Italy – Gravity Media

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.

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.

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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Interview with Alessandro Curti, Head of Graphics at EMG Italy

EMG Italy and RCS Sport have renewed their partnership for the production of the leading Italian cycling events, with a strong focus on technological innovation, editorial quality and integrated management. Giro d’Italia 2025 will feature advanced systems including live data-driven graphics, drones, artificial intelligence and pixel tracking.

More than 120 professionals are involved, along with a mobile production unit for the international feed and tailored streams for digital platforms. The aim is to deliver an increasingly immersive and technically refined television experience.

“Last year we implemented a number of new graphic solutions, and this year we’ve continued along the same path,” says Alessandro Curti, Head of Boost Graphics in Italy, the international broadcast graphics division of EMG / Gravity Media.

“This year’s project involved advanced technologies, new data collection systems, and a significant expansion of the features dedicated to the live television production of cycling’s flagship event, the Giro d’Italia.”

RCS Sport has entrusted EMG / Gravity Media Italy with the international production and distribution of its cycling events, while all graphics operations are managed by its subsidiary Boost Graphics.

This collaboration allows for early-season trials of new tools during events like the UAE Tour, Strade Bianche, Tirreno-Adriatico and Milano-Sanremo, which are then fully developed and deployed at the Giro. Other RCS races follow: Milano-Torino, Gran Piemonte and Il Lombardia. Since last year, new additions include Sanremo Women, Giro Donne and Giro Next Gen, expanding the calendar of covered events.

The Giro represents the culmination of all graphic innovations tested throughout the season.

Among the key developments this year are new solutions that highlight athlete data: in addition to biometric parameters (speed, cadence, power output in watts) previously limited to a few riders, the 2025 edition features a greatly expanded dataset.

Additional information such as weather conditions, cultural content and historical notes on each stage location have also been integrated, some of which are provided directly by the organiser through dedicated tools developed to enhance their graphic representation.

“For biometric data collection,” Curti explains, “we’ve developed a new system in collaboration with VELON, an external partner of RCS. The data are captured by sensors mounted on the bikes, transmitted via mobile networks using transponders, and sent to a central data hub. From there, the information is transferred via API and internet connection to the Boost Graphics operations centre, where it is processed in real time and provided to the main production director.”

Boost Graphics has also developed a custom application for collecting and managing this statistical data.

Almost every bike (within technical limits) is equipped with a transponder, and the transmitted data is processed to create athlete-specific biometric graphics, enabling dynamic comparisons between riders in breakaways, in the peloton or among general classification contenders.

All of this is integrated into the live graphic flow for the international feed. The transponder signals are first received by the VELON hub and then sent via mobile network (which can present challenges in mountainous terrain) to Boost’s graphics hub, where the system processes the data with minimal latency. Graphic operators select the most relevant content in line with the narrative choices of the live director. The data feed is continuous, but only pertinent elements are broadcast, using templates created during the off-season.

Live images are accompanied by informative graphics, from weather and biometric data to group composition and breakaway formations. A single graphics coordinator maintains direct contact with the director to ensure editorial consistency. Three Boost Graphics OB vans are stationed at each stage finish, staffed by personnel managing timing (in partnership with Microplus), intermediate sprints, stage results, secretariat tasks and photo finish.

“One of the key innovations in 2025,” adds Curti, “is the introduction of the ‘Red Bull kilometre’, a new intermediate sprint that required the development of dedicated and branded graphics. We’ve also expanded our technical infrastructure: six OB graphic vehicles in total—three at the finish and three along the course to manage the intermediate sprints. Two additional graphic workstations have been installed on one of the OB vans to reinforce operations.”

The intermediate sprint vans are responsible for collecting and transmitting the sprint standings in real time, including graphics and official statistics.

Personnel are distributed across three intermediate sprint positions, two photo finish stations, one secretariat, one for race radio, one for GPS, one for pixel tracking, and three operators for central graphics—for a total of 13 specialised roles.

The Pixel Tracking system, used exclusively on helicopter footage, allows real-time tracking of rider positions within the race, with dynamic on-screen labels showing name, bib number, and jersey type. One operator is dedicated to this task, and the footage is also used in post-production.

Finally, to integrate with RAI’s graphics, EMG / Gravity Media Italy has assigned a dedicated operator and equipment within RAI’s OB van, ensuring unified and consistent graphic management throughout the race.

“It’s a complex but cohesive team effort,” concludes Curti, “and I would like to thank Antonello Grippo, Cycling Project Manager, in particular. The result is a graphic system that is richer, more precise and more dynamic—one we’re especially proud of, as it truly serves the television storytelling of the Giro d’Italia.”

EMG / Gravity Media Italy, a leader in broadcast services and media production and part of the international EMG / Gravity Media Group, today announced the renewal of its multi year partnership with RCS Sport.

The shared objective is to further enhance the quality of television coverage for the most important cycling events on the Italian calendar over the coming years.

A comprehensive 360 degree production and broadcasting service will be provided, tailored to the needs of the rights holder (RCS Sport), the regions involved and the sponsors, with a strong emphasis on state of the art technology.

Key Productions and Races

EMG / Gravity Media Italy will be responsible for producing nine World Tour competitions. The most significant of these, in terms of media exposure and production format, is the Giro d’Italia, which this year reaches its 108th edition. This internationally renowned sporting event attracts millions of fans annually and consists of 21 stages, covering a total of 3,413.3 kilometres.

