Sporting Event – Gravity Media

Our team covered the 77th edition of the UCI World Championship in Hulst, one of the largest sporting events in the region’s history. After two days of setup, we delivered three full days of live production. In this video, you can see our crew building the entire production infrastructure, installing every camera, and preparing everything for broadcast: UCI World Championship Hulst

The final day brought a special highlight: a visit from King Willem-Alexander of the Netherlands. During his tour of our TV compound, our project coordinator, Ben Simons, guided the King through our OB truck, explaining how the production operates and introducing the team behind it. It was a memorable moment for our crew.

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.

Gravity Media, a world leading global provider of complex live creative production and media services, today confirmed a broadcast and technology partnership with the Northern Territory Major Events Company to deliver coverage of the upcoming MXGP of Australia, a round of FIM Motocross World Championship, to more than 100 international territories.

MXGP is the premier global motocross series of FIM Motocross World Championship, organised by Infront Moto Racing under sanction of the Fédération Internationale de Motocyclisme (FIM).

The MXGP of Australia will feature MXGP and MX2 as well as the FIM Women’s Motocross World Championship. Additionally domestic support classes include MX3 and MX85.

The event, delivered by the Northern Territory Major Events Company, will take place on a purpose-built track at Hidden Valley Raceway in Darwin.

Working closely with Infront, Gravity Media will provide complete outside broadcast technology for the event, encompassing 14 cameras and EVS capabilities in a broadcast and technical collaboration to deliver the all-screens production of the MXGP of Australia in Darwin across 19 – 21 September.

Gravity Media, in collaboration with Infront and the Northern Territory Major Events Company, will deliver coverage of the Motocross World Championship—MXGP of Australia—across Australia on Stan Sport and the Nine Network, and globally in conjunction with major international broadcast platforms including CBS Sports Network, BandSports, FOX TUBI, Eurosport, Eurosport Asia, MAX, MTV MAX, PLAY SPORTS, Go3 Sport Open, La Chaine L ’Equipe, Auto Moto TV, TNT Sports, RAI PLAY, Sky Italia, NPO1, Sport TV1, TV Galicia, TV Catalunya, Viacom JIO Cinema and Champions TV.

The complete coverage is also available globally on mxgp-tv.com.

Aimee Luxton, Executive Director at Northern Territory Major Events Company commented:

“Having the MXGP title decider broadcast on both the Channel 9 network and Stan Sport, along with an international audience, is an incredible opportunity to showcase Darwin as a premier destination. The television exposure not only puts Darwin’s unique landscapes in front of millions, but it also boosts our economy and strengthens our reputation for hosting world-class sporting events.

“We can’t wait to welcome MXGP back to Australia after 24 years. This is a significant moment for Territory sport, and with strong ticket sales, we’re confident it will be a popular event both at the track and on screens around the world.”

Ben Madgwick, Sales Director at Gravity Media stated:

“We are excited to be working with the Northern Territory Major Events Company and providing Gravity Media’s broadcast and technology capabilities for this year’s MXGP of Australia at the Hidden Valley Raceway. We are committed to delivering an exceptional outcome for this world-class event.”

Image supplied by: NT Major Events Company

PRESS COVERAGE

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*English version below

Van ‘bezemkast’ naar 24/7 sportknooppunt

In nog geen tien jaar tijd is het Livecentre van Gravity Media NL getransformeerd van een ‘bijzaak’ in een donkere hoek van het gebouw op het Hilversumse Media Park tot een internationaal sportknooppunt. Met eerst Ziggo Sport en nu ESPN als voorhoedespelers, een 24/7-operatie en een infrastructuur klaar voor de volgende stap in remote productie, is Livecentre stevig verbonden met de sportwereld – letterlijk én figuurlijk.

