Basketball – Gravity Media

In the Italian Basketball Championship (Lega Basket Serie A, LBA), the Scudetto finals mark the conclusion of the playoffs, following the regular season.

The recently concluded edition featured high-intensity games, tightly contested finals, decisive baskets, and a strongly engaged audience, particularly during the matches involving Virtus Bologna.

According to Anna Pasculli, Sales Manager at EMG/Gravity Media Italy, the company responsible for the television production of the entire championship, the quality of the technical setup and team coordination contributed to enhancing the event, delivering a visual setup that was both effective and coherent with the sports narrative.

Athletic performance was matched by a broadcast production that maintained high technical and narrative standards. From mid to late June, to cover the Scudetto finals, EMG Italy – Gravity Media deployed one of its flagship OB trucks, the Orion 209 unit.

Finals Setup

For the finals series, the production layout was enhanced compared to earlier phases. While semi-finals generally employ seven to eight cameras, the finals feature up to eleven operational units. The OB direction was further reinforced with a Jimmy Jib for dynamic shots and a reverse-side camera (bench side), expanding visual coverage and offering a broader range of perspectives.

One of the newly introduced elements was an RF camera mounted on a Gimbal — a more compact alternative to the Steadicam, capable of delivering fluid movement. This technology, already used in football production, allows for a more cinematic visual result. It uses a Sony camera and is progressively becoming part of the standard equipment for major sporting events.

Camera Layout

The typical finals camera configuration is as follows:

Camera 1: main camera, positioned frontally, for wide shots of play.
Camera 2: close-up for detailed coverage of players and actions.

Both are placed on the stands side, facing the benches.

Cameras 3 and 4: handheld, positioned under the left and right baskets respectively.
Camera 5: central handheld, focused on mid-court action.
Cameras 6 and 7: Marshall-type action microcameras installed on the backboards, fibre-connected.
Camera 8: reverse camera on the bench side, shoulder-operated and cabled, used for time-outs and alternative perspectives.
Camera 9: RF Gimbal for fluid, mobile shots.
Camera 10: additional unit, depending on game configuration.
Camera 11: clock camera, fixed on the game clock for refereeing checks.

All positions are crewed, except for the clock and microcameras (6 and 7).

An Instant Replay system, equivalent to VAR in basketball, is installed at the referees’ table. It includes two ambient microphones to allow on-air playback of official discussions during action reviews.

Graphics and Broadcast

As with the regular season, the finals’ broadcast production is managed by EMG/Gravity Media Italy, which supplies a host feed and customised versions for simultaneous distribution on Eurosport, Discovery+, and DAZN.

Graphics are managed by Boost Graphics, the graphics and virtual production subsidiary of EMG / Gravity Media, specialising in live data integration and fan engagement solutions.

The production team for the finals includes around 30 professionals. Given that the sports arenas are only partially pre-cabled, setup operations are complex. While the regular season typically uses 4–5 cameras, finals coverage extends to 10–11, requiring significant on-site integration with additional equipment.

Broadcast Control and Customisation

Production is carried out entirely on-site aboard the OB Truck Orion 209, although during the season EMG Italy also operates via remote production and centralised Instant Replay from its Cologno Monzese facility.

A second dedicated unit is deployed for Discovery’s coverage. For DAZN, content customisation is handled directly onboard the main OB unit, which is configured with two parallel control rooms, each with independent audio and video compartments. This enables separate productions within a shared infrastructure.

Instant Replay and Operational Workflow

Tommaso Gargàro, EMG Italy – Gravity Media’s technical manager for the finals, notes:

“The new setup required extensive preparatory work. All operations – including graphics and Instant Replay – are carried out locally at the venue.

The Instant Replay is managed by a dedicated computer system that continuously records all camera feeds. When a review is needed, it allows selection of the most suitable angle and enables zooming in on critical details – such as a foot on the line or the moment the ball leaves the hand before the buzzer.

The most sensitive phases of the Instant Replay are also broadcast live using a 2-box layout that shows the same footage as seen by the referee team.

For broadcast replays, two EWS 12-channel systems are installed onboard the OB Truck. Instant Replay, however, is handled separately by a sideline operator, approached directly by referees for action reviews.”

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Augmented reality and special filming supports for the Lega Basket Serie A event thanks to EMG Italy

The Frecciarossa Final Eight was held from February 14 to 18, 2024. This event awards the Italian Cup and involves the top eight teams qualified at the end of the first round of the Serie A basketball championship. The winner of the tournament was Generazione Vincente Napoli Basket, which won its third Italian Cup by defeating Olimpia Milano in the final with a score of 77-72.

