Entertaiment – Gravity Media

Gravity Media, a world leading global provider of complex live creative production and media services, today detailed Gravity Media’s collaboration with the New South Wales Department of Education’s Arts Unit in a broadcast technology and television production undertaking to create and deliver this year’s Schools Spectacular – REMARKABLE!, one of the biggest live events in Australia, and the event’s national broadcast on the Seven Network, Friday December 19 from 7pm AEDT.

The New South Wales School Spectacular is the world’s largest annual amateur variety show and is produced by the New South Wales Department of Education’s Arts Unit. This year’s event REMARKABLE! celebrates the 42nd annual staging of the event.

Gravity Media has been the driving force behind the NSW Schools Spectacular national television broadcast since 2016, and in collaboration with the NSW Department of Education’s Arts Unit, Gravity Media proudly serves as the Event Partner for the 2025 event: Schools Spectacular – REMARKABLE!

In a significant broadcast undertaking for the 2025 event, Gravity Media will be accessing advanced formats for a captivating television production with higher resolution, more accurate colours, and smoother motion than ever before.

Schools Spectacular – REMARKABLE! encompasses four live arena shows at Qudos Bank Arena in Sydney Olympic Park with a national broadcast across Australia on the Seven Network.

Each of the four live arena performances over two days features over 5,500 students from NSW public schools including 2,300 dancers, a combined choir of 2,500, an 80-piece symphony orchestra, a stage band, the D’Arts Ensemble for students with disability, the Aboriginal Dance Ensemble, boy’s hip-hop ensemble, and circus arts ensemble.

From producing dazzling performer and teacher backstory content, crafting the event and broadcast promos, providing comprehensive graphic design services, to a cine film unit travelling 3,000 kilometres throughout regional and rural New South Wales capturing the talents of the state’s public-school students for the show’s opener, Gravity Media is delivering a comprehensive turnkey production outcome for the event.

The Gravity Media undertaking involves a total television production and technical staff of 75, deploying a state-of-the-art high definition outside broadcast truck and accessing 15 broadcast and specialist cameras, including Steadicams, Jib Cranes, Dolly Shot, and Spidercam, to deliver the complete television production for the New South Wales Department of Education and the Seven Network.

Richard Spiewak, Executive Producer at NSW Department of Education – Arts Unit said:

“This year’s show is titled “Remarkable” and is a fitting tribute to the extraordinary achievements of students across NSW public schools. Now in its 42nd year, the Schools Spectacular continues to be a vibrant celebration of the arts, showcasing the incredible talent, dedication, and creativity nurtured in our public education system.”

“The broadcast is an important component to the live production and allows us to reach right across Australia to highlight our remarkable students.”

Mike Purcell, Head of Production at Gravity Media in Australia, said:

“NSW Schools Spectacular showcases the incredible depth of talent in NSW public schools, and we’re proud to bear that to screen.”

“It’s been a pleasure to partner and collaborate with The Arts Unit for almost a decade allowing us to innovate and provide fresh creative ideas each year, something our entire team is proud of.”

“A truly ‘REMARKABLE!’ world-class event and broadcast.”

PRESS COVERAGE

‘Dit is het voordeel van al twintig jaar samenwerken’

Dat het Muziekfeest op het Plein ooit zou neerstrijken op de ring van Amsterdam, had niemand kunnen voorspellen. Toch is dat precies wat er op zaterdag 21 juni gebeurde. Ter ere van de twintigste verjaardag van het oer-Hollandse muziekprogramma en het 750-jarig bestaan van de hoofdstad sloegen de twee jubilarissen de handen ineen voor een spectaculaire, eenmalige editie op de A10. EMG stond twee decennia geleden al aan de wieg van het Muziekfeest op het Plein en verzorgt sindsdien – op één enkele editie na – onafgebroken de tv-registratie.