Tom Eshuis en Jasper Jurgens, respectievelijk manager Technology en projectmanager Livecentre, zijn beiden al bijna 25 jaar actief bij Gravity Media NL, voorheen EMG Nederland. Tom en Jasper werken onder andere veel samen op satellietterrein en weten nog goed hoe het allemaal begon: “In een soort bezemkast, met een halve edit set en een multiviewer voor als we keer wat live moesten doen in onze eigen studio’s of in postproductie, dan konden we dat zelf bemannen. Maar na 2019, in de coronatijd, is het echt gaan vliegen: veel livestreams gedaan, kleine remote producties en webinars, in samenwerking met Quadia toen nog (nu Motionmakers).”
“Vervolgens kwam Talpa erbij met dagelijkse programma’s, gingen we dat ook voor RTL doen en werd extra ruimte ingericht op onze Postplaza. Toen ook die te klein werd, hebben we nu misschien wel de fijnste plek van het pand. Onze mensen kunnen werken bij daglicht en hebben zicht op het weer en de schotels, altijd handig bij satellietverbindingen.”

Stepping stone

Niet lang na die verplaatsing wordt de eerste grote klant gecontracteerd: Ziggo Sport. “Dat is wel de stepping stone voor ons huidige trackrecord geweest”, beseft Jurgens. “Tot dan toe deden we voornamelijk de routering van studioproducties zoals de dagelijkse RTL Boulevard-uitzendingen en ondersteuning van file based workflows voor ENG-klanten, maar een groot contract voor sourcing, het binnenhalen van live feeds, was nieuw en onze eerste stap naar continuïteit en 24/7 bezetting. Toen we bewezen dat ook machtig te zijn, kregen we de kans om serieus mee te doen aan de ESPN-tender.”

Het binnenhalen van dat (meerjarige) contract betekent letterlijk een verdubbeling van de werkzaamheden, zowel qua mensen als middelen – onder andere driehonderd ‘afkijkplaatjes’ aan de wand. Een investering van een paar miljoen euro. Eshuis: “Ook voor ESPN zijn we de MCR en doen we de sourcing, maar dan voor alle kanalen; negen in Nederland. Veel feeds worden in Nederland geproduceerd maar zijn eigenlijk internationaal, zoals ESPN Afrika en Star Channel in China.”

Connectiviteit

De infrastructuur is hybride: satelliet én glasvezel. Livecentre is gekoppeld aan internationale knooppunten zoals BT Tower in Londen en grote MCR’s in de VS, maar dat niet alleen. Jurgens: “De connectiviteit in fiber is enorm gegroeid, ook met partijen die produceren voor ESPN én, wat het echt wel uniek maakt, we doen ook de verbindingen voor de Eredivisie en een groot deel van de KKD; dus alle stadionbeelden komen ook hier binnen.”

”Nieuwe compressietechnieken zorgen voor forse efficiëntieslag”

Binnen Gravity Media vormt Hilversum een driehoek met Gravity Media België en Londen (Westworks). Eshuis: “Zware onweersbuien bijvoorbeeld kunnen downlinks verstoren, maar dan kan een feed elders worden binnengehaald en via fiber worden doorgestuurd.” Daarnaast maken nieuwe compressietechnieken het mogelijk meerdere lijnen over één verbinding te sturen zonder zichtbaar kwaliteitsverlies – een forse efficiëntieslag. “Dat hebben we samen met ESPN uitgedacht”, aldus Jurgens. “De klant is technisch goed onderlegd en wij konden duidelijk maken hoe we het wilden doen en zij konden dat zeer waarderen.”

HDR

Met de start van het ESPN-contract gaat de zender in één klap volledig over op High Dynamic Range (HDR). Niet een paar programma’s, maar álles: studio, instarts, postproductie en distributie. Jurgens: “Voor ons was 1 juli spannend, maar voor ESPN helemaal.” Eshuis: “Wereldwijd zijn er niet veel broadcasters die zo’n ingrijpende verandering van SDR naar HDR, zonder uitzonderingen, aandurven; erg ambitieus en stoer vind ik. En dat zie je ook, de kwaliteit spat van het scherm.”
Voor de kijker betekent het levendigere kleuren en meer detail. Fluorescerende shirts zijn ook écht fel, contrastverschillen blijven zichtbaar, ook in de schaduw blijft detail behouden. “ESPN besteedt ook veel aandacht aan quality control, er zijn daadwerkelijk HDR supervisors die remote met de voetbalwedstrijden meekijken om te zorgen dat het allemaal matcht”, vult Eshuis aan. Sport die nog niet in HDR wordt aangeleverd, zoals Amerikaans honkbal, wordt in Hilversum realtime geconverteerd, compleet met correcte metadata.

