Gravity Media, a world leading global provider of complex live creative production and media services, today detailed the broadcast technology and television production undertaking that sees Gravity Media working with the Cruising Yacht Club of Australia to produce and deliver the complete television broadcast production for the start of the iconic Rolex Sydney Hobart Yacht Race from Sydney Harbour on Boxing Day.
As the broadcast and technology partner, Gravity Media celebrates its 20th year supporting the Rolex Sydney Hobart Yacht Race.
The 628-nautical-mile race itself reaches a major milestone this year, celebrating its 80th anniversary with a diverse fleet of 132 yachts from across six Australian states and eight countries.
Five 100-foot maxis will likely vie for Line Honours this year: three-time winner Law Connect, which took Line Honours for a second year running and placing second overall last year, Master Lock Comanche, Palm Beach XI, SHK Scallywag and Wild Thing 100, while they will be joined by another 100 footer, cruiser Maritimo 100.
Gravity Media will create and produce the complete telecast with on-water chase boat cameras and live helicopter coverage.
Hosted by legendary sports commentator Gordon Bray, the Rolex Sydney Hobart commentary team will be bolstered by Peter Shipway, a veteran who boasts more than 31 Sydney Hobart Yacht Races; Jimmy Spithill, an America’s Cup and Rolex Sydney Hobart Line Honours winning skipper; and Olympic Silver Medallists, Lisa Darmanin and Olivia Price.
Live coverage of the start of the Rolex Sydney Hobart Yacht Race across Nine and 9Now commences at 12:30pm AEDT on 26 December.
International viewers can catch the live broadcast on the Cruising Yacht Club of Australia website and CYCATV via YouTube.
Justine Kirkjian, CEO Cruising Yacht Club of Australia, said:
“Gravity Media have proven time and time again to be leaders in the production of elite sporting content, and we are thankful to be able to partner with them to bring the 80th Rolex Sydney Hobart Yacht Race to viewers around the world.”
Saul Shtein, Director of Production and Content at Gravity Media, said:
“Gravity Media is excited to be delivering the full television production of this year’s Rolex Sydney Hobart Yacht Race.
“We’re honoured to mark our 20th year covering this iconic race and partnering with the Cruising Yacht Club of Australia, broadcasting every moment of the thrilling start and bringing viewers right into the spectacle as Sydney Harbour fills with sails and the fleet drives out through the Heads toward Hobart.”
?: Rolex / Carlo Borlenghi
PRESS COVERAGE:
Gravity Media, a world leading global provider of complex live creative production and media services, today detailed its collaboration with Roving Enterprises for another year to deliver the biggest night in Australian music, the ARIA Awards, taking place on 19 November.
This year’s production harnessed Gravity Media’s state-of-the-art UHD 11 outside broadcast truck, deploying 18 cameras to capture every moment from the red carpet, live ceremony, and fan zone.
Celebrating an incredible year for Australian music, the ARIA Awards unites the nation’s most impactful global artists with the next generation of rising talent.
The event streamed live on Wednesday 19 November on Paramount+ in Australia and worldwide with red carpet coverage airing from 7:00 PM AEDT on 10, featuring an ARIA stage debut for GRAMMY nominated singer-songwriter Olivia Dean and standout performances from Australian talent including Alex Lahey, Anna Ryan, Baker Boy, G Flip, Janet English, Keli Holiday, Kita Alexander, Missy Higgins, Neve Van Boxsel, Thelma Plum, Touch Sensitive, You Am I and Young Franco.
This year marks three consecutive years of collaboration between Gravity Media and Roving Enterprises on the ARIA Awards for a partnership that continues to set the benchmark for premium live event production in Australia.
Marcus Doherty, Account Executive – Media Services and Facilities at Gravity Media, commented:
“The ARIA Awards are one of the most iconic nights on Australia’s entertainment calendar and we’re proud to play a key role in bringing the live experience to audiences everywhere. It’s fantastic to once again collaborate with Roving Enterprises to deliver a world-class production.”
Following the ARIA Awards, Gravity Media in Australia will continue a busy end to the year, providing broadcast technology and production services for the NSW Schools Spectacular, Carols in the Domain, and early next year, the AACTA Awards.
Image courtesy of Liam Mahoney/ARIA
PRESS COVERAGE
Gravity Media, a world leading global provider of complex live creative production and media services, today detailed Gravity Media’s collaboration with the New South Wales Department of Education’s Arts Unit in a broadcast technology and television production undertaking to create and deliver this year’s Schools Spectacular – REMARKABLE!, one of the biggest live events in Australia, and the event’s national broadcast on the Seven Network, Friday December 19 from 7pm AEDT.