Twee keer per jaar, steeds op een mooie zomerdag, wordt ergens in Nederland een plein omgetoverd tot sfeervol muziekfeest. Het tv-programma is inmiddels een populair zomerevenement geworden: elke editie laat het uitverkoren plein uit zijn voegen barsten. Toch is Paul Siteur, eindredacteur en samensteller van Sterren NL bij AVROTROS, vrij stellig als hem wordt gevraagd: evenement of televisieprogramma? “We maken dit echt voor televisie. Dat betekent dat we pleinen met mooie plaatjes uitzoeken en een laag podium plaatsen, zodat de artiesten op tv tussen de mensen staan. Elk shot moet kloppen.”

Van de recentste editie, die eenmalig werd omgedoopt tot Muziekfeest op de Ring A10, was het ‘plein’ al geregeld, “maar dat was een extra grote uitdaging. Zo’n snelweg is maar 13 meter breed, terwijl de pleinen normaal gesproken zeker 40 meter breed zijn. Het was geen makkelijke plek, helemaal niet zelfs, maar we vonden dit zo’n unieke gelegenheid, dat we het absoluut wilden gaan doen. Nou, dat hebben we geweten. De tent stond op een viaduct, de regiewagen eronder. De opbouwtijd was erg kort, maar dat zijn we dan wel weer gewend. Logistiek was het erg ingewikkeld: we hadden met veel verschillende mensen van allerlei partijen te maken, van de gemeente tot Rijkswaterstaat. En voor iedereen was het nieuw.”

Siteur was daarom blij met EMG als oude, vertrouwde facilitaire partner aan zijn zij. “Ik had er alle vertrouwen in dat het in orde zou komen. Dit was zo’n leuke uitdaging, een once in a lifetime-gebeurtenis. Ik denk dat er van EMG zo’n 45 mensen rondliepen, met een camera of twaalf, die allemaal isolated opnamen. Daardoor konden we in de montage elk shot gebruiken, ook als dat niet door de regisseur was geschakeld. Omdat we het al zo lang met elkaar doen, wisten zij goed wat belangrijk was en sloot alles naadloos op elkaar aan.”

Dit is geen werk

EMG is al sinds de eerste editie in Alkmaar de vaste facilitaire partner voor Muziekfeest op het Plein. “Ze weten precies wat we nodig hebben en vooral: wat we bedoelen. Er is geen eindeloze uitleg nodig, dat is wat je krijgt als je al twintig jaar samenwerkt. Ze denken mee, lossen het snel op als er iets misgaat en zijn altijd goed voorbereid. In de loop der jaren hebben we het programma samen kwalitatief verbeterd. We blijven kijken naar wat we zien op televisie en wat we daar nog aan kunnen verbeteren. Wat zijn de juiste cameraposities en gebruiken we een kraan, een flyline of een drone om het massale van het evenement te laten zien?”

Wat Siteur vooral waardeert, is dat EMG geen anonieme leverancier is, maar een betrokken partner. “Ik prijs deze samenwerking, omdat de accountmanager, OPL en eerste cameramensen altijd goed meedenken. In eerste instantie ga ik met de regisseur op locatiebezoek, meestal volgt daarna nog een technisch locatiebezoek met de opnameleider en eerste cameraman van EMG, waarna we bijschaven waar nodig. Maar als de cameramensen ter plekke nog aangeven dat ze een nog mooier plaatje krijgen als ze een meter naar links verhuizen, dan vind ik dat alleen maar mooi. Ik zie altijd veel initiatief en vind het fijn dat het team meedenkt om het beste uit het programma te halen.”

Van cameramensen tot geluid en van OPL tot schakeltechniek; alles en iedereen draagt bij aan het eindresultaat. En wat Siteur keer op keer opvalt: het plezier straalt ervan af. “Ik werk al jarenlang met dezelfde cameramensen, omdat zij het, net als ik, een feestje vinden om dit te doen. Dit is voor hen bijna geen werk, ze vinden het leuk om erbij te zijn, kunnen zich inleven in het publiek en weten wat de kijker graag wil zien. Dus de faciliteiten kloppen en de expertise is er zeker, maar het gaat mij vooral om de mensen. Ik heb ze er graag bij.”