diPloy

Technisch draait het Livecentre volledig op SMPTE ST 2110: gescheiden transport van video, audio en metadata over IP, met perfecte synchronisatie. Ideaal voor schaalbaarheid, maar in een 24/7-omgeving vraagt het om redundantie en slimme workflows. Daarvoor is er diPloy: een in-house ontwikkeld modulair, IP-based systeem waarin control, audio, video, intercom, monitoring en data samenkomen. Een vijfkoppig diPloy-team werkt letterlijk onder het Livecentre en levert maatwerktools en dagelijks support.

“Binnen Gravity Media is de koers duidelijk: steeds minder grote regiewagens op locatie”

Gravity Media NL beheert ook de volledige intercomstructuur tussen ESPN en de eindregie. Live commentaar uit binnen- en buitenland – of dat nu een Engelse voice-over is of een Franse veldrijcommentator – wordt via low-delay monitoring en strakke synchronisatie in de uitzending gebracht. Die mix van video, audio en communicatie maakt het Livecentre tot een breed inzetbare hub, zowel voor bestaande klanten als voor toekomstige remote producties.

Remote productie

Want dat is de toekomst, beseffen ook Jurgens en Eshuis: “Binnen Gravity Media is de koers duidelijk: steeds minder grote regiewagens op locatie. Dus steeds meer centrale regies via stabiele verbindingen, om zo alle locaties in de landen aangesloten te krijgen zodat we moeiteloos remote producties kunnen faciliteren in heel Europa of uiteindelijk wereldwijd als dat nodig is. We kunnen dat uncompressed met de hoogste kwaliteit feeds, maar ook via gecomprimeerde verbindingen voor bijvoorbeeld kleinere sporten.”

Livecentre speelt daarin een grote rol en die zal alleen maar crucialer worden, beseffen beiden. “Onze ruimte is modulair ingericht: alles kan verplaatst of verwijderd worden om ruimte te maken voor uitbreiding. En dat is waarschijnlijk geen overbodige luxe. De vraag groeit en de kans is groot dat we in de komende jaren opnieuw moeten opschalen.”

Tekst: Jeroen te Nuijl // Fotografie: Studio Kastermans

ENGLISH VERSION BELOW

From “broom closet” to 24/7 sports hub

In just under ten years, Gravity Media NL’s Livecentre has transformed from a side project in a dark corner of the building at Hilversum’s Media Park into an international sports hub. With first Ziggo Sport and now ESPN as frontrunners, a 24/7 operation, and an infrastructure ready for the next step in remote production, Livecentre is firmly connected to the sports world, literally and figuratively.

Tom Eshuis and Jasper Jurgens, respectively Manager Technology and Project Manager Livecentre, have both been active at Gravity Media NL, formerly EMG Nederland, for almost 25 years. Tom and Jasper work together often on satellite matters and remember well how it all started: “In a kind of broom closet, with half an edit set and a multiviewer for those times when we needed to do something live in our own studios or in post production, we could staff that ourselves. After 2019, during the COVID period, it really took off, many livestreams, small remote productions and webinars, in cooperation with Quadia back then, now Motionmakers.”

“Then Talpa came in with daily shows, we started doing that for RTL as well, and extra space was set up in our Postplaza. When that also became too small, we moved to what might be the nicest spot in the building. Our people can work in daylight and see the weather and the dishes, always useful with satellite links.”

Stepping stone

Not long after that move, the first major client was signed, Ziggo Sport. “That has been the stepping stone to our current track record,” Jurgens acknowledges. “Until then we mainly handled routing for studio productions like the daily RTL Boulevard broadcasts and supported file based workflows for ENG clients, but a large contract for sourcing, bringing in live feeds, was new and our first step toward continuity and a 24/7 staffing model. When we proved we could handle that, we got the chance to seriously compete in the ESPN tender.”

