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

London/Los Angeles, 19th February 2026  – Gravity Media and LA-based Green Couch Entertainment have announced a strategic partnership to develop and produce premium unscripted formats for international broadcasters and streaming platforms.

Unveiled ahead of MIP London 2026, the partnership brings together Gravity Media’s world-class TV studios, production hubs and technical expertise across UK, Australia and Europe combined with Green Couch Entertainment’s format creation and global development pedigree. This unique collaboration will deliver a regular pipeline of programming and content for the Format Lab.

The Format Lab will focus on game shows, social experiments, and entertainment offerings built for international adaptation, with an emphasis on scalable IP and integrated brand partnerships.

“As the content landscape continues to evolve, partnerships like this allow us to move faster, think bigger, and build IP that travels globally,” John Newton, Chairman and CEO of Gravity Media, said.  “Green Couch Entertainment brings inventive creative instinct and strong understanding of how to build formats that resonate with today’s streaming audiences. Combining that with Gravity Media’s production ecosystem creates a powerful platform for scalable, high-quality unscripted programming.”

As part of the collaboration, the Format Lab and Green Couch Entertainment will co-develop new formats from the ground up, where they already have global partners on the horizon, all whom leverage Gravity Media’s vast studio infrastructure and Green Couch’s creative leadership to deliver cost-efficient, high-impact productions tailored for streamers and broadcasters worldwide.

The Format Lab will also consider third party ideas and pre-existing formats delivering pilots and series at considerably reduced cost while building advertiser integration directly into format design.

“Gravity Media gives us a true global production backbone – not just studios, but a deep understanding of how to operationalize ambitious ideas thanks to Gravity Media’s prowess in delivering live sports and entertainment coverage” said Scott Weiner, Founder of Green Crouch Entertainment. “This partnership allows us to focus on what we do best: creating bold, talent-driven formats, knowing we have the scale and execution to support them.”

Weiner is an Emmy-winning TV veteran of non-scripted entertainment, documentaries and branded content.

 

PRESS COVERAGE

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

Gravity Media, a leading global provider of complex live broadcast facilities and production services, has completed the refinancing of its senior debt facilities, supporting the continued integration of the Group following its recent rebrand.

The new financing provides a stable foundation to support Gravity Media’s evolution into a single, unified organisation, bringing together teams, capabilities and operations under the Gravity Media brand.

John Newton, Chairman and CEO of Gravity Media, said: “This refinancing marks an important moment in our journey as a newly combined Group. Bringing the two businesses together has always been about building a stronger and more agile organisation, with the financial resilience to execute our long-term plans.

The new financing gives us the flexibility to accelerate development across the Group, deepen collaboration between teams, and continue delivering the innovation and service our customers expect. I’m grateful to everyone involved in getting us here.”

 

PRESS COVERAGE

Gravity Media, a global leader in production and content and media services and facilities, has announced the renewal of its long-standing relationship with the Automobile Club de Monaco (ACM), one of the world’s oldest and most prestigious automobile clubs, founded in 1890.

The new multi-year agreement continues Gravity Media’s role as a trusted broadcast partner for Monaco’s most iconic motorsport events.

Under the renewed contract, Gravity Media will continue to deliver host and co-host live coverage of all racing events taking place on the street circuit of Monaco. The agreement marks the extension of a relationship that began in 1998, which has evolved alongside the Principality’s motorsport calendar to incorporate new formats and technologies.

Gravity Media’s team in Belgium will continue facilitating the production requirements for these world-renowned events, in collaboration with Gravity Media’s French team who is responsible for delivering the RF facilities, with the technical and operational backing from the global Gravity Media team.

The onsite coverage utilises one of Gravity Media’s large flypack production systems specifically designed to meet the distinctive challenges of capturing the live coverage from Monaco’s street circuit.

For the Historic Grand Prix, editorial enhancements are delivered by Boost Graphics, Gravity Media’s creative agency specialising in live graphics, design, and virtual production. Using pixel tracking and other advanced storytelling tools, Boost continues to bring the historical atmosphere of the event to life for audiences around the world.

John Newton, Chairman and CEO of Gravity Media said:

“We’re honoured to extend our relationship with the Automobile Club de Monaco, an organisation that embodies the heritage and excellence of motorsport. This renewal underscores the trust ACM places in Gravity Media’s production expertise, technical innovation, and long-standing commitment to delivering world-class coverage from one of motorsport’s most iconic locations.”