The renewed partnership began this season in March with Strade Bianche and Tirreno Adriatico, followed by Milano Torino (19 March), Milano Sanremo (22 March), and the Giro d’Abruzzo (15 to 18 April). It now continues with the Giro d’Italia, and will be followed by the Giro Women (6 to 13 July), Gran Piemonte (9 October) and Il Lombardia (11 October 2025).

Technological Innovations

Live drones will be used during the Giro d’Italia, with footage integrated into the main broadcast feed. Another new feature this year was the Sanremo Women’s Race, held simultaneously with the men’s race on a parallel course.

To manage this dual event, EMG / Gravity Media Italy carried out two simultaneous productions using the Outside Broadcast truck NOVA 128. The signal was transmitted via two aircraft, received at two locations and distributed through multiplexed satellite beams to cover both races and ensure aircraft autonomy.

The camera set up featured nine HD signals from seven motorbikes and two helicopters, 11 4G and 5G signals, one satellite drone and 13 fixed cameras in the finish and pre finish areas. This provided a comprehensive visual preview ahead of the Giro.

Giro d’Italia Coverage and Content

EMG / Gravity Media Italy is responsible for producing the international live feed, along with a wide range of additional content for the Giro d’Italia 2025, the flagship event among RCS Sport productions. This includes a weekly magazine show and a multiview feed sent via satellite to Warner Bros. Discovery, allowing viewers on Discovery Plus and MAX platforms to choose an alternative viewing experience. This will combine the international signal with live feeds from three mobile cameras on motorbikes and helicopters.

As is tradition, the mountain stages are expected to be decisive. Special focus will be placed on Stage 20 (Saturday 31 May), from Verres to Sestriere, spanning 203 kilometres with 4,500 metres of climbing. For many insiders, this is seen as the key stage of the Giro 2025. It will include the Col de Lys (13.7 kilometres with a 12 percent maximum gradient), leading to the Colle delle Finestre and the Cima Coppi at 2,178 metres. This is the fifth time the Colle delle Finestre has featured in the Giro, notably in 2018 when Chris Froome triumphed after a memorable solo breakaway.

Logistical Execution and Connectivity

Logistics are a major challenge in this production. More than 120 staff members, including technicians and operators, will be deployed to move from one stage to the next on a daily basis.

The mobile television compound, with OB trucks and support vehicles adapted to each location, ensures seamless transmission along a route that winds through the Italian peninsula. This year’s edition also features a special start abroad, with the ‘Grande Partenza’ taking place in Albania and including an individual time trial in Tirana.

Data Driven Graphics and Artificial Intelligence

One of the standout features of this edition is the use of advanced live graphics, including pixel tracking systems that display rider data in real time. A dedicated operator will manage data visualisation using the innovative Velon system.

AI enhanced GPS tracking will allow the race to be followed in even greater detail, showing each rider’s position, time gap and distance to the finish line, visible during aerial shots. This system, successfully used in other international events, will make the Giro d’Italia 2025 even more engaging for viewers.

Broadcast Technology and Audience Experience

The entire television production involves more than 15 mobile units, supporting both host production and rights holders. High frame rate cameras will be deployed to capture every detail of the action.

Drones will be used extensively, particularly in the mountain stages, to offer spectacular aerial views and unique visual angles, enhancing the immersive experience for the audience.

Claudio Cavallotti, Managing Director of EMG / Gravity Media Italy, commented:

“This renewed partnership with RCS Sport allows us to continue our strategy of growth and innovation. During the previous three year collaboration, we introduced important technological advances and managed complex logistics to deliver an unprecedented viewing experience.

The strength of our international group, which includes key markets such as France and Belgium, enables us to bring together valuable expertise and meet the specific needs of each production. Together, we are raising the quality of cycling coverage to new levels and delivering live broadcasts of some of the most stunning and challenging races in the world.

We have built a production model that guarantees excellence and consistency. Our ambition is to exceed the standards of previous editions and bring cycling fans even closer to the heart of the action.”

The Final Eight, the 2025 Italian Basketball Cup, took place in Turin at the Inalpi Arena from 12 to 16 February 2025, with the semi-finals on Saturday, 15 February, and the final on Sunday, 16 February. Won by Dolomiti Energia Trentino, who defeated EA7 Emporio Armani Milano in the final, the Final Eight once again proved to be an event of great spectacle and competition, with an outstanding response from the audience and a record of 46,000 spectators over five days of competition.

Once again this year, all phases of the competition were covered thanks to the well-established TV production by EMG / Gravity Media Italy. However, this edition introduced several innovations, particularly in indoor graphics, as explained by Alessandro Curti, Head of Graphics.

“We have certainly introduced an innovative service,” confirmed Alessandro Curti, “introducing for the first time graphic contributions and statistics on the LED walls inside the arena, for the benefit of the audience and fans present. The content was displayed across three different platforms: the side columns, the central cube—usually reserved for match data—and the LED walls around the court. The generated graphics were not broadcast simultaneously on all platforms but were strategically distributed using a system we specifically developed. Most of the information was displayed on the new large vertical screens at the sides of the arena, almost like visual columns, providing constant updates on team statistics, individual player performances, and comparisons, enhancing the entire dataset we manage.”

These data, collected directly by Boost Graphics through proprietary systems, were provided to LBA (Lega Basket Serie A) as part of a season-long agreement. Additionally, during three key moments defined by the LBA as “dominance”, all graphics were displayed simultaneously on all platforms: side columns, central cube, and LED walls around the court, creating an integrated and dynamic visual experience.

These three key moments were:

Instant replay, the basketball equivalent of VAR in football, used for controversial referee decisions.
Crunch time, the final two minutes of the game.
Time-out calls, during which dedicated graphic effects and team logos of the requesting team were displayed.