Winning that multi-year contract literally doubled the workload, in people and in equipment, including about three hundred monitoring tiles on the wall. An investment of a few million euros. Eshuis: “For ESPN we are also the MCR and we handle the sourcing, but then for all channels, nine in the Netherlands. Many feeds are produced in the Netherlands but are actually international, like ESPN Africa and Star Channel in China.”

Connectivity

The infrastructure is hybrid, satellite and fiber. Livecentre is connected to international nodes such as BT Tower in London and large MCRs in the United States, but not only that. Jurgens: “Connectivity over fiber has grown enormously, also with parties producing for ESPN and, which is quite unique, we also do the links for the Eredivisie and a large part of the KKD, so all stadium feeds come in here as well.”

”New compression techniques deliver a major efficiency gain”

Within Gravity Media, Hilversum forms a triangle with Gravity Media Belgium and London, Westworks. Eshuis: “Severe thunderstorms, for example, can disrupt downlinks, but then a feed can be brought in elsewhere and forwarded over fiber.” New compression techniques also make it possible to send multiple lines over a single connection without visible loss of quality, a major efficiency gain. “We worked that out together with ESPN,” says Jurgens. “The client is technically well versed, and we could clearly explain how we wanted to do it, which they appreciated.”

HDR

With the start of the ESPN contract, the broadcaster switched to High Dynamic Range in one go. Not a few programs, but everything, studio, inserts, post production and distribution. Jurgens: “July 1 was exciting for us, even more so for ESPN.” Eshuis: “Worldwide there are not many broadcasters who dare to make such a far-reaching change from SDR to HDR without exceptions. Very ambitious and bold, I think. And you can see it, the quality jumps off the screen.”

For viewers it means more vivid colors and more detail. Fluorescent shirts are truly bright, contrast differences remain visible, and detail is preserved in the shadows. “ESPN also pays a lot of attention to quality control, there are actual HDR supervisors who watch the football matches remotely to ensure everything matches,” Eshuis adds. Sports that are not yet delivered in HDR, such as American baseball, are converted in real time in Hilversum, complete with correct metadata.

diPloy

Technically, the Livecentre runs entirely on SMPTE ST 2110, separate transport of video, audio and metadata over IP with perfect synchronization. Ideal for scalability, yet in a 24/7 environment it requires redundancy and smart workflows. That is where diPloy comes in, an in-house developed modular, IP based system that brings control, audio, video, intercom, monitoring and data together. A five person diPloy team literally works beneath the Livecentre and delivers custom tools and daily support.

“Within Gravity Media the course is clear, fewer and fewer large OB trucks on site”

Gravity Media NL also manages the full intercom structure between ESPN and the final control room. Live commentary from home and abroad, whether that is an English voice-over or a French cyclo-cross commentator, is brought into the broadcast with low delay monitoring and tight synchronization. That mix of video, audio and communications makes the Livecentre a broadly deployable hub, for existing clients and for future remote productions.

Remote production

Because that is the future, Jurgens and Eshuis agree. “Within Gravity Media the course is clear, fewer large OB trucks on location. So increasingly central galleries via stable connections, so we can connect all locations in the countries and effortlessly facilitate remote productions across Europe or eventually worldwide if needed. We can do that uncompressed with the highest quality feeds, but also via compressed links for smaller sports, for example.”

Livecentre plays a major role in this, and that will only become more crucial, they realize. “Our space is modular by design, everything can be moved or removed to make room for expansion. That probably will not be a luxury. Demand is growing, and there is a good chance we will need to scale up again in the coming years.”

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.”

EMG / Gravity Media, a world leading global provider of complex live creative production and media services, today outlined EMG / Gravity Media Australia’s broadcast and production undertaking for the global coverage of this year’s Crankworx Cairns.

In collaboration with international broadcast production company Boombox and AusCycling, Australia’s national body for cycling and riding which holds the rights to the event and is the local organising committee, EMG / Gravity Media Australia is the international broadcast technology and production partner for Crankworx Cairns, the world’s largest mountain bike festival.

Global coverage of Crankworx Cairns is delivered across Red Bull TV.

Crankworx, a five day festival of international mountain biking competitions and races, originated in Whistler in British Columbia and is now Whistler’s largest annual festival. It has evolved into the Crankworx World Tour with festivals in Whistler, Cairns, Innsbruck and Rotorua.