The New South Wales School Spectacular is the world’s largest annual amateur variety show and is produced by the New South Wales Department of Education’s Arts Unit. This year’s event REMARKABLE! celebrates the 42nd annual staging of the event.
Gravity Media has been the driving force behind the NSW Schools Spectacular national television broadcast since 2016, and in collaboration with the NSW Department of Education’s Arts Unit, Gravity Media proudly serves as the Event Partner for the 2025 event: Schools Spectacular – REMARKABLE!
In a significant broadcast undertaking for the 2025 event, Gravity Media will be accessing advanced formats for a captivating television production with higher resolution, more accurate colours, and smoother motion than ever before.
Schools Spectacular – REMARKABLE! encompasses four live arena shows at Qudos Bank Arena in Sydney Olympic Park with a national broadcast across Australia on the Seven Network.
Each of the four live arena performances over two days features over 5,500 students from NSW public schools including 2,300 dancers, a combined choir of 2,500, an 80-piece symphony orchestra, a stage band, the D’Arts Ensemble for students with disability, the Aboriginal Dance Ensemble, boy’s hip-hop ensemble, and circus arts ensemble.
From producing dazzling performer and teacher backstory content, crafting the event and broadcast promos, providing comprehensive graphic design services, to a cine film unit travelling 3,000 kilometres throughout regional and rural New South Wales capturing the talents of the state’s public-school students for the show’s opener, Gravity Media is delivering a comprehensive turnkey production outcome for the event.
The Gravity Media undertaking involves a total television production and technical staff of 75, deploying a state-of-the-art high definition outside broadcast truck and accessing 15 broadcast and specialist cameras, including Steadicams, Jib Cranes, Dolly Shot, and Spidercam, to deliver the complete television production for the New South Wales Department of Education and the Seven Network.
Richard Spiewak, Executive Producer at NSW Department of Education – Arts Unit said:
“This year’s show is titled “Remarkable” and is a fitting tribute to the extraordinary achievements of students across NSW public schools. Now in its 42nd year, the Schools Spectacular continues to be a vibrant celebration of the arts, showcasing the incredible talent, dedication, and creativity nurtured in our public education system.”
“The broadcast is an important component to the live production and allows us to reach right across Australia to highlight our remarkable students.”
Mike Purcell, Head of Production at Gravity Media in Australia, said:
“NSW Schools Spectacular showcases the incredible depth of talent in NSW public schools, and we’re proud to bear that to screen.”
“It’s been a pleasure to partner and collaborate with The Arts Unit for almost a decade allowing us to innovate and provide fresh creative ideas each year, something our entire team is proud of.”
“A truly ‘REMARKABLE!’ world-class event and broadcast.”
PRESS COVERAGE
Gravity Media, a world leading global provider of complex live creative production and media services, today detailed a broadcast and technology partnership with Aurora Media to deliver coverage of the upcoming Australian round of FIM World Supercross Championship across multiple international territories.
Gravity Media in Australia will provide 8 camera coverage, including speciality PTZ cameras, in a broadcast and technical collaboration to deliver the all-screens production of the World Supercross Australian GP at Gold Coast’s Cbus Stadium on 29 November.
Gravity Media and Aurora Media will deliver live coverage of the World Supercross Australian GP across major international broadcast and digital platforms, including 7plus in Australia, Sky in New Zealand, beIN Sports in the United States, Canada, and Turkey, and DAZN globally excluding Australia, South Africa and India Subcontinent.
The FIM World Supercross Championship is the high-octane combination of live action motorsport and an elevated level of adjacent entertainment, including live music, pyrotechnics, freestyle motocross shows and more.
The action is heading to the Gold Coast for the first time ever with Cbus Stadium transforming into the ultimate dirt battlefield for an epic night of unmissable action and intense competition racing including reigning World Supercross 450 Champion and 2-time AMA Supercross 450 Champion Eli Tomac and 2-time World Supercross 450 Champion Ken Roczen.
Nigel Naseby, Account Manager – Media Services & Facilities at Gravity Media, said:
“Gravity Media is excited to partner with Aurora Media to provide broadcast technical services for the third round of the FIM World Supercross Championship. This is the first time the Australian GP will be held in the Gold Coast and we will utilise our extensive broadcast experience with World Supercross to ensure flawless coverage.”
