutting-edge Production Centre at The WestWorks building in White City, London. The objective was to seamlessly transfer TNT’s equipment from existing studios to the new facilities, creating an efficient, innovative, and sustainable remote production hub.  

The collaboration with TNT Sports, began during the pandemic when EMG partnered with Warner Bros. Discovery Sports Europe and BT Group, to establish remote production galleries in EMG’s High Wycombe studios and Stratford BT premises. With the launch of The WestWorks facilities in July 2023, EMG / Gravity Media moved TNT Sports’ equipment to White City to complete phase one of the transition, with phase two implemented in February 2024.  

State-of-the-art solution  

EMG / Gravity Media has established a bespoke, client-centric, remote production centre at WestWorks. TNT Sports joins ATP Media and Formula E within the 50,000-square-foot facility featuring best-in-class technology, supporting both on-premise and distributed remote production workflows.   

The WestWorks infrastructure is based around a fully-fledged 2110 IP media fabric, with dedicated master control rooms, six production control rooms with audio control rooms, and seven flexi control rooms. It incorporates multiple off-tube commentary booths, two studios, lighting and vision control facilities, fast turnaround and craft edit facilities, flexi desk production spaces, media management, and client desking.   

The successful onboarding of TNT Sports at The WestWorks Production Centre marks a significant milestone in EMG / Gravity Media’s commitment to innovation and excellence. The collaboration leverages the Group’s remote production expertise and engineering talent, with a particular focus on sustainability.   

The next phase of integration  

The move to The WestWorks was driven by a strategic consolidation of resources and a shared vision for a more environmentally conscious future. EMG / Gravity Media is focused on ensuring interoperability across the group and enabling seamless collaboration with client centres globally. The combined team is uniquely placed in its capacity to manage, orchestrate, and deliver remote production services for TNT Sports. 

Eamonn Curtin, Global Client Director and TNT Account Director, at EMG/Gravity Media said: 

“We’ve been on this journey with TNT Sports from the very start, ensuring they are positioned to exploit the latest in remote production technology. This new facility contributes to TNT Sports’ 80/20 model, ensuring 80% of all live outside broadcasts are delivered remotely. The aim is to consolidate resources for outstanding results and maximise our combined skill set through EMG / Gravity Media. This partnership has made our long-lasting collaboration even stronger and reflects both party’s commitment to innovation and sustainability.”  

Scott Young, Group SVP Content, Production & Business Operations, WBD Sports Europe, said: 

“The latest development in our longstanding strategic partnership with EMG / Gravity Media has delivered a state-of-the-art solution which maximises our remote production capabilities and enables us to seamlessly create content though a more flexible and sustainable approach. This ensures storytelling remains at the heart of everything we do, supporting our ‘right by the fans’ mantra, and brings our viewers even closer to the sports they love.”  

The successful integration of TNT Sports is part of the next phase of innovation for EMG / Gravity Media. The team is working together to streamline facilities, workflows, and content on a global scale, offering customisable solutions to productions of all types and sizes. This consolidated approach will also nurture young talent, by providing them with access to state-of-the-art equipment and valuable experience, supporting the long-term success of the broadcast and production industry. 

The project showcases EMG / Gravity Media’s dedication to fostering long-lasting partnerships and providing tailored solutions that address the unique needs of each client. 

Australian News Channel (operator of Sky News Australia) and Gravity Media Australia today confirmed Gravity Media’s Production Centre in Sydney as the hub for the complete television production for Sky News Australia’s new weekly programme: The Jury.

The Jury, hosted by Sky News Australia Presenter Danica De Giorgio, is an exciting new show filmed with a studio audience.

The ten-week series, premiering on Sunday 4 February at 8.00pm AEDT, sees De Giorgio moderate a discussion between guest debaters on the biggest hot topics of the week.

After each debater pleads their case, a 12-person jury joins in on the action and votes for who they believe has won the argument.

Mark Calvert, Australian News Channel, Head of Programs, said: “We couldn’t be more excited to work with the professionals at Gravity Media. Their creativity and commitment have made a real difference to this new format. We can’t wait to share the program with our viewers.”

Mike Purcell, Head of Production, Gravity Media Australia, said: “We are delighted to be working with Mark Calvert and the team from Australian News Channel on the production of this new program. We appreciate their decision to select Gravity Media Australia to work with them in delivering the complete studio television production of The Jury.”

Australian News Channel’s decision to create and deliver the production of The Jury at Gravity Media Australia confirms Gravity Media’s increasing presence in broadcast technology and facilities provision for major television production companies and complements Gravity Media’s complete “turn-key” production for major projects across broadcast and subscription television and streaming services.