Gravity Media is home to a vibrant community of content creators united by a passion for storytelling and technical excellence. At the heart lies a longstanding tradition of delivering premium content and world-class live productions for some of the biggest brands in sport and entertainment.

Operating daily at the top tier of global broadcasting, Gravity Media provides fully integrated, end-to-end solutions across every project from concept to transmission.  This unwavering commitment to quality and innovation continues to position Gravity Media as a trusted leader in live production and cutting-edge broadcast technology worldwide.

 

PRESS COVERAGE

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

SVG Europe

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, the leading force in production and content, media services and facilities, today confirmed a successful collaboration with Southfields and Tennis Australia that saw Gravity Media implement the broadcast technology and television production undertaking for the second round Qualifiers of the Davis Cup – the biggest men’s team event in tennis – in The Netherlands and Australia. 

This global event featured some of the world’s best tennis players, and took place across multiple venues internationally, with Gravity Media onsite in two locations of the second round Qualifiers. 

The Netherlands was represented by Jesper de Jong, Botic van de Zandschulp, Guy Den Ouden, Sander Arends and Sem Verbeek will play Argentina’s Francisco Cerundolo, Tomas Martin Etcheverry, Francisco Comesana, Horacio Zeballos and Andres Molteni at The Hague’s Martiniplaza across 12th to 13th September. 

Australia was represented by Alex de Minaur, Alexei Popyrin, Jordan Thompson and Matthew Ebden will play Belgium’s Zizou Bergs, Raphael Collignon, Kimmer Coppejans, Sander Gille and Joran Vliegen at Sydney Olympic Park Tennis Centre’s Ken Rosewall Arena across 13th to 14th September.  

The undertaking for the qualifying round in Sydney added further depth to Gravity Media’s long-term partnership with Tennis Australia in the delivery of broadcast technology and production requirements for the Laver Cup, the Billie Jean Cup, the Australian Open and Australia’s summer of tennis. 

As part of the partnership with Tennis Australia and Southfields, Gravity Media accessed internationally acknowledged camera and broadcast and production technologies coupled with cellular and cloud-based solutions. 

In a major production undertaking, Gravity Media deployed seven cameras in the Netherlands and 13 cameras in Australia, alongside state-of-the-art high definition outside broadcast truck technology. 

The Davis Cup qualifying round was broadcast on the 9Network in Australia, Ziggo Sport in the Netherlands and globally on international broadcasters. 

Kevin Vandoorne, Broadcast & Media Technical Manager at Tennis Australia commented: 

“Our partnership is built on trust, collaboration, and understanding – by combining our vision with their broadcast expertise, we ensured a seamless production and a truly successful event.” 

Ben Madgwick, Sales Director at Gravity Media in Australia stated: 

“Gravity Media partnered with Tennis Australia to provide broadcast technical services for the second round Qualifier of the Davis Cup in Sydney Olympic Park. This was the first Davis Cup tie on home soil in three years and utilised our extensive tennis broadcast experience to ensure flawless coverage and meet the event’s content requirements.” 

Lex Meijer, Senior Account Manager at Gravity Media in The Netherlands commented: 

“Gravity Media NL and Southfields have been long-standing partners for the coverage of Davis Cup matches in the Netherlands. They draw on our many years of tennis production experience to ensure flawless coverage and to meet the event’s content requirements.”

 

PRESS COVERAGE

The investment, announced at IBC 2025, includes the deployment of EVS XT-VIA servers with ultimate LSM-VIA replay systems

IBC, AMSTERDAM, 13 September 2025 – Gravity Media, a leader in production and content and media services and facilities has announced a key agreement with EVS, the leading provider of live video technology for broadcast and new media productions, for the deployment of its cutting-edge LiveCeption® solution. The agreement will see a large-scale rollout of EVS’s XT-VIA® servers and LSM-VIA® replay systems across Gravity Media’s global fleet.

The investment significantly enhances Gravity Media’s media services and facilities infrastructure, ensuring the very best performance, reliability and scalability for top-tier sports, entertainment, news and corporate events worldwide.

Chairman and CEO of Gravity Media John Newton said, “As one global brand Gravity Media pushes the envelope that is underpinned by our constant drive for innovation and embracing the very latest technology – such as EVS’ LiveCeption® solution. Gravity Media also stands for the pursuit and provision of creative and technological excellence and again, embracing LiveCeption® only helps us further achieve these goals.”