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.”

On December 21, 2024, Raab Entertainment GmbH celebrated a spectacular prime-time highlight on RTL with the game show “Stefan und Bully gegen irgendson Schnulli.” Following the formats “EM Studio” and the weekly show “Du Gewinnst Hier Nicht Die Million,” this was the production company’s first major event show – and it delighted both fans and critics alike.

The show was produced in Studio 8 and on the outdoor grounds of EMG / Gravity Media at the Hürth location.

Starring: Stefan Raab and Michael “Bully” Herbig, who teamed up to take on the humorously dubbed challenger, the “Schnulli.” The show scored with a mix of creative games and a spirited battle of wits in nostalgic show charm.

Credits: © RTL, Markus Hertrich

At the 2024 RTL Charity Marathon, EMG / Gravity Media’s Hürth location was once again dedicated to a good cause: On behalf of MB-TV Produktions GmbH, the 24-hour live broadcast was produced from Studio 8 – with full commitment and well-known precision.

Operating around the clock in shifts, the experienced EMG / Gravity Media team ensured the smooth running of the marathon-like production. With proven live expertise, they created an impressive stage for the good cause – live and nonstop for millions of viewers.

Numerous celebrities, including athletes, actors, and public figures, as well as renowned companies and committed sponsors, supported the campaign. Together, they raised donations for aid projects benefiting children in need – in Germany and worldwide.

The RTL Charity Marathon is Germany’s longest charity live broadcast on television – and EMG / Gravity Media is proud to have been part of it again in 2024.

Credits: © RTL, Stefan Gregorowius

A quarter-century of television history: The successful format “Who Wants to Be a Millionaire?” celebrates its 25th anniversary this year – and we are proud to have been part of it from the very beginning.

Since the first broadcast in 1999, the quiz show with host Günther Jauch has been produced in Studio 7 at the EMG / Gravity Media site in Germany. It is not only one of the country’s most successful TV formats but also a true legend on our grounds.

As a long-standing production partner, we warmly congratulate our client Endemol Shine Germany (a company of the Banijay Group) on this special milestone.
We say: 25 years of excitement, knowledge, emotions – congratulations, WWM! Here’s to many more years in Studio 7!

Credits: © RTL/Stefan Gregorowius

Over the weekend, RTL celebrated its 40th anniversary with a glamorous jubilee show in Studio 8 at EMG / Gravity Media. The evening was dedicated to reminiscing about four decades of television history — bringing together numerous prominent figures who have been part of the broadcaster’s journey for a special TV event.

In a festive atmosphere, RTL looked back on decades of TV highlights — from legendary shows and gripping news formats to unforgettable series and moments that captivated millions of viewers. The evening was hosted by an entertaining quiz, in which stars from the past and present demonstrated their knowledge about RTL and its eventful history.

Alongside former hosts and actors, current TV stars also graced the event, creating an emotional yet lively atmosphere together with the audience. Studio 8, known for its atmospheric setting, provided the perfect backdrop for this special anniversary.

With this celebration, RTL expressed its gratitude — to its viewers, its employees, and everyone who has accompanied and shaped the broadcaster over the past 40 years.

Credits: © EMG

The popular dating format from UFA Show & Factual has been making TV history for over a decade. After a pilot episode was produced in 2013, the first full season followed in 2014 — the starting signal for a successful series that is now in its 11th season and even delights audiences on RTL with XXL editions.

The show, produced in Studio 8 at EMG / Gravity Media’s German studios, was initially closely associated with entertainer Ralf Schmitz, who shaped the format. In 2021, a widely noted hosting change took place: Jan Köppen took over the reins and led the show into a new era.