Gravity Media’s Production Centre in Sydney is an integrated full-service broadcast and television and film production centre comprising two large studios and complete in-house production services and facilities. To oversee every shoot, there are two control rooms, taking care of audio mixing, graphics, EVS playback, post-production, encoding and distribution. And with Telstra fibre connectivity in and out of the building, content can be sent to or received from anywhere in the world at a moment’s notice. The Production Centre Sydney also has 11 editing suites, and an architecturally designed and acoustically engineered audio post studio.

PRESS COVERAGE

The 78th editions of the male Superlega and female Serie A1 volleyball championships, the pinnacle of volleyball in Italy, are both produced for television this year by EMG Italy. The Serie A1 Superlega for males features 14 teams, while the female LVF has 12 teams. Both leagues follow a round-robin format, followed by playoffs and play-outs.

The EMG Italy team, led by Paolo Sassano, coordinator of Sports Productions, manages the entire television coverage for male and female matches in remote production from the Broadcast Center in Cologno Monzese. They ensure quality TV and streaming broadcasts every weekend on VBTV, the official OTT live streaming platform of Volleyball World, including the two flagship matches produced directly by the volleyball leagues. Each match broadcast is enriched with pre-game interviews, providing an engaging and spectacular experience for all fans.

“We are very proud to collaborate with the EMG Italy team in the significant work of promoting volleyball in Italy and worldwide, which we deeply care about. The attention to detail, both technically and editorially, enhances the offering for our viewers, allowing them to have an engaging and spectacular experience and solidifying VBTV as the primary destination for all volleyball enthusiasts,” says Finn Taylor, CEO of Volleyball World.

Filippo Milella, producer at EMG Italy for volleyball, reveals, “The involvement of EMG Italy in managing all matches is both technical and editorial. For all remote productions, EMG Italy handles streaming on Volleyball World platforms, receiving and redistributing signals. Over the weekend, seven matches are played for the female tournament and six for the male tournament. On average, we produce about 4/5 matches in remote production for male volleyball and the same for female volleyball, meaning about ten matches every weekend, totaling almost 300 events in a year.”

Technical Standard

As mentioned, the technical standard for these matches requires all games to be produced remotely, using four cameras: three operator-assisted and one unmanned, positioned at a 90° angle on the short stand to capture a perspective similar to tennis, capturing the field longitudinally. The first and second cameras are centrally located in the stands, capturing overviews and game details, while the third is positioned under the net for closer details.

Filippo Milella emphasizes, “The setup also includes pre-game interviews with coaches, recorded before and replayed just before the match starts, along with other live interviews at the end of the matches. Thanks to the net camera, we can immediately capture the comments of the best player on the winning team and a player from the losing team. The Lega Volley Femminile directly provides us with the graphic package and logos to create live graphics, always remotely from the production center in Cologno Monzese. For male volleyball, the graphic package is created directly by EMG’s graphics department, Boost Graphics. For all matches of male teams, EMG Italy manages both technical and journalistic commentary on-site, entrusted to two specialists from the Volleyball League, while holding overall technical management. The refereeing control, called ‘Video Check’ and similar to VAR in football, is done by framing images projected by the big screen, located on the field and managed by the Lega Pallavolo with dedicated equipment. In fact, the cameras for Video Check are distinct from those feeding the TV broadcast and are all operated on-site.”

Editorial Approach

The EMG Italy team handling both male and female championships operates cohesively, ensuring that all matches have a precise stylistic and editorial identity. All images produced for streaming and television are consistent across all matches. This is possible thanks to a centralized directorial approach entrusted to multiple “directors” who coordinate in advance with specialized directors, ensuring a cohesive editorial line both during normal gameplay and in breaks.

Filippo Milella adds that on each playing field, EMG Italy installs, in addition to the four cameras, a commentary station and a field-side station with specific microphones for interviews. “All cameras,” he says, “are connected to encoders, which transport signals separately in parallel and bidirectionally (audio, video, metadata, and communications) to EMG Italy’s operational center in Cologno Monzese. Here, a series of decoders make the signals available again across the series of control rooms. We have over sixteen dedicated control room stations, thanks to Simply Live equipment, generating ready-to-broadcast programs according to the case’s needs.”

All connections to and from the fields are made via fiber optics, and in the control rooms, directors monitor work on two touch-screen monitors and independently generate replays.

Filippo Milella concludes, “Managing the entire television production of volleyball requires great passion, and to achieve excellent spectacularity, it must include many aspects, such as choosing and managing all technical equipment, positioning, relations with customers and suppliers, and, last but not least, live graphics. Furthermore, we pay great attention to the details and proposed shots, applying a certain discretion, especially in women’s volleyball, to avoid inappropriate shots, particularly for families.”

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