“The launch of this new service,” continued Alessandro Curti, “was an absolute first, allowing us to enhance our in-house data management expertise. Thanks to this knowledge, we were able to distribute graphics in real time across multiple platforms—a specialisation that LBA acknowledges and entrusts to us as a highly qualified operator, not only in the management of live broadcast graphics but also in understanding the narrative dynamics and specific characteristics of this sport.”

The project was developed to meet the specific needs of LBA, with EMG / Gravity Media Italy working intensively to achieve the desired results, to the great satisfaction of the client. The public responded positively to this new set of information, further enhanced by the collaboration with the official event speaker, who highlighted key stats.

Particularly in the pre-match phase, curiosities and statistics were shared, enriching the spectator experience and engagement. This collaborative approach between Lega, the graphics content provider, and the live speaker led to excellent results, as during the dominance moments, the entire arena reacted in an immersive atmosphere, amplifying the mood of the situation and enhancing both the graphics and the game environment. For home viewers, the match was enriched with 2D graphics, augmented reality elements, and large screens visible in the broadcast footage.

Virtual Graphics

Following its debut in the previous edition of the Final Eight, the decision was made to continue developing and implementing 3D graphics live, created by the Boost Graphics team. Real elements, such as the trophy or player photos, were integrated into the official LBA look & feel, enhancing statistical data through individual player cards, numerical comparisons, and leaderboards for the top three scorers and rebounders.

The selection and placement of these contents were agreed upon with the LBA, both in editorial and graphic terms, in full coordination with the production team, which further enhanced the 3D elements through carefully planned camera movements. EMG / Gravity Media Italy also utilised the Robycam, a highly manoeuvrable cable camera system capable of executing three-dimensional movements in space.

This system enabled the capture of dynamic aerial shots, perfectly integrated with 3D virtual graphics, delivering a visually striking impact throughout the Final Eight matches. Among the most appreciated graphic elements was the 3D model of the trophy, based on the actual cup won by the victorious team. Great attention was also dedicated to the scoreboard and the award ceremony, which celebrated the values of the winning team.

Additionally, the starting five lineup presentation was enhanced with 3D elements, featuring player photos and individual cards with real-time statistical data and detailed information on the key players, constantly updated. During half-time, the statistical collection of shooting percentages was represented using scenic 3D shot maps.

These maps, structured as three-dimensional steps, recreated the court layout, highlighting each team’s shooting efficiency in different zones: the higher the column, the better the shooting percentage from that area. Some of these aesthetic solutions had already been introduced in the previous edition, but this year, they were expanded with player-to-player comparisons, top three scorer and rebounder leaderboards, and an updated graphic layout in line with this edition’s style.

A Step Forward in On-Site Fan Engagement

“This year,” concluded Alessandro Curti, “the focus was particularly on fan engagement, thanks to the introduction of the described LED screens, where we brought statistics to life with visible and functional elements, going beyond the mere spectacle of the game. The real contribution of Boost Graphics lies precisely in this: transforming data into an accessible experience, offering an innovative visualisation of technical content. These are insights often reserved for TV audiences, but now we have made them available inside the arena as well, with highly positive feedback from both LBA and the fans.”

The Kings World Cup Nations is a 7-a-side football tournament that combines competitive excitement with spectacle, featuring prominent participants, including former football stars, influencers, and content creators. The event involves 16 national teams and is governed by unique rules derived from the original Kings League format.

The inaugural edition, and the first Kings League competition held in Italy, began on 1 January 2025 at the Kings League Arena in Via dei Missaglia, Milan. Italy made its debut against Japan in the opening match. The tournament continued until the final on 12 January at the Allianz Stadium in Turin, where the first Kings World Cup Nations trophy was awarded.

Anticipation is now building for the Italian Kings League championship, set to start on 3 February. Created two years ago by former footballer Gerard Piqué, the format primarily targets younger audiences, blending entertainment with sports competition. The KWCN achieved a record audience of 100 million viewers and 1.5 billion social media impressions.

Matches were streamed on platforms such as Twitch, YouTube, Kick, TikTok, and Facebook, and broadcast by traditional networks in over 60 countries. In Italy, they aired live on Sky Sport channels, including Sky Sport Max and TV8.

Unique Gameplay Features

The tournament’s rules are particularly innovative, with 40-minute matches, shootouts to resolve ties, “presidential” penalties, and special cards affecting gameplay, such as double-goal cards and temporary dismissals.

On the pitch, professional football veterans alternated with amateur players, while teams and national squads were led by influencers and streamers acting as team presidents.

EMG / Gravity Media Italy’s Role

EMG Italy, part of the EMG / Gravity Media group, provided all broadcast services for the Kings League Italy and the Kings World Cup Nations. This included live coverage and streaming distribution for the final at the Allianz Stadium and the upcoming Italian championship. A team of around 40 professionals managed all technical aspects, such as lighting and LED wall setups, to deliver an immersive experience for both in-person and remote audiences.

The visual design of the format stands out for its modern and engaging approach, elevating the event beyond traditional sports. The Kings League Arena was transformed into a “football theatre,” featuring meticulously crafted scenic setups.

The Kings League Arena

A dynamic lighting and LED wall system was used to create a vibrant, modern atmosphere. Lighting effects highlighted key moments like team entrances and goal celebrations, as well as sponsor messages. Large LED panels surrounded the pitch, displaying customised graphics, replays, exclusive content, scores, standings, and real-time interactive visuals, contributing to an immersive narrative.