Since then, the format has impressed with entertaining matches, humorous challenges, and genuine heartbeats. With consistently strong ratings and a loyal fan base, the dating format remains a staple of the German TV landscape.

Credits: © EMG

For the entertaining quiz show “Wonders of Our Earth – The Big GEO Quiz,” EMG / Gravity Media produced a total of three episodes in Studio 8 at the Hürth location on behalf of RTL Studios GmbH.

The centerpiece of the elaborate studio design was an impressive XXL LED screen, showcasing visually stunning nature footage and interactive quiz elements — fitting the educational focus of the GEO format.

The three episodes captivated a wide audience on RTL with exciting questions about natural wonders, geography, and science.

Credits: © RTL, Stefan Gregorowius

Banijay’s new program is an ambitious quiz show where statistics are fun

Over 160 planned episodes are scheduled to be recorded in 60 days with a technical crew of 12 professionals. A dedicated filming studio – Studio 5, of approximately 1100m2 of 3zero2 Studios, part of the EMG group, in the centre of Milan, via Deruta. Great technologies are involved: 11 cameras, 15 microphones, 6 gaspedestals, a dolly, a Jimmy Jib, and a complex intercom system with 6 panels plus radio headphones, in addition to the intercoms present in the control room. A recording on 7 signals and a resident direction in HD to make the most of over 160 episodes. These just listed are just some of the production numbers of Banijay’s well-known program, 100% Italia, which also includes the special 100% Christmas, broadcasted on TV8 within the SKY bouquet.

The original format

“The show – says Alessio Guetti, Executive Producer for Banijay – comes from an original format by Banijay written by Francesco Lauber, and stages a game show based on statistics. It involves a sample panel of 100 Italians, physically present in the studio, who becomes at least as active participants as the two pairs of challengers”. The contestants, who take turns in challenging each other for a jackpot that changes from time to time, must try to guess the tastes, habits and even the perceptions of Italians on various topics, but not general culture as usually happens in typical quiz shows. The 100 people present who represent an Italian statistical sample to form 100%, are chosen based on indications from Nielsen, a worldwide established statistics company. During the episodes, Livio Gigliuto, vice president of the Piepoli Institute, a statistical institute with a more Italian physiognomy, is also present in the capacity and function of an expert. Along the lines of the typical notary of the famous TV history quizzes, he follows the game and suggests decisions; the program is then orchestrated by Nicola Savino as a presenter. The answers of the two pairs of competitors, who challenge each other in prime time, are correct or incorrect depending on the adherence to the statistics proposed by the 100 champions and not only based on general knowledge, therefore the show focuses precisely on trying to guess the tastes of the Italians.

The setup

“The setup in the studio” -continues Alessio Guetti -“is very impressive, in fact, the enormous scenography was built in one of the major studios inside the production centre in Milan, via Deruta, precisely in the spaces of the Studio 5 of about 1100m2. Banijay’s production also uses some annexed spaces, including dressing rooms, tailoring and a make-up room: in short, we have everything we need to make the best of all our television productions and in fact, the partnership with 3zero2 Studios has been working for years”. This scenographic background, which constitutes the recurring visual setting in this Monday – Friday appointment on TV8, completely covers one of the longest sides of the television studio and involved a considerable design effort. The imposing structure is in self-supporting iron; covered with decorated wood, it collects 5 rows of 20 boxes, each able to accommodate a person: 5 floors of scenography have been recreated, reachable by three flights of hidden stairs and equipped with double entrances to guarantee safety. Behind these boxes, up to the ceiling, a led wall was installed, divided into 100 parts, which illustrates the results of the votes during the show. It lights up at each vote to indicate the result of each station: each sample person also constitutes a number which forms the statistical answers, exactly as in any worldwide statistic. Always the led wall, at other times it also offers thematic colored backgrounds appropriate to the moment of the year, as in the case of the Christmas special, where it’s possible to have the typical colors and symbols of the holidays”.