At Cairns’ Smithfield MTB Park, renowned for its vibrant rainforest backdrop, Crankworx Cairns is a unique challenge across disciplines, including Downhill, Pump Track, Dual Slalom, and the pinnacle of the sport, the Crankworx FMBA Slopestyle World Championship.

EMG / Gravity Media Australia has been the broadcast technology partner for Crankworx Cairns since its successful debut in 2022.

This year, in addition to delivering the broadcast undertaking for Crankworx and Red Bull TV, EMG / Gravity Media Australia has also signed to be a marketing partner for the event.

Across five different courses in the rainforests of Far North Queensland, EMG / Gravity Media’s undertaking involves 60 different camera positions, satellite broadcast technology, and 29 cameras including specialist cameras and drones to capture the ultimate experience in mountain biking.

The broadcast undertaking also accesses EMG / Gravity Media Australia’s unique fibre network and specialist cameras solutions, building on the successful coverage of Crankworx Cairns over the past three years.

Nathan Bassett – Event Director, Crankworx Cairns, said: “EMG / Gravity Media have been a supporter of Crankworx Cairns since its inception in 2022.

“This partnership will ensure we continue to deliver a world class broadcast that showcases Crankworx Cairns to the world.”

Marcus Doherty, Account Executive – Media Services and Facilities, EMG / Gravity Media Australia, said: “EMG / Media is excited to extend its partnership with AusCycling and Boombox for Crankworx Cairns through to 2027.

“This one-of-a-kind event in a truly distinctive location has allowed us to refine our delivery over the years, and we’re proud to continue presenting it as a world-class production on a global stage.”

PRESS COVERAGE

EMG / Gravity Media, a world leading global provider of complex live creative production and media services, today confirmed the broadcast technology and television production undertaking that will see EMG / Gravity Media Australia deliver coverage of the Adelaide Equestrian Festival across Australia and multiple international territories.

The Adelaide Equestrian Festival – staged from 1 May – is acknowledged as Australia’s premier annual equestrian event with 70 equestrian athletes and their horses from around the country competing across four days in the disciplines of Dressage, Cross Country and Show Jumping in the heart of the Adelaide CBD, Victoria Park/Pakapakanthi and the city’s surrounding parklands.

EMG / Gravity Media Australia has been appointed by Adelaide Horse Trials Management Inc to deliver the technology, logistics and production undertaking for the event, showcasing the best in eventing and capturing the beauty of Adelaide’s parklands.

Across the four days of the Adelaide Equestrian Festival, EMG / Gravity Media Australia will deploy state-of-the-art high definition outside broadcast trucks and utilise specialist broadcast technology and communications services developed by EMG / Gravity Media.

Coverage of the Adelaide Equestrian Festival will be broadcast nationally on Channel Nine as a one-hour highlights package post event, as well as livestreamed globally on Horse & Country TV, the leading equestrian sports and lifestyle network.

Kirsty Withers, Festival Director, Adelaide Equestrian Festival, said: “We’re thrilled to partner with EMG / Gravity Media Australia to deliver world-class broadcast coverage of the Adelaide Equestrian Festival. As Australia’s premier equestrian event, it’s important that we showcase not only the elite level of competition, but also the stunning backdrop of Adelaide’s parklands to both national and international audiences. This partnership ensures we continue to elevate the profile of the sport and our city on a global stage.”

Nigel Naseby, Business Development Manager, EMG / Gravity Media Australia, commented: “EMG / Gravity Media looks forward to collaborating with the Adelaide Equestrian Festival and delivering coverage of this spectacular event to audiences around the world.”

Naar jaarlijkse gewoonte stond het team van EMG Belgium weer aan de startlijn op de Antwerp 10 Miles. Het was alweer een geweldige editie met een stralende zon. Herbeleef het met de aftermovie van Motionmakers!

EMG / Gravity Media, a world leading global provider of complex live creative production and media services, today outlined the technology and production partnership with Stawell Gift Management that will see EMG / Gravity Media Australia deliver the complete broadcast of this year’s Powercor Stawell Gift.