The Kings League structure spans 6,000 sqm, featuring a detailed pitch surrounded by high borders, creating an “arena” effect reminiscent of American sports events. This setup also catered to online audiences, with innovative camera angles, a drone for aerial shots, and augmented reality enhancements during broadcasts. The stands accommodate approximately 400 spectators, offering an intimate and immersive experience for on-site audiences.

Interactive and Technological Experience

Francesco Donato, CTO of EMG Italy, explained: “We handled the technical setup and production, implementing about 200 sqm of scenic LED wall systems. The LED walls, controlled by a complex watch-out system, were used around the pitch perimeter, in the primary camera-facing area, and behind the goals to display sponsor content, scores, and additional show features. We also installed field lighting, delivering 1,200 lux uniformly distributed with LED technology, and several moving heads critical to the event’s visual success. The indoor audio system was separately managed for field coverage and audience diffusion, distinct from the broadcast system.”

Presidents and Social Streaming

Each team was represented by a president, a content creator with an established fanbase who streamed live commentary from pitch-side setups. EMG Italy equipped the main control room for managing audio, video, lighting, and LED walls in dedicated shelters outside the arena. Around 20 cameras were deployed for live production, providing feeds for presidents/streamers and international broadcasts in English, Italian, and Spanish. Two additional control rooms supported Italian and Spanish integration, with pre- and post-match commentary studios. Feeds were distributed to around 60 international takers via SRT streams.

Donato added: “The small pitch size significantly influenced the dynamics of camera placement, given the faster pace compared to traditional football. Besides broadcast-quality pitch cameras, we used micro-cameras behind goals, PTZ units, and a lightweight drone to achieve high-quality and dynamic images.”

Control Room, VAR, Team, and Setup

The permanent control room, also used for the regular season, coordinated a complex mix of entertainment and sports production. It featured camera, lighting, and LED wall control stations, a powerful mixer with three effect desks, four graphic stations, two super motion replay desks, and two dedicated VAR desks.

The production team expanded to over 40 professionals, including new roles for field activities such as Watch Out operators, lighting technicians, and a sound designer for arena and broadcast audio management. Dedicated microphone operators supported the presidents’ stations, while two mini-studios for Italian and Spanish unilateral feeds hosted pre- and post-match commentary.

Francesco Donato’s Final Comment

“We’re witnessing a significant shift in audiences and content distribution methods, making events accessible on the move and across a variety of devices, beyond traditional TV screens. The sold-out final on 12 January at Allianz Stadium embodied this new global entertainment model, featuring not only the Colombia vs Brazil match but also a Mahmood concert and a Legends vs Streamers special match to enhance the overall show experience. It’s fascinating to see how such an event has engaged a broader audience, attracting young people and families—a different demographic from traditional football stadiums.”

EMG / Gravity Media Italy reaffirms its leadership in live sports content production and distribution by taking on the role of Executive and Editorial Producer for the Winter Universiade Torino 2025.

The event, scheduled from 13 to 23 January, includes comprehensive coverage of all competitions, including the opening and closing ceremonies.

Live Production: A Multi-Faceted Commitment

Leveraging extensive experience in winter sports productions, EMG / Gravity Media Italy has deployed a high-level technical and organisational service, ensuring live coverage of all disciplines featured in the official programme of the Torino 2025 Universiade.

The disciplines covered include alpine skiing, biathlon, cross-country skiing, slopestyle, moguls and aerials, figure skating, speed skating, curling, and ice hockey. Live productions have been concentrated in the competition venues selected by the WUG2025 Committee, with a significant commitment at Pragelato Rua for the biathlon, where the Orion 209 mobile unit has been deployed.

The Orion 209 from EMG / Gravity Media Italy is an advanced mobile unit dedicated to high-definition audiovisual production, designed to meet the demands of complex live events. Equipped with state-of-the-art technology, it supports multi-camera production, IP connections, and UHD-HDR broadcasting. Thanks to its modular design and extensive operational capacity, Orion 209 ensures flexibility and quality for sports productions, concerts, and television broadcasts.

The unit stands out for integrating cutting-edge solutions that optimise the management of audio and video signals, both in traditional configurations and remote production (REMI) environments. Additionally, drones have been introduced to enhance footage of the biathlon and the closing ceremony, providing unprecedented and immersive angles.

The Operational Team

“The operational coordination,” explains Davide Furlan, Project Manager for EMG / Gravity Media Italy’s production of the event, “involves a high-profile team comprising six Unit Managers dedicated to the competition venues, coordinated by me at every stage of the project. The team is further strengthened by the involvement of around 220 freelancers, reflecting the logistical and production complexity of an event of this scale.”

“A key aspect of EMG / Gravity Media Italy’s commitment,” Furlan continues, “is the technical and editorial consultancy provided to FISU to optimise the live coverage of competitions. Thanks to our expertise in winter sports disciplines, we have successfully translated FISU’s specific competition requirements into effective and high-quality production solutions.”

International Distribution: A Global Network Supporting FISU TV

Beyond live production, EMG / Gravity Media Italy has also managed the international signal distribution from its MCR in Cologno Monzese, dedicated exclusively to FISU TV. This service, previously tested during the 2023 Winter Games in Lake Placid (USA) and the 2023 Summer Games in Chengdu (China), is a model of efficiency and scalability.

The MCR operates an advanced cloud-based platform capable of managing up to 8 Main + 8 Backup live input feeds, ensuring a potentially unlimited number of output streams. For the Torino 2025 Universiade, nine international broadcasters are involved as takers, highlighting the event’s global appeal.