The technical structures

11 cameras were hired for filming, one of which is positioned on a dolly trolley for moving images which offers a total shot, shot from bottom to top. Thus the overall perspective manages to restore the dynamics of the scenography in all its grandeur. A side-shot jimmy-jib also helps describe the emphasis of the game; this time, with movements from above, it offers contrasting images concerning the total and helps to create the idea of the height of the beautiful set. The other cameras are on the sides of the stage and alternate between proposing general totals, close-ups, and double-figure shots, both towards the presenter and the expert, and towards the two pairs of competitors. The entire setup in the shooting studio is made with broadcast-type cameras, manned by an operator. The direction is pre-fitted, and directed by the production centre to Studio 5.

Alessio Guetti points out: “Banijay dedicated several months to put this show and the original format together, especially in the creative ideation part. The team had to interface with the producers and the director to understand how a structure capable of enhancing the format should be created and then, in fact, once the right decisions had been taken, the staging continued and was completed in a month and a half”. The creative part is, as usual, entirely in the hands of Banijay, while the realization was completed by 3zero2 Studios. The staff involved in this adventure varies between 40 and 45 employees. It was necessary to create something self-supporting and in total safety, managing scenography, distances, electrical systems and all that was useful: the overall feasibility of the scenographic project to adapt to the studio spaces was no small feat. The scenography usually takes place on the short side of the studio and thus the public can be concentrated in lines arranged along the entire length of the parterre; in this case, however, given the absence of the public and the presence of many people, the installation on the long side was chosen. The difficulty was finding the 100 who intervene in each episode of which at least 80 are recurring, with complexities related to the pandemic, travel and origins from all over Italy. Age ranges, geographical origin and gender are decisive in this game and the other variables to be considered in the choice of the representative sample are also fundamental. 100% Italia is divided into two tranches, with episodes broadcast until 23 December covering the prime time slot. The Christmas special aired during the holidays closes the 2022 editions, then the new season resumes on 9 January 2023 and will be on air until June with another 96 episodes.

Alessio Guetti closes: “The collaboration between Banijay and 3zero2 Studios has been going on for many years, starting in 2010. More recently a partnership has also been developed with Guess my age and many other programs that have been made in these spaces. These studios are an optimal structure for our formats, for the size of the filming areas, for the technologies and skills made available, which are of the highest level. The convenience of the location and the availability of many access routes are also ideal for us. Given the location of the studios, in the centre of Milan, close to the historic centre, everything is very convenient for both staff and VIPs: it is a strategic position for us”.

TV production is done, for the third year in a row, by EMG Italy

Power Hits RTL 102.5, the music and entertainment event of August 31st, was staged live from the Verona Arena and broadcasted on Radiovision, as well as on FM, DAB + and on RTL 102.5 PLAY (the large online platform rich in contents). This was one of the recent TV productions made by EMG Italy.

Another of the many great moments of music and entertainment by RTL 102.5, not far from the previous show created for Radio ZETA, owned by the same group, this time in Rome and always produced by EMG Italy.

The dynamics

The show was an explosive succession of musical performances of the most awarded songs from the Power Hits Summer 2022 contest and from the RTL 102.5 summer ranking.
EMG Italy took care, for the third year in a row, of all the filming and television production made by using the OB 126 mobile unit with GrassValley LDX 86 cameras and a mix of standard and wide-angle optics.

The mobile vehicle, a pre-wired truck that can manage up to 30 cameras, has on board a technological heart that includes a Kayak GrassValley video mixer, a Digico SD7 digital audio mixer, intercom by Riedel, Mediornet and 3 EVS XT3 machines with 36 channels. The live graphics service was managed, with templates provided by RTL, by the technology and staff of Boost Graphics, a specialized department of EMG.

