Gravity Media, a global leader in live production and content, and media services and facilities, is pleased to announce the appointment of Rudy Dendleux to the position of Managing Director of Gravity Media France, effective April 2026. In this new role, Rudy will oversee the continued growth of the company’s French operations, focusing on its Specialist RF Capabilities, whilst also driving the development of the company’s end-to-end solutions.
Since joining the business in 2003, Rudy has been an integral part of the business, first serving as President of the Technology division for over seven years. His deep understanding of the company’s operations, as well as his extensive experience in technology and leadership, make him the ideal candidate to lead the growth of the business in the French market.
“Rudy has been a key part of our success over the years and has shown exceptional leadership in his previous role. His vision, technical expertise, and passion for innovation make him uniquely qualified to drive our strategy forward in France,” said Bart De Maeyer, Regional CEO at Gravity Media. “We are confident that under Rudy’s leadership, our French operations will continue to excel, driving meaningful innovation, deepening customer relationships and delivering high-quality solutions that meet the evolving needs of our market.”
In his new position, Rudy will continue to focus on delivering cutting-edge solutions and maintaining the company’s strong presence in France while further strengthening its capabilities in RF, and integrated solutions for the company’s diverse client base.
Rudy commented on his appointment, saying, “I’m honoured to take on this new role and continue building on the solid foundation we’ve already established in France. I look forward to working with our talented teams to scale our operations in the region while ensuring our offering remains relevant and commercially impactful for our customers.”
Gravity Media is committed to its mission of providing high-quality production, content, media services and facilities solutions, whilst strengthening its leadership in the market. With Rudy at the helm of the French operations, the company is poised to continue its trajectory of success in the region.
PRESS COVERAGE
Gravity Media, a global leader in production, content, media services and facilities, has deployed a state-of-the-art remote production gallery to support ITV Studios’ MultiStory Media programming at its new Covent Garden facility in London. The solution will enable the production and broadcast of 900 hours of live daily programming each year across three flagship shows: Lorraine, This Morning and Loose Women.
The new studio, which launched in January 2026, features a 360-degree set with LED walls designed for rapid turnarounds between shows. Production has been built with sustainability at its core: a single, high-specification remote gallery produces and broadcasts all three live daily programmes, as well as additional productions outside of MultiStory Media transmission, significantly reducing the need for onsite infrastructure and travel.
The remote production infrastructure includes approximately 45,000 metres of video, audio, SMPTE, data and fibre cabling, supporting 13 technical equipment racks and nine wall boxes across 34 camera positions. Together, this creates a resilient, future-ready infrastructure that enables flexible remote production from day one.
Gravity Media’s Remote Production service uses high-bandwidth, low-latency fibre, satellite, broadband and mobile network technologies to transmit footage in real time to Gravity Media’s Production Centre in White City, where engineering, editorial and creative teams enhance content for final delivery.
Phase 2 of the project, launching later in 2026, will build on this foundation by adding advanced graphics and finishing capabilities, supporting the delivery of even more premium, visually compelling broadcasts to ITV’s audiences.
Kate Rendle, Director – Global Sales Director at Gravity Media commented:
“Remote production allows us to deliver the broadcast quality ITV’s audiences expect, while reducing environmental impact and operational costs. By centralising production, we can manage multiple live feeds, maintain high technical standards and build greater resilience into daily live production.”
PRESS COVERAGE
*English version below
Gravity Media zet een volgende stap in de integratie van haar activiteiten in Nederland en België. Met het vertrek van Kathleen Wellink per 1 maart als directeur Outside Broadcast & Studio’s wordt de operationele aansturing in de Benelux herijkt. “Klanten willen niet bij al die winkeltjes apart gaan shoppen.”
Koen Bredael, sinds zes jaar operationeel directeur van Gravity Media België en al sinds 1995 werkzaam bij het Vlaamse Videohouse, krijgt de rol van operationeel directeur over beide landen. De Antwerpenaar, die evenals zijn Belgische collega Bart De Maeyer, de Regional CEO van Gravity Media Europe, meerdere dagen per week in Hilversum neerstrijkt, wordt ondersteund door Gijs Vos, die als manager operations een uitgebreidere verantwoordelijkheid heeft binnen de Nederlandse organisatie.
De wijziging past binnen een bredere strategische beweging om de samenwerking tussen België en Nederland structureel te verdiepen. “Onze klanten organiseren zich steeds vaker Benelux-breed. Productiehuizen kijken niet meer per land, maar zoeken schaalvoordelen en synergie,” zegt Bredael. “Daar moet onze organisatie op aansluiten. Kathleen heeft hierin al goede stappen gezet op logistiek vlak. Echter kunnen we dit op meerdere vlakken nog verder optimaliseren. Daar gaan we nu echt tempo in maken.”
Media Services
Concreet betekent dit dat verschillende disciplines – meercamera, connectivity, ENG en Blue Label – onder één overkoepelende structuur worden samengebracht: Media Services. Die opzet sluit aan bij de veranderende vraag vanuit de markt. Grote producties bestaan steeds vaker uit een combinatie van meerdere diensten, waarbij klanten behoefte hebben aan centrale coördinatie en één aanspreekpunt. “Producenten willen geen ‘losse eilandjes’ meer,” aldus Bredael. “Ze zoeken oplossingen, geen afzonderlijke services. Door alles onder één koepel te brengen, kunnen we die rol beter invullen en de klant ontzorgen.”