EMG / Gravity Media Italy’s collaboration with FISU also extended to the management of its International Broadcast Centre (IBC), hosted at the EMG / Gravity Media Italy facility in Cologno. Here, an EVS operator, a technical manager, and a media manager have overseen the control and delivery of content to FISU’s Media Hub.

The FISU production area included:

One coordination and production workstation for FISU’s Head of Production.
Three editing rooms: two for editing and one dedicated to news.
One taker coordinator for managing outgoing signals.

To ensure continuity and precision at every operational stage, the EMG / Gravity Media Italy team assigned to Cologno included a producer/general coordinator, supported by five MCR operators, an MCR supervisor, two technical supervisors, and three IT engineers.

An Innovative and Reliable Production Model

EMG’s integrated approach to the Torino 2025 Universiade highlights the company’s ability to manage complex projects, combining technical expertise, cutting-edge technological solutions, and structured organization. The synergy between live production and international distribution strengthens the relationship of trust with FISU and international partners.

More than 125 hours of live tv production planned for 11 days of competitions

Milan, 10 January 2025 – There are just three days to go until the opening ceremony in Turin, which will kick off the XXXII edition of the ‘FISU World University Winter Games’ (scheduled in Piedmont, Italy, from 13 to 23 January 2025).

The World University Winter Games, an event historically under the aegis of the FISU (International University Sports Federation), will be held in Piedmont, involving not only Piedmont’s capital city but also five other municipalities (Bardonecchia, Pinerolo, Pragelato, Sestriere and Torre Pellice). More than 2,000 student-athletes from 57 nations will compete in 9 different winter disciplines during the 11 days of competitions.

The international event

More specifically, Turin’s Palavela will host the short track and figure skating competitions, while the women’s ice hockey tournament and the men’s semi-finals and finals will be held on rink 1 of the PalaTazzoli (also in the Piedmont capital), in addition to the men’s and women’s curling tournaments on rink 2. The men’s hockey preliminaries will be held in the arenas of Torre Pellice (municipality of the metropolitan city of Turin) and Pinerolo, while the municipality of Bardonecchia will host alpine skiing, freestyle skiing, and snowboarding. Pragelato will host biathlon, cross-country skiing, and ski-orienteering competitions, while the spectacular discipline of ski mountaineering will be staged on the slopes of Sestriere.

Then, for the first time in the history of the Universiade (starting with this XXXII edition), able-bodied student-athletes and para student-athletes will compete on the same slopes in the disciplines of alpine and cross-country skiing (Standing, Sitting and Visually Impaired categories).

A strategic collaboration

EMG Italy, part of the EMG / Gravity Media group, leader in broadcasting and media production services at national and international level, confirms its support to FISU. In this new edition of the Winter Games, it aims at guaranteeing a high level of production and quality of the final product, to attract the largest number of winter sports enthusiasts (replicating what was already a positive success at the last event held in Italy, the 2019 Naples Summer Games).

Also, for Torino 2025, EMG / Gravity Media Italy will act as the service provider selected for the supply of the broadcast media, all the directors and assistants for the sports coverage of all disciplines, as well as the specialised personnel and logistics (for the entire coverage of the event). The EMG / Gravity Media team will also provide live graphics services, time keeping (in cooperation with its partner Microplus) and the production of the event’s official opening title sequence.

Part of the strategic success for this TV production, is the distribution of the international ‘feed’, intended for rights holders, based at the TOC held in EMG / Gravity Media’s Italy’s Broadcast Center in Cologno Monzese (Milan). Finally, the Lingotto in Turin will host the MOC (Media Operation Centre) facilities.

Production commitment

EMG / Gravity Media Italy, in conjunction with this international multi-sport event, will field 150 professionals in different crews covering all indoor and outdoor venues. Six Unit Managers and a Project Manager are expected to coordinate all the activities necessary for the various live television productions of the Winter Games.

In total, the production schedule will include over 125 hours of live coverage, guaranteeing rich coverage across all the event phases. Allowing audiences to fully immerse themselves into the action, the use of drones is planned for events, including the Biathlon races and the Closing Ceremony. EMG / Gravity Media will also provide FISU with strategic advisory services, given its many years of experience in winter sports production and distribution.

Claudio Cavallotti – Managing Director of EMG / Gravity Media Italy says: ‘Working closely with FISU, we have been engaged for several months in organising the TV production of the Winter Games, i. After the positive experience gained during the summer edition of Naples 2019, an even more impressive technological effort is planned for Torino 2025. In addition to this, as with all sporting events, we want to guarantee a high level of production and high quality final product, with the support of a team of highly experienced professionals. We aim to confirm EMG / Gravity Media Italy as a reliable partner for FISU, with the help of the most advanced technologies currently in the market’.

The Free University of Bozen led an experimentation (5VREAL) on systems using AI to recognize phases and parameters of play in Volleyball and to generate data associated with video to be used either at a strategic level (supporting the development of game tactics) or to increase fan engagement (Fan engagement) by producing highlights with real-time augmented reality graphics for inclusion in the event’s TV program.
As part of this experimentation, 5G network-based remote broadcast production techniques and technologies played a twofold role. The first, to make possible the capture of images and their transfer into the Edge Cloud that hosts the AI-based systems. The second, to enable the creation of real-time highlights and make them available for playout at the director’s office.

The 5VREAL project was the recipient of a MIMIT call aimed at promoting the use of the 5G network and computing resources in proximity data centers (Edge Datacenters or MECs) for audiovisual production and applications employing artificial intelligence.