PRESS COVERAGE
Gravity Media, a world leading global provider of complex live creative production and media services, once again delivered its expertise to the global television coverage of the 2025 Macau Grand Prix, deploying cutting-edge camera technology designed and engineered in Australia.
Gravity Media and its Globecam team delivered more than 30 specialty on-board and in-car cameras across Formula 3, World GT Cars and Guia Race Cars and also motorbikes that competed in the Moto Series through the streets of Macau across 13 – 16 November.
To achieve the best perspectives, Gravity Media’s engineers custom-built a range of lightweight and aerodynamic camera housings, including specialised rear spoiler and wing mounts, allowing for discreet installation and dynamic new viewpoints from within the vehicles.
Gravity Media’s specialist teams have been a trusted part of the Macau Grand Prix broadcast since 2008, providing world-class imagery from one of the most challenging street circuits in motorsport.
Celebrating its 72nd edition this year, the Macau Grand Prix is one of the world’s most prestigious international racing events, renowned for its high-speed straights, tight corners and iconic city backdrop.
Greg Littrich, General Manager, SNG, RF and Specialist Cameras at Gravity Media, said:
“It’s a privilege to continue our long-standing partnership with the Macau Grand Prix. Our Australian-designed specialist camera systems once again helped showcase the excitement and skill of this world-class event to audiences around the globe.”
Andrew Vong, Secretary General of Macau Grand Prix Organizing Committee, commented:
“During the period of cooperation, Gravity Media confirmed their high professionalism in their uniqueness of specialist services, while meeting the circuit safety regulation of the Macau Grand Prix.”
PRESS RELEASE
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, has successfully delivered the World Athletics Championships 2025, for HBS and Tata, the Host Broadcasters of the event, hosted at Tokyo’s National Stadium from 13th-21st September 2025.
Gravity Media provided the full technical infrastructure and operational expertise capturing the event for millions of viewers around the globe as the World Athletics Championships celebrated its 20th edition, welcoming over 2,000 athletes from almost 200 nations, competing across 49 track and field events.
Returning to Tokyo for the first time since 1991, the competition featured nine days of world-class athletics, spanning sprints, field events, relays, and long-distance races. Gravity Media’s strong technical team of 68 oversaw a fully IP-based production environment, powered by diPloy and Gravity Media’s scalable and modular ST2100 IP broadcast concept.
At the heart of the operation, five production galleries were situated in mobile production units, all linked by a centralised IP network management system. This is the same proven solution that Gravity Media successfully deployed for the Opening Ceremony and Athletics competition in Paris 2024.
A dedicated Gravity diPloy flight-pack also provided the international feeds for the event. Composed of two production clusters, around 200 switches were connected, 1,400 nodes were in operation, and more than 9,000 audio and video streams flowed across the IP network, reaching a total of 310,000 unique IP senders. This was one of the largest diPloy deployments to date and a prime example of the type of large-scale, complex project that IP and automation were designed to handle.
The tournament coverage was captured using over 75 camera channels, supported by Gravity Media’s specialist camera systems including a 110-metre railcam, and vertical track rigs, all operated by Gravity Media’s dedicated crews to provide dynamic and overhead perspectives.
25 EVS VIA servers with clip management feeding into the World Athletics online MAM system handled replays and content, plus 115 intercom panels were deployed to ensure seamless communication between the production team throughout the event.
To ensure a unified delivery, Gravity Media’s specialist equipment was shipped from Brussels via sea freight, and over 28 tonnes of broadcast equipment departed via air freight to ensure timely on-site integration.
Chris Demeulemeester – International Projects & Sales commented:
“We’re delighted to have delivered a full suite of production, content, and media services for one of the most prestigious athletics events on the calendar. Our cutting-edge IP workflows, specialist crews, and global-scale logistics ensured an exceptional viewing experience for audiences worldwide.”
The World Athletics Championships 2025 saw the world’s best athletes compete in across nine thrilling days, with Gravity Media playing a role to ensure every moment of the action was captured in spectacular detail for viewers across the globe.
Bart Lucassen – HBS, Director of Logistics and Engineering & Etienne Godart – HBS, Head of Live Broadcast Solutions:
“We enjoyed a strong delivery from Gravity Media, with their technical solutions allowing us a seamlessly project delivery for World Athletics and bringing this showcase event to audiences around the world. Trusted suppliers are an essential component of the Host Broadcast role and working with a team we know can provide the expertise we need to deliver the capture and distribution concept we have developed for our client is invaluable during such a complex event.”
PRESS COVERAGE
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.