The event, held once again at the Inalpi Arena in Turin, was a great success with the public, with over 40,000 spectators and a series of side events such as concerts, exhibitions and food tastings that enriched the five days of sport. This confirmed the importance of the event itself both for the city of Turin and for all of Italian basketball.

TV production

The success of the event demonstrated the great passion for basketball in Italy and confirmed Turin’s ability to host major sporting events. EMG Italy, commissioned by LBA for the television production, contributed to underlining the spectacular nature of the entire event. They managed the filming and the generation of the international feed for all the men’s matches, the Final Eight, and also for the women’s teams, the Final Four. The women’s competitions were played on the day when the men’s teams were not playing, Friday, February 16. All the finals, both men’s and women’s, were played on Sunday, February 18.

The production of the event, considered very important by the Lega Basket, required two days of set-up, with all the matches broadcast live on Dazn and on the channels of the Warner Bros. Discovery group (Eurosport and free-to-air Dmax and Nove), the rights holders. EMG Italy, therefore, decided together with LBA to put in place a major production structure with some special filming support, starting with a Robycam, which was used in all the matches and not only in the finals.

Special filming

“This is the first time a Robycam has been used in basketball,” says Anna Pasculli, Sales Manager of EMG Italy. “The cables were stretched in an “X” shape at the four highest corners of the PalaOlimpico. The broadcast-class camera that ran on these cables, in addition to following the game action from this very spectacular, privileged and elevated position, provided overhead shots of the arena packed with fans and several replays. We started from the consideration that the use of aerial cameras allows us to obtain spectacular images and to greatly enrich the viewing experience for the public.
Suspended on a system of trolleys and cables, the camera offers stable and precise shots and can reach otherwise inaccessible shooting points, giving the public a unique perspective of the event and fully restoring the dynamics of the action as a whole.”

There were also other shots that the director, Max Ceriani, proposed with unique perspectives on dunks and three-pointers from above, always underlining the emotions of the players and the public.

“With a proven experience in the use of innovative technologies,” Anna Pasculli continues, “we at EMG Italy were the production hub for this great basketball television show. We brought in technical equipment and a specialized crew, and we generated all the filming and television feeds for all the takers, starting from the international host feed for the Lega Basket Serie A, and also the integrations, or unilateral customizations, created for Warner Bros. Discovery and for Dazn on the occasion of the final.”

Technical setup

The Orion 209 mobile regia worked in Turin, alongside another smaller mobile unit for the customization of Warner Bros. Discovery. The 12 broadcast-class cameras used throughout the event were positioned in such a way as not to miss even a single detail of the game or the reactions of the public: 1 and 2 on the upper stands, as usual, used to follow the long shots and details; 3, 4, and 5 on the sidelines; 10 on the shoulder on the opposite side to cover the benches; 11 and 12 above the backboards, 8 and 9 in radio frequency, of which one was a steady cam and one a gimbal on the sidelines with freedom of movement; 7 on the Robycam, while 6 was on a jimmy jib placed vertically above the basket. For the integration, Dazn set up a position on the sidelines for Diletta Leotta, Dazn’s face and master of ceremony for the final.

A step forward in the television language of basketball

The Final Eight of the Italian Basketball Cup in Turin, therefore, was not only a great sporting event, but also a moment of innovation in the television language applied to basketball. A further strength of this edition was the use of Augmented Reality in the final – and for the first time ever in Italian basketball – applied to the shots from above of the Robycam.

In fact, the players’ cards with their scoring statistics, the team lineups, the scoreboard of the event and the results of the matches were all shown, personalized with the sponsorships.
In addition, a special visualization of the shooting and scoring statistics from different positions on the field was developed, as well as a special 3D model of the Italian Cup.

Screenshot

Augmented Reality, developed by the graphics department of EMG Italy, which curated all the live graphics of the event, has therefore shown all its remarkable expressive possibilities even in basketball. With the right creative development, it is in fact possible to enhance the spectacular nature of the images and capture the attention of the public.
Starting from a style similar to that of gaming, statistical data can be conveyed in an increasingly immersive way, with a style that particularly appeals to the new generations.

The high quality of the television production and the use of Augmented Reality that viewers were able to enjoy from home contributed to making the Final Eight of the Italian Cup a very successful event.