The Free University of Bozen/Bolzano was the leader of a grouping of institutions and companies engaged in the development of technologies useful for achieving the goal. In particular, the Bruno Kessler Foundation (FBK) and UniBZ were involved in the development of artificial intelligence-based systems for analyzing game phases. Small Pixels developed and made available their AI-based technology for improving the video quality of content that has undergone compression processes. Taking advantage of the capacity and flexibility of its 5G network, Vodafone installed dedicated indoor coverage at the Trento sports hall to ensure the necessary performance for the mobile devices deployed there. It also built a private network that would allow them to connect with the Edge Computing resources set up inside EMG Italy’s MCR in Cologno Monzese.
EMG Italy built the entire technological infrastructure of the datacenter, made its production facilities available and oversaw the implementation of a low-latency remote contribution and production system based on what Vodafone has already experimented with its 5G Remote Media Production Platform.

The result of the trial was demonstrated at an event at The T-Quotidiano arena (sports hall in Trento). The comprehensive process set up by the partners allowed a volleyball match to be filmed with 4 cameras connected both in 5G to the remote production system at the edge datacenter in Cologno and to the Nova 126 mobile unit. In addition to the Broadcast cameras, the event was filmed with 3 Smartphones, also connected in 5G to the Edge Cloud in Cologno, to demonstrate the possibility of having all the AI-based tracking part even when the event is not produced for TV broadcast.

The result of the AI-based systems’ processing was displayed on a tablet where, in addition to the event video, game data extracted from the systems were scrolled through, while augmented reality-enriched clips were inserted into the event program in the form of highlights. The extracted data and generated content could also be consulted after the event for game analysis useful for developing game strategies.

Vodafone’s 5G Remote Media Production Platform and EMG Italy’s expertise

The trial thus benefited from the 5G network solution developed by Vodafone for remote video contribution and production applications, which was extended by adding the Edge Computing node built at EMG Italy’s Cologno Monzese MCR datacenter. In order to benefit from maximum performance in terms of low latency and reliability, the Edge Computing infrastructure has been made directly accessible from devices enabled on Vodafone’s 5G network through a direct and virtually dedicated connection.
In this way, devices equipped with special SIMs (not commercial SIMs, to be clear) benefit from advanced features such as network slicing, which reserves the necessary resources for them to have a relevant amount of bandwidth (especially in upload) and extremely low latency levels. Without these resources, they could not enable the transmission over wireless networks of high-quality video streams in real time.

Moreover, such devices benefit from a direct and dedicated connection, almost as if “there was a direct line” between the indoor coverage equipment in the arena and EMG’s Edge Cloud.
All thanks to the large capacity and advanced capabilities of Vodafone’s 5G infrastructure. In order to maximize the performance of its network for audiovisual contribution and production uses, Vodafone contributed to the development of dedicated devices that were acquired and managed by EMG Italy for the occasion.
These devices, which can be likened to “backpacks” commonly known in the broadcast industry, represent an “extreme” evolution of it in that, in addition to possessing audio/video capabilities superior to what is available on the market today, they add to technologies such as bonding a precise integration with the operator’s network.

The result is that, regardless of where in Italy one connects via one or more SIMs, data will arrive at the data center in Cologno Monzese in an average time of about 15 milliseconds without traversing the Internet and therefore without being impacted in terms of bandwidth availability and latency. In practice, what will impact the characteristics of the link (bandwidth and latency) will only be the quality of the radio access, which, however, is improved thanks to the characteristics of the terminal. In fact, the latter, in addition to being equipped with 5 latest-generation 5G network interfaces, also benefits from a case design designed to optimize radio performance. This is because, despite the benefits derived from the specific integration of the device into the network and the dedicated resources at the access level, the device plays a key role in that it must be able to take advantage of capabilities and technologies made available by the network in order to be able to perform very well.
In the course of the experimentation, and particularly in the Trento event, exceptional access performance was verified that allowed the terminals to have connectivity with more than 700Mb/s download and 100 Mb/s upload and with transport latencies always below 20ms.

The result is that, regardless of where in Italy one connects via one or more SIMs, the data arrives at the data center in Cologno Monzese in an average time of
Video contribution latency, thanks to the encoding and decoding performance of the devices and systems in the datacenter is always less than 150ms thus enabling the realization of any contribution or remote direction activity.
The experimentation also benefited from the technology made available by Small Pixels, which, thanks to its software developed together with the University of Florence and based on pre-trained artificial intelligence neural networks, allows for a clear increase in video quality with the same compression technology and available bandwidth.
In fact, the technology developed by Small Pixels proved crucial in eliminating visual artifacts such as pixelation, noise and distortion, on the contributions made by smartphones, helping to optimize both streaming and real-time transmission. This made it possible to use streams generated by ordinary smartphones to feed the UniBZ and FBK systems dedicated to game data analysis and ball tracking, as well as for all subsequent data interpretations.

The infrastructure created in EMG Italy’s datacenter in Cologno represents a consolidated asset that lends itself to future evolutions for the provision of new services similar to those implemented during the trial, namely: Remote Production, On-site Wireless Production, Video Analysis on AI-based systems, augmented reality content generation, etc. All with the simplicity and speed of deployment resulting from mobility over a 5G network.
“On the infrastructure of EMG Italy and Vodafone,” emphasizes Luca Bertoldi IT Manager of EMG Italy, “advanced solutions have been developed that allow to manage a director or MCR directly from remote locations, offering also the possibility to operate a mobile director.
It is enough to have an access point to Vodafone’s 5G network to control a direction and manage 3-4 cameras efficiently.”