The 2025 Powercor Stawell Gift promises to be one of the most exciting in recent history, with a stellar field of rising stars and elite competitors set to light up Central Park in Stawell, Victoria.

All eyes will be on teenage sprint sensation Gout Gout, whose blistering form has captured national attention, while a host of emerging talents and seasoned professionals across both men’s and women’s events round out a compelling Easter weekend program.

The partnership with Stawell Gift Event Management sees EMG / Gravity Media Australia as “host” broadcast company delivering broadcast technologies, and creating, producing, and delivering the complete all-screens Easter Monday coverage of the iconic Powercor Stawell Gift, Australia’s oldest and richest short distance running race.

The production undertaking for this year’s Powercor Stawell Gift in the Northern Grampians region of Victoria includes 15 cameras, and state-of-the-art high definition outside broadcast and production trucks coupled with SNG delivery, cellular and cloud-based technologies.

This will be EMG / Gravity Media Australia’s ninth year at the Powercor Stawell Gift which will be broadcast on the Seven Network on 21 April, and events across the Easter Weekend on 7+.

The coverage of the Powercor Stawell Gift on the Seven Network will be hosted by Jason Richardson. Broadcast legend Bruce McAvaney leads the commentary, supported with expert comments from former Olympians Tamsyn Manou and Dave Culbert.

Murray Emerson, Chair of Stawell Gift Event Management, said: “The Powercor Stawell Gift is not only one of Australia’s great sporting traditions, but also a showcase of top-tier event delivery, and having EMG / Gravity Media Australia at the heart of our television production ensures our story reaches audiences across the nation. Their expertise captures the energy, drama and spirit of Stawell in a way that brings this unique event to life for viewers at home.”

Trent Taylor, Managing Director, 360 Sport and Entertainment and Event Director, added: “Bringing an event like the Powercor Stawell Gift to life requires the seamless integration of world-class racing and world-class production. EMG / Gravity Media Australia has been a trusted partner in delivering the broadcast element of our event, and their technology and storytelling expertise ensures the tradition and excitement of Stawell is shared with Australians everywhere.”

Mike Purcell, Head of Production of EMG / Gravity Media Australia, said: “EMG / Gravity Media has had a long and proud association with the Powercor Stawell Gift as the broadcast production and facility partner, working collaboratively with both the Stawell Gift Event Management and 360 Sport and Entertainment to showcase the rich history and emotive athlete stories of the legendary Powercor Stawell Gift to national TV screens.”

PRESS COVERAGE

Van 6 tot en met 9 maart 2025 vond het spectaculaire Europese Kampioenschap Indoor Atletiek plaats in Omnisport Apeldoorn. Topatleten uit heel Europa streden om de titels in diverse onderdelen, goed voor maar liefst 10 uur live tv per dag. FabriQ Media Group werkte samen met de NOS als host broadcast production partner, met de technische ondersteuning van EMG/Gravity Media. Accountmanager Lex Meijer deelt een kijkje achter de schermen van deze dynamische productie.

Ervaring en historie

Het EK Indoor Atletiek werd voor de 38e keer georganiseerd en Nederland had de eer dit prachtige evenement te hosten. In 2016 organiseerde Nederland de Europese kampioenschappen outdoor, toen in Amsterdam. EMG was daar ook bij! Lex: “Onze ervaring van dit soort grote sportevenementen, maar ook van de European Championships in Berlijn en München, namen we mee naar Apeldoorn om het evenement naar een hoger niveau te tillen.”

Een uniek en uitdagend evenement

“Een indoor atletiekevenement brengt unieke uitdagingen met zich mee, maar juist dat maakt het spannend! Tijdens de opbouw vraagt de beperkte ruimte van de indoorlocatie om een strakke en efficiënte planning. Tijdens de wedstrijddagen vinden er tegelijkertijd verschillende disciplines plaats op meerdere locaties binnen het stadion, die allemaal haarscherp in beeld moeten worden gebracht. Een complexe, maar vooral fantastische uitdaging!”, vertelt Lex enthousiast.