This EVS investment solidifies Gravity Media’s position as a premier provider of integrated production and media services and facilities worldwide. With operations spanning Australia,  Middle East, UK, Ireland, the United States and key European markets including France, Belgium, Germany, Italy and the Netherlands, Gravity Media delivers world-class production solutions across diverse regions.

Newton added, “This strategic investment underscores our commitment to pioneering the future of live production technology. By enhancing Gravity Media existing EVS’s XT-VIA platform, we empower our teams to deliver immersive, high-quality content with unmatched efficiency across all regions. With EVS as one of our trusted partners, we are well-equipped to meet the dynamic demands of next-generation live productions globally.”

The EVS Cerebrum orchestration, control system, and SDN, already integral to Gravity Media’s fully IP-enabled OB mobile units, serves as the backbone for managing complex live IP workflows. The agreement also includes a comprehensive Cerebrum Service Level Agreement (SLA) with EVS, guaranteeing comprehensive technical support and Cerebrum software updates.

Working in collaboration, EVS and Gravity continue their partnership focused on the development of a next-generation Cerebrum SDN, combining their expertise to push the boundaries with Cerebrum.

“We are proud to continue our long-standing partnership with Gravity Media,” said Serge van Herck, CEO at EVS. “This extended agreement represents a significant milestone in our shared ambition to transform the future of live production. It reflects our mutual dedication to innovation, excellence and the pursuit of new possibilities in broadcast technology. By equipping Gravity Media’s global fleet with our LiveCeption solution, including XT VIA servers and LSM VIA replay systems, we are enabling a new generation of live storytelling. These tools allow production teams to capture and deliver the emotion and energy of live events with exceptional clarity, speed and creativity. As the industry moves toward more intelligent, decentralised and flexible workflows, our technology is designed to evolve and lead. With Cerebrum providing orchestration and a comprehensive service agreement in place, this partnership ensures Gravity Media is prepared to meet the challenges of tomorrow and embrace the opportunities of a rapidly changing media environment.”

John Newton concluded, “Our clients across the globe rest assured that we will always push the boundaries of creative and technical excellence that will allow them to tell their incredible stories. To that end, integrating the LiveCeption solution boosts our replay and highlights capabilities while providing the flexibility to scale operations seamlessly across continents. Whether it’s a major sporting event, a live concert or production this partnership helps ensure we will always deliver consistent, premium experiences for our clients.”

PRESS COVERAGE

As the curtain fell on an unforgettable UEFA Women’s EURO, Gravity Media proudly celebrated its role, on behalf of UEFA, in delivering global live coverage of this landmark sporting event.

Technical teams from Gravity Media, representing four different countries, collaborated to deploy outside broadcast (OB) units at seven of the eight venues across Switzerland. By combining cutting-edge technology with exceptional talent, Gravity Media successfully produced the tournament for UEFA, culminating in the final, which saw England crowned champions.

Many of the matches were delivered by crews with a strong female presence – including guarantees and department heads – marking another important step in Gravity Media’s ongoing commitment to gender diversity and inclusion in the broadcast industry.

Gravity Media’s specialist camera team also supplied in-goal mini cameras for the host broadcast, while the radio frequency team provided crews and transmission links for Steadicams across seven of the tournament’s stadiums.

Additionally, Gravity Media delivered selected unilateral services on behalf of visiting broadcast partners during UEFA Women’s EURO 2025, including both fully and partially equipped commentary positions.

The Gravity Media teams worked together across all the host cities, led by Chrissie Collins, UK Head of OB Client Delivery, who commented:

“This has been a true testament to our global collaboration. Our teams have worked seamlessly across all the host cities to provide world-class coverage of this incredible tournament. It’s been especially inspiring to see so many talented women at the heart of our facilities’ delivery, and I’m incredibly proud to be part of such a formidable and passionate team.”

United Kingdom
NOVA 118 was deployed from the UK to multiple stadiums in Switzerland. Serving as a central hub and designed for maximum flexibility and efficiency, the OB truck allowed Gravity Media’s technical teams to deliver consistent coverage throughout the tournament.

Netherlands
From the Netherlands, Gravity Media deployed NOVA 106 and NOVA 107 to three stadiums with a dedicated technical team including camera operators, senior vision and EVS guarantees, communications engineers, audio technicians, riggers and a travelling team of three shaders.