Luca Sampietro, Product Marketing Manager 5G Vertical Solutions at Vodafone points out that “we have worked side by side with EMG Italy and the other members of the grouping not for the purpose of pure experimentation, but because we are confident that 5G can contribute strongly to innovating the broadcasting industry in a structural way.”

On Site Wireless Production

This is an adjunct workflow to remote production where, direction is done on handheld devices connected to the 5G network. The typical application could be for sporting events that take place outdoors and would be expensive to produce using traditional methods where the use of the program is more than just broadcasting. A typical example might be a mountain bike race where the organizer wants to have strong on-site audience engagement through ledwalls but also wants a streaming broadcast. A remote production solution would bring few benefits compared to using an OB truck, which would still be expensive. With this solution, taking advantage of the virtualized control room in the datacenter, cameras scattered around the competition grounds send signals that are displayed in real time on tablets (or notebooks that may also have dedicated control panels) from which video mixer, audio mixer, graphics, and clip contribution is managed. The program can thus be sent to both the streaming platform and the ledwall via a 5G device with SDI/HDMI/IP inputs and outputs.

The edge infrastructure currently available in the EMG Italy datacenter could safely handle up to 6 to 8 multi-camera events in different locations, with the signals carried via mobile devices specifically developed for Vodafone’s MMPP.
These systems, in addition to providing extremely low latency that allows for remote event direction, include broadcast-specific features such as multiple 12G SDI inputs and outputs to handle up to 4 video inputs or more than one video return simultaneously with 2 4K inputs for each device, along with two intercom circuits and other audio inputs/outputs; essential features for use in the broadcast environment.
Each device integrates five 5G modems and a high-performance encoding and decoding engine, capable of achieving encoding latencies of ½ frame.
EMG Italy’s platform design was overseen by Luca Sciotti, who has been active in supporting Vodafone in the development of the 5G Remote Media Production platform and mobile devices for several years now.

His comment on the sidelines of the trial results was, “These are solutions that, as they grow along with the coverage and performance of mobile networks, open up new production scenarios or improve the processes of existing ones. One thinks of the possibility of using these high-performance devices even in the studio where they can guarantee superior performance in terms of functionality, quality and latency to those of traditional radio camera systems, or the possibility of managing the production of an event totally on site without the need to move the expensive and cumbersome means that remain indispensable for high-level productions anyway.”

Contribution

Among the distinctive features of 5G Remote Media Production is the ability to allow point-to-point contribution anywhere, even between non-professional mobile devices, albeit high-end ones. Let’s not forget that the latest iPhones have very high video quality and are already used today for some journalistic contributions.
Unlike other solutions on the market, in fact, devices combined with cloud servers and other infrastructural components are not required. 2 devices and a connection are sufficient to allow the exchange between them of 4 video signals in total (even UHD), service communications and control signals, etc. All with latencies that stand at 150ms point-to-point and high reliability due to the fact that you are in all respects on a dedicated portion of the network.

Milan, 30 December 2024 – After the success of the first edition, the Kings League has finally landed in Italy too, ready to amaze for its innovative format (born from an idea of former Spanish footballer Gerard Piquè), for the many protagonists involved (it is played with the 7-a-side football formula), but above all for the spectacular plays of the athletes on the field (former football stars, influencers and youtubers). After the presentation event and the Draft at the beginning of January (involving the cities of Milan and Turin) the World Cup will be staged, while the first Italian Kings League championship will start at the end of January and in February.

EMG Italy, part of the EMG / Gravity Media group, a leading provider of broadcast and media production services at national and international level), will provide all broadcast services on these occasions, including live coverage of the matches, streaming distribution, and the supply of materials and professionals for the success of the events.

The final at the Allianz Stadium in Turin

The first match of the Kings World Cup Nations will take place on Wednesday 1 January 2025 at 16:00 at the Kings League Arena in Milan. Italy will make its debut in the opening match against Japan. Following this, from 17:00 and with one match every hour until 19:00, the other three matches of the day will be played: Uzbekistan-Saudi Arabia, Argentina-Spain and United States-Mexico.

The following day, on Thursday 2 January, the remaining national teams will take the stage at the same times, scheduled as follows: at 16:00 Brazil-South Korea, at 17:00 Turkey-Ukraine, at 18:00 Colombia-Morocco and in closing at 19:00 Peru-Germany. The event will then continue with all subsequent matches, based on the results of the first competitions: with subsequent events scheduled for 3 and 4 January.

It will then resume on Epiphany with the so-called ‘knockout stage draw’, where the pairings will be made for the ‘last chance’ challenges, which will also continue the following day, before making way for the quarterfinals on 8 and 9 January. The final instead, scheduled at the Allianz Stadium in Turin, will be on Sunday 12 January at 18:00. And, on this occasion, the first Kings World Cup Nations in the history of this sport-entertainment format will be awarded.

EMG Italy’s commitment

EMG Italy will provide, on the basis of a multi-year agreement, all broadcast services (project consultancy and set-up, means, crew and technological equipment). Specifically, the live coverage and streaming distribution of Kings League Italy (for a total of 26 match days) is foreseen. In addition, there will also be live coverage and production of the streaming of the ‘Kings World Cup Nations’ for the 2025 season. In addition, at the debut of this new partnership, EMG Italy produced live coverage of the Kings League Italy Draft presentation evening and the Kings World Cup Nations draw (held at the Teatro Regio in Turin on 5 December).

Inside the Kings League Arena at the ‘Vismara Fondazione Don Gnocchi’ centre in Milan, the venue of the event, a crew of about 40 people will be employed, with a strong focus on the technological part of the project (in particular the lighting/led set), with the aim of enriching the experience of playing and watching the matches, both for the spectators present and those connected.