Massimiliano Anchise, responsible of the two events for EMG Italy, has the details: “For the previous concert in Rome for Radio ZETA, one of our mobile units was engaged,” says Anchise, “for a production based on 12 cameras and video footage in HD 1080i format, therefore with very high quality standards. For the event of August 31st in Verona, however, the mobile unit OB 126 was used in an even higher technical configuration, with up to 19 cameras deployed and a rather complex setup. It was an immense use of forces and filming supports, which are usually adopted in high-level sports events and which have been proposed here for a great music-based show”.

Many points of view

Two of the 19 cameras, 1 and 3, respectively positioned on the right and left, at three quarters of the parterre and away from the stage, with long optics, were mounted on Hi-Lo mobile supports. Four, positioned on the FOH direction for lights and audio (Cam 4,5,7,8), again with long optics, operated on a tripod.

Cam6, equipped with wide-angle optics, was mounted on a Floor-lift, which is a trolley on ground tracks that runs parallel to the stage, with a dolly. On a second dolly at the base of the FOH stage, Cam2 operated with long optics, for frontal wide shots in line with the stage. Three other cameras performed their task in a shoulder-mounted configuration, wired: Cam10 on the right of the stage, while Cam14 and Cam15 on the high steps of the Arena, on the right and left. The latter were positioned at different heights in order to capture other points of view, such as the subjective views of the public, thus enhancing the emotion of the show.

Two cameras (Cam7-8) did the filming on a tripod with standard optics, while Cam9 operated with RF link connections, on the left of the stage. Cam11, operating in radio frequency behind the stage, was mounted on a Ronin, a gimbal support for very dynamic in-motion shooting. This was a Sony FS7, a particular camera that guarantees an almost cinematic feel with dimensions slightly larger than those of a photo camera.

A Polecam was used (Cam13), mounted on one of the steps of the Arena, and also a Jimmy-Jib (Cam12), to shoot on stage from the right side of the Verona Arena. Another 4 fixed cameras in Micro configuration (Cam17-20), were instead positioned on the stage to create narrow frames of the various musicians, choirs and soloists, and capture the details of the instruments. To complete this huge deployment of forces and shooting supports, a drone with relative micro camera (Cam16) was also used.

The direction and set-up

The direction of the event was handled by Luigi Antonini, and it also involved a special EVS system dedicated to the management of contributions and a complete crew with huge technical staff, with 31 employees. The setup started on August 29th, on the 30th the first technical tests were held, while on the 31st further rehearsals were carried out before the evening live broadcast.

Massimiliano Anchise underlines: “Two days were needed to build the system, lay the cables on the steps, install the special shooting supports, such as the Jimmy-jib, also in the upper part of the Arena. One of the biggest difficulties was wiring everything with optical fiber to be able to carry the signals from the cameras up to the mobile vehicle”.

The stage

From a technical point of view, the Power Hits Summer 2022 event was characterized by the scenography, which was made by using a technology that allowed the use of dynamic LEDs that mapped every single light point on a two-dimensional matrix. The uniqueness of this technology derives also from the fact that for the first time, on such a large scale, and moreover within a unique setting, such as the Verona Arena, a sort of large screen of almost 2000 square meters was created on a portion of the steps, on which multiple graphics and writings were animated. To achieve this effect, about 2.5 km of dynamic LED strips were used with a light point every 20 cm, each consisting of a transparent plastic sphere containing 6 LEDs.

Stefano Pretoni, Technical Manager of RTL 102.5 and for this event Broadcast Production Manager, underlines: “EMG Italy has been, for 3 years in a row, technological partner of RTL 102.5 for the filming and live broadcasting of the event; thanks to the use of top-level cameras and optics, an incredible musical show was made available to many viewers and has allowed them to appreciate the extraordinary effect offered by the scenographic system.

The great professionalism of EMG Italy, the extremely competent technicians, and the latest generation equipment that the group makes available to its customers, have made it possible to create a unique television show of the highest level. Besides, the scene was set up in just two days, in which, in addition to the set up and construction of the system, the technical and musical reharsals were also carried out.”