The EuroLeague basketball, known as the Turkish Airlines EuroLeague, represents the primary club basketball competition in Europe. This prestigious league includes 18 top-level teams from various European nations. The tournament unfolds in three phases: the regular season, where points are accumulated through round-robin matches, the playoffs, where the top eight teams compete, and four winners advance to the final phase, the highly anticipated Final Four to determine the EuroLeague champion. After the NBA in the United States, the EuroLeague is undoubtedly considered the second most prestigious and spectacular club basketball competition globally, attracting some of the most talented teams and players outside the United States.

EMG Italy plays an essential role in the television production of 17 EuroLeague games, ensuring high-quality TV coverage. For the third consecutive year, EMG Italy produces the home games of one of the two Italian teams in the EuroLeague, Virtus Bologna, in collaboration with SKY Italy; the second team being Olimpia Milano. Virtus production involves 14 specialized cameras, each with a specific role.

A summary of the camera layout

For each match, a total of 14 specialized cameras are strategically placed to capture all aspects of the games. The main cameras for the game are 10, covering the on-court actions and the overall gameplay. The primary camera, 1 main, provides a comprehensive view of the entire court.

The 2nd camera captures close-up shots, detailing on-court actions, bench reactions, and the crowd. Cameras positioned under the hoops and operated from the shoulder are 3 and 4, offering a close-up perspective of the actions under the basket, with one of them in Super Slow Motion. The 5th camera in a central position from the center court provides a wide and low-angle view.

The “beauty” camera, number 6, placed strategically, offers a total and spectacular view of the entire arena and is often used as a background for graphics. Cameras 7 and 8 are micro-cameras placed on the hoops to provide unique angles. Camera 9 in a reverse position captures actions from the opposite perspective and reactions of the key figures.

Camera 10, the “clock,” is aimed at the scoreboard and is used to monitor the game’s timer and clock. It serves as an official tool for referees and a backup for the TV production. Camera 11, positioned on a hi-lo, records in Supermotion 3x, equipped with a long-range lens, and its replays are the most detailed and emotional. Camera 12 is located in the flash area and is used for pre and post-game interviews. Camera 13 handles press conferences held in a dedicated room known as the press conference room. Camera 14, on the other hand, is an aerial drone camera used to capture aerial shots and exterior views of the arena. All these cameras contribute to creating comprehensive and engaging TV coverage of EuroLeague games.

Two Mobile Units in One

The mobile production unit used by EMG Italy to manage all the aforementioned cameras is the flagship OB Truck “NOVA 150,” with triple expansion capabilities, ensuring a comfortable workspace for the onboard crew.

Introduced in 2020, the Nova 150 outside broadcast vehicle is a highly flexible and state-of-the-art structure capable of comfortably accommodating up to 34 workstations. It represents an ideal solution for productions that require up to 24 UHD cameras. The OB Nova 150 truck is highly versatile and perfectly capable of handling two concurrent productions, thanks to two completely separate control rooms and access points, ensuring comprehensive coverage of games for both the international main feed and the national customization for SKY Italy.

The preparation process for the mobile unit starts in advance, the day before, with pre-setup. Then it moves to the match venue on the day of the game and is engaged in long hours of work, from early morning until late at night, to ensure flawless transmission. The production team responsible for filming EuroLeague games for Virtus comprises around thirty professionals, significantly dedicated to capturing and delivering every aspect of the game and the event to the audience.

Virtus Arena

The home of Virtus is the Virtus Arena, a modern space inside a Bologna trade fair pavilion, the venue for most games. The fiber-optic-wired installation, provided and installed by EMG Italy, is in use throughout the year.

EMG Italy serves as the host broadcaster, producing a complete main feed with graphics and advertisements as an international signal for broadcasters worldwide holding the rights. It often handles national integration for SKY Italy as well, leveraging the mobile unit’s ability to manage two concurrent productions through two entirely separate control rooms on the same vehicle, thereby optimizing resources.

Eurocup

EMG Italy, also for SKY for three years now, is responsible for the television production of Eurocup games, the second-most prestigious European competition after EuroLeague. In terms of typology, the media adventure is quite similar to what has been described for EuroLeague, except that there are slightly fewer cameras used here.

Three fewer cameras are employed, and even though the same mobile production unit is used, a slightly lower use of technology is applied, with two EVS machines instead of three. It is still an excellent television production with 12 cameras capturing a significant competition in the European basketball landscape, offering teams and players the opportunity to compete at an international level and demonstrate their skills. Notably, the team that wins the Eurocup advances to EuroLeague the following year, considered the pinnacle of European basketball competitions.