‘We have embraced this project, which is already revolutionizing the world of football thanks to a perfect mix of entertainment and innovation, because it promises to always capture the attention of the Italian public. The Kings League aims to create a different experience compared to traditional football (based on creative rules and a unique format) and for this reason it has already won thousands of fans abroad,’ said Claudio Cavallotti, Managing Director of EMG Italy. ‘We will bring with us the experience gained over the years in the production of the most important national and international sports events. At the same time, we believe we can engage viewers in a new live experience, contributing concretely to the success of the Kings League in our country’.

EMG / Gravity Media in Italy and Infront have recently renewed their contract, representing a strategic agreement that strengthens a long-standing collaboration.

This new deal covers the production of FIS World Cup events for the 2024/2025 and 2025/2026 seasons, providing Infront Productions—the division of Infront that manages sports event production—with the tools and resources to cover disciplines such as alpine skiing, Nordic skiing, and freestyle & snowboarding in Italy and France.

The agreement represents a significant commitment, both in organisational and production terms, positioning EMG / Gravity Media Italy as a benchmark for technical excellence in the production of winter sports events.

Strategic Partnership with Infront

Claudio Cavallotti, Managing Director of EMG / Gravity Media in Italy, stated: “This contract renewal consolidates the relationship between EMG / Gravity Media Italy and Infront, strengthening a partnership that combines technical expertise and strategic vision. This synergy ensures high production standards and enhances sports events, offering viewers a top-tier visual experience. We rely on cutting-edge technologies and impeccable organisation that merge experience, innovation, and the ability to manage complex operations in challenging environments. Alongside Infront Productions and through this renewed partnership, EMG / Gravity Media Italy reaffirms its central role in the TV production of winter sports events, especially in preparation for the upcoming 2026 Winter Games.”

Organizational Aspects

“As always, the logistical and production commitment is substantial,” Cavallotti continued. “We will produce 27 events in just three months (December, January, and February). Despite this challenge, we aim to ensure consistency and quality across all operational phases.”

The organisation involves a significant number of professionals:

A core internal team of 15 people specialised in winter sports productions.
Nine dedicated unit managers working in the field for the entire season in close collaboration with Infront Productions’ production managers.
Over 200 freelance professionals, many with expertise in the challenging conditions of mountain locations.
More than 60 individuals for just two events, in Dobbiaco and Val di Fiemme

Focus on Key Events

Highlights of the season include the Bormio stages with men’s Downhill and Super G races, and Cortina’s two thrilling women’s speed events, Downhill and Super G. Both locations will also serve as preludes to the Milan Cortina competitions. In addition to these prestigious events, Nordic skiing competitions in the historic Italian locations of Val di Fiemme and Dobbiaco will take place during the Christmas period. Dobbiaco will host four stages, while Val di Fiemme will welcome three, including the spectacular climb to Alpe Cermis, an iconic feature of the Tour de Ski.

Antoine Bulos, Unit Manager for the event, commented: “The Tour de Ski production will be particularly demanding. There are seven races in just one week, spanning New Year’s Day to Epiphany. Advanced technologies will be heavily used, including 33 cameras for the Val di Fiemme stage, as well as RF cameras, steady-cams for complete and exciting coverage, and signals from cable cams, drones, and helicopter-mounted cameras.”

Festive Period Challenges and Resources

Each year, EMG / Gravity Media Italy involves new professionals in its TV productions, with a focus on young talents. However, producing snow-based competitions remains a substantial operational and organisational challenge. One highlight is the Alpe Cermis event, starting from the Tesero Cross-Country Stadium the day after the Skiathlon competition. This event requires significant technical production, utilising 33 camera feeds along the route. Infront Productions’ camera plan includes specialised setups such as helicopter-mounted cameras, drones, ground micro-cameras, and skidoos, providing comprehensive and dynamic coverage.

RF systems using 4G and 5G backpack technology ensure smooth, high-quality footage of the climb. Signals from the cameras, transmitted via approximately 5 km of dark fiber, are centralised and managed by the Nova 126 mobile control room housed in a garage under the stadium. A support vehicle is also stationed in the underground area near Lago di Tesero for backup. This setup allows for secure operations, minimising difficulties caused by variable mountain weather conditions. Cameras along the course are mostly mounted on low scaffolds, with a few elevated stations located at the steepest sections for better perspectives on the climbs.

Infrastructure Innovation and Preparations

Preparations for the event begin as early as Friday 20th December , with a technical team handling the cabling required for the race taking place on Friday 3rd January . EMG / Gravity Media Italy lays approximately 15 km of fiber optics, working in adverse climatic conditions and often on snowy or icy terrain.

In anticipation, fiber optic infrastructure around Lago di Tesero has been revamped. Pre-existing networks were dismantled, requiring the installation of new dark fiber cables for the upcoming races. Fiber optics on the Alpe Cermis climb are already in place, leaving only cable extensions from terminal stations to camera locations.

Indispensable Support

The local Trentino Fiemme World Cup sports committee offers essential logistical support each year, providing resources such as snowmobiles and snowcats to transport materials to inaccessible areas. For the Alpe Cermis race from 3rd to 5th January, EMG / Gravity Media Italy will also use mobile unit, Nova 209 to oversee the climb to the summit finish line. This vehicle will act as a hub for managing audio, video, data, and intercom signals generated by the 33 cameras used for the event. This configuration ensures efficient coordination and high-quality broadcasts, despite the large number of signals and challenging operational conditions.