Italy
NOVA 103 was stationed in Bern, staffed by a ten-person crew. Gravity Media’s Italian team successfully covered four matches, including three group-stage games and the quarter-final between Spain and Switzerland.

Belgium
Gravity Media Belgium contributed a travelling team comprising four ENG camera operators, two engineers and one audio assistant, working throughout Switzerland. Meanwhile, NOVA 102 was on-site at St. Gallen, staffed with a six-person crew.

Eamonn Curtin, Chief Commercial Officer, commented:

“Our work at the Women’s EURO has been a powerful reflection of our international capability, collaborative spirit, and technical excellence. As we step into a bold new era with our refreshed brand identity, we are proud to support iconic events like the UEFA Women’s EURO with the dedication and quality that define our teams around the world.”

This tournament marks the beginning of an exciting new chapter for Gravity Media, as the company continues to expand its global footprint and shape the future of production, content, media services and facilities.

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.

Iga Swiatek during the Women’s Final match against Amanda Anisimova with Gravity Media SMARThead specialist cameras looking on.

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.

Jannik Sinner holds the trophy aloft after making the Walk of Champions

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…

Following the successful integration of the complementary businesses of EMG and Gravity Media and furthering its commitment to delivering production & content and media services & facilities, the combined entities have come together to form one, global powerhouse brand – Gravity Media.

The new Gravity Media global brand logo

Gravity Media Executive Chairman and CEO John Newton explained, “Once in the lifetime of a company like ours something big happens. Something very big. For us, today, that is our transformation for the future and our coming together under one global brand that is Gravity Media. Our look is new, but our commitment to our staff, our customers and as always to capture, craft and create the very best content remains the same. This is a pivotal moment for Gravity Media and one that has many benefits for our clients and the global market.”

The companies that come together under the new Gravity Media brand collectively form a world leading global provider of production and content and media services and facilities.

Newton continued, “The plan for Gravity Media moving forward is to strengthen our creative and facilities offerings, grow our global presence and provide even more value and better solutions for our clients. As one global brand we will push the envelope that is underpinned by our constant drive for innovation, embracing the very latest technology and employing the best people. The new Gravity Media brand represents our commitment to providing the highest quality work and ethics for our team and our customers all across the globe.”

Gravity Media in action at the UEFA EURO 2024 Championships

No-one doubts the speed and consistency of change in the ever-evolving broadcast, production and events industries. It’s this change that also spurred on and underpins the new global rebranding.

Newton added, “In a world where change is the only constant it’s never been more important that a company like ours who enables the most incredible stories to be told be consistent, innovative, reliable and efficient. Our one, single Gravity Media brand embodies those goals. It brings together and successfully combines our strengths and expertise delivering a truly unique range of creative, media and facilities services and solutions to clients and for events around the world.”

Whilst Gravity Media brings together the majority its brands some of its key independent sub-brands including Boost Graphics, EMG, Gravity House, Livetools Technology, Origins Digital, Motionmakers, and Wall On Media will remain and happily coexist under the Gravity Media Group umbrella.

Gravity Media in action at the Australian Open

Newton said, “Gravity Media stands for the pursuit and provision of creative and technological excellence. For those brands where there is more benefit to our clients to have them integrate into Gravity Media they have done so. For those where the market needs them to remain as sub-brands, that will be the case. The one thing our new Gravity Media brand does is guarantee our consistency of offering and communication across all the areas of our business.”

Gravity Media’s broadcast, technology, production and post-production solutions are used by the world’s most renowned federations, broadcasters and production houses to produce many of the world’s most-watched live events and entertainment programmes including Formula E, FIFA World Cup, English Premier League, UEFA Champions League, UEFA EURO Championships, Tour de France, ATP Grand Slam tournaments and the Indian Premier League (IPL).

Gravity Media’s growing global footprint spans 37 locations across 11 countries with over 2,000 employees, more than 100 outside broadcast trucks, 30 studios and production facilities across the UK, Europe, the Middle East, United States and Australia.

John Newton concluded, “The new Gravity Media global brand symbolises and crystallises who we are, collectively our many decades of experience and critically our path for the future. Now more than ever our clients across the globe can rest assured that we will push the boundaries of creative and technical excellence that will allow them to tell their incredible stories. As a global company we live to enable our clients to produce those hair-raising, jaw-dropping, spine tingling moments that are talked about for many years to come. That is and always will be, Gravity Media.”

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