Thanks to a consolidated specialization in the production of live performances, EMG Italy was chosen to take care of the video shooting of many live concerts throughout the summer of 2022. These were musical events with a large audience presence, similar only in their genre, but totally different for production procedures.

EMG Italy has made available some mobile vehicles to follow many concerts throughout Italy, such as the live broadcast of the Radio Zeta / RTL 102.5 party from the Cavea of the Auditorium Parco della Musica in Rome in June, the first date of Alessandra Amoroso’s tour at the stadium of San Siro on 13 July and the live broadcast of Power Hits Estate 22 from the Verona Arena at the end of August. Among these, the production of Vasco Rossi’s new Tour, in the months of June and July, was certainly the most significant in terms of use of resources.

Vasco Live 2022

For the production of Vasco Live ’22, EMG Italy took care of all the video shooting and airing on the led walls in the location, on behalf of Except customer in Milan.

The tour opened with a first technical setup in the Arena Musica in Trento on May 16th and 17th, rehearsals with the artist and the band took place on 18th, while the special evening of general rehearsal took place on 19th, open only to members of Vasco’s official fan club.

On May 20th, the Tour was officially inaugurated with the first date, followed by the dates of Milan May 24, Imola May 28, Florence June 3, Naples June 7, Rome June 11 and 12, Messina June 17, Bari 22 June, Ancona 26 June and Turin 30 June. To give an idea of the huge use of energy and the turnout of the public, it is enough to point out that all the dates mentioned were sold-out with an overall turnout of about 700,000 spectators (data disclosed by the media).

The production of the Tour

All the video footage was handled by EMG Italy with a mobile OB-Van unit set up with six GrassValley LDX80 system cameras and five “action cameras”: Marshall micro cameras, mounted on remote sliders that made it possible to create moving shots of the musicians, keyboards, percussion, winds, and drums. The direction was handled by Pepsy Romanoff directly on stage, thanks to a sub gallery connected to the mobile vehicle, and this allowed the director to be in close contact with the artist on stage. All cabling was made with the use of optical fibers.

In the two days of shooting at the Circus Maximus, on the occasion of the shooting for DVD and Blu-ray, five film cameras were added, one on a steadycam with RF system, one on a jimmy jib, one on a dolly trolley complete with a track of approx 30 meters and a hanging cablecam that could cross the whole Circus Maximus.

The main direction and the sub-direction

The main control gallery vehicle chosen for the concerts was an agile van, indicated for its small size, given that in the spaces provided at the stadiums it was often impossible to park with the typical large truck usually used by EMG in filming sports and major events. The mobile direction provided for two separate environments: a video and audio control and a direction area for director and assistant.

The sub-direction set up for Pepsy Romanoff was instead composed of an additional remote video mixing panel, a complete multiview visual control system with two 50 “monitors, an EVS panel for managing contributions and three intercom panels for director, assistant and video mixer. From here the director, in addition to looking for even more close images, was also able to intervene in person on stage and make some personalized shots thanks to a shoulder camera with a cinematic feel.

The main direction was thus performed most of the time from the close position on the stage, while from the mobile vehicle all the control operations were carried out on the cameras and on the EVS for recording and, last but not least, the management of service communications by means of intercom systems.

For a series of events of this magnitude, the technical crew had one day available to set up and test, while the afternoon of the day of the concert was dedicated to the finishing touches.mThe same mobile vehicle and the same full operational staff followed the stages of Vasco’s tour from start to finish, precisely for stylistic and technical continuity and perfect harmony between director and crew.

Massimiliano Anchise, Sales Manager of EMG Italy who followed these events with a crew of 12 people, said: “It was a wonderful experience and a special thanks goes, first of all, to all the technicians who worked on this project and to Pepsy who “directed” all of us throughout the summer tour”.