Hoogwaardige productie op locatie

Al in 2020 startte de eerste voorbereidingen. Lex: “Wij kregen van FabriQ Media Group het vertrouwen om voor de host broadcast productie alle benodigde faciliteiten en operationele crew te leveren”. Aan de voorkant is er met FabriQ geruime tijd besteed aan de voorbereiding. Overall verantwoordelijk voor EMG/Gravity Media was Projectmanager Hilbert Flokstra. Lex: “Hilbert, die tijdens het evenement de operationele leiding had, ging als eerste aan de slag de gemaakte plannen technisch uit te denken en intern uit te zetten. Hij onderzocht welke middelen en mensen EMG moest inzetten om het in z’n geheel operationeel te krijgen. Denk hierbij aan het samenbrengen van de juiste crew met de gewenste kennis en ervaring, tijdschema’s opzetten, workflows uitdenken, wagens en materialen reserveren. Dat behoort zoal tot zijn taken en daar is hij heel ervaren in.”

De beste mensen en middelen

EMG/Gravity Media bracht de geavanceerde OB-vlaggenschepen NOVA 105 en NOVA 106 naar Apeldoorn. In deze 2 OB’s werden vier regies gecreëerd om alle actie gelijktijdig vast te leggen, zodat bijvoorbeeld het kogelstoten, verspringen en hardlopen naadloos geregistreerd konden worden. EMG/Gravity Media verzorgde ook de techniek voor de Event Production met een indoor flypack-regie, inclusief twee draadloze camera’s, een vaste camera en uitgebreide opname en playout-mogelijkheden. Meer dan 150 professionals, waaronder projectmanagers/coördinatoren, cameramensen, geluids-, beeld- en RF technici, grafische en TOC-operators en operationeel assistenten werkten samen om het EK Indoor Atletiek perfect te faciliteren.

Innovatieve technieken en speciale camera’s

Voor deze hoogwaardige productie werden meer dan 45 camera’s ingezet. EMG Connectivity faciliteerde de RF-verbindingen voor de draadloze camera’s, terwijl Aerial Camera Systems (onderdeel van EMG/Gravity Media) specialistische camera’s leverde. Lex: “Bijvoorbeeld high-speed minicamera’s bij het polsstokhoogspringen en verspringen, waardoor we prachtige slow-motionbeelden konden maken.” Facilitair partner Eurogrip zorgde voor de indrukwekkende Eagle Eye-camera, waarmee atleten vanuit unieke hoeken gefilmd konden worden. Daarnaast werden 25 commentaarposities opgezet, compleet met monitoren, commentaar units en technische ondersteuning en leverde EMG ook het Technical Operations Center op het TV compound.

Perfecte samenwerking en flexibiliteit

De intensieve opbouwdagen voorafgaand aan het evenement vergden een strakke planning. Lex: “Op 28 februari startten we met het bekabelen van de venue voor de HB productie, EBU en visiting broadcasters. Op maandag 3 maart plaatsten we de trucks en begon de opbouw van alle techniek en het TOC. Dankzij een sterk team en een heldere workflow verliep dit proces soepel.”

De samenwerking met FabriQ Media Group verliep uitstekend. “Wij werken al langer samen aan grote events, zoals het ABN Amro Open en de ESPN Eredivisie Awards. Op locatie was de sfeer top en door goede voorbereiding konden we last-minute verzoeken moeiteloos honoreren.”

NOS Studio Sport en Langs de Lijn

Ook voor het omlijstende NOS Studio Sport-programma, tijdens het evenement dagelijks te zien bij de NPO, speelde EMG/Gravity Media een cruciale rol. Uplink HOL219 werd als regie- en satellietwagen ingezet voor de studioproductie en interviews met drie camera’s en een commentaar positie voor radio en televisie op locatie.

Succesvol en indrukwekkend

Het EK Indoor Atletiek 2025 is een prachtig voorbeeld van hoe een grootschalig sportevent succesvol gefaciliteerd kan worden. “Dankzij een gedetailleerde voorbereiding, een deskundig team en de nieuwste technologieën is dit een evenement om trots op te zijn! We danken FabriQ Media Group voor deze geweldige opdracht”, besluit Lex.

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.