Dezelfde structuur wordt zowel in Nederland als België doorgevoerd. Lokale productie blijft daarbij leidend; de integratie is primair organisatorisch en procesmatig van aard. Het gaat namelijk om het slimmer organiseren van kennis, innovatie en ondersteuning.” Binnen de nieuwe constellatie richt Gijs Vos zich op de backoffice en projectorganisatie. Alle projecten worden vanuit één centraal projectbureau aangestuurd, met gezamenlijke crewplanning en nauwere samenwerking tussen afdelingen. De operationele uitvoering en de aansturing van mensen en middelen vallen onder Koen Bredael. “Door de projectbureaus fysiek en organisatorisch samen te brengen, creëren we meer efficiëntie en betere afstemming tussen disciplines,” zegt Gijs Vos. “Dat is een duidelijke verandering ten opzichte van de eerdere, meer gescheiden werkwijze.”
Internationale ervaring als versneller
Gravity Media werkt al jaren intensief samen binnen de internationale groep, onder meer bij grote evenementen zoals dit jaar de Olympische Spelen, het WK voetbal en Roland Garros. ‘’Die ervaring wordt nu explicieter benut voor de Benelux-markt zegt Vos.’’ Ook producties als Love Island worden al ‘grensoverschrijdend’ uitgevoerd. “Wat we internationaal hebben geleerd over schaal, remote productie en samenwerking, zetten we lokaal in,” aldus Bredael. “Dat is een duidelijke meerwaarde voor onze klanten.”
Twee domeinen zijn expliciet nu al Benelux-breed georganiseerd: innovatie en Livecentre (MCR). Voor dat laatste wordt één gezamenlijke aansturing ingericht, met Jasper Jurgens als verantwoordelijke voor zowel Nederland als België. Beide landen zijn al via vaste glasvezelverbindingen aan elkaar gekoppeld en werken met main- en backup-structuren over de grens. Ook innovatie wordt centraal aangestuurd. Nieuwe technologieën, waaronder software-based en remote productiemodellen, worden niet langer per land ontwikkeld, maar gedeeld binnen de Benelux en daarbuiten. Projecten als het World Economic Forum in Davos, dat volledig remote en software-based wordt geproduceerd, illustreren die aanpak.
Markt onder druk
Deze herstructurering bij Gravity Media Nederland en België vindt plaats tegen de achtergrond van toenemende financiële ‘uitdagingen’ zoals dat eufemistisch heet. “Die zijn in beide landen vergelijkbaar,” zegt Bredael. “Budgetten staan onder druk en tegelijkertijd versnelt de technologische ontwikkeling.” AI speelt daarin een groeiende rol, met name in postproductie en content operations, zoals ondertiteling en metadata. In andere delen van het productieproces wordt nog vooral onderzocht waar daadwerkelijk efficiency te behalen valt. “Niet alles wat als AI wordt gepresenteerd, is dat ook. We maken daarin bewuste keuzes.” Met de nieuwe Benelux-structuur positioneert Gravity Media zich nadrukkelijk als geïntegreerde mediaservicepartner, voorbereid op verdere schaalvergroting, technologische versnelling en internationale samenwerking.
TEKST: Jeroen te Nuijl // Fotografie: Studio Kastermans
ENGLISH VERSION BELOW
Gravity Media strengthens Benelux structure with integrated Media Services
Gravity Media is taking the next step in the integration of its activities in the Netherlands and Belgium. With the departure of Kathleen Wellink as Director of Outside Broadcast & Studios on 1 March, operational management in the Benelux will be reassessed. “Customers don’t want to shop at all those different shops separately.”
Koen Bredael, who has been Operational Director of Gravity Media Belgium for six years and has worked at the Flemish Videohouse since 1995, will take on the role of Operational Director for both countries. The Antwerp native, who, like his Belgian colleague Bart De Maeyer, Regional CEO of Gravity Media Europe, spends several days a week in Hilversum, will be supported by Gijs Vos. Vos, as operations manager, has broader responsibilities within the Dutch organisation.
The change is part of a broader strategic move to deepen cooperation between Belgium and the Netherlands. “Our customers are increasingly organising themselves across the Benelux. Production companies no longer look at each country individually, but instead seek economies of scale and synergy,” says Bredael. “Our organisation must respond to this. Kathleen has already taken positive steps in this regard, particularly in logistics. However, we can further optimise this in several areas. We are now going to really pick up the pace in this regard.”
Media Services
In concrete terms, this means that various disciplines – multi-camera, connectivity, ENG and Blue Label – will be brought together under one umbrella structure: Media Services. This structure reflects changing market demand. Large productions increasingly consist of a combination of multiple services, with customers requiring central coordination and a single point of contact.
“Producers no longer want ‘separate islands’,” says Bredael. “They are looking for solutions, not separate services. By bringing everything under one umbrella, we can better fulfil that role and take care of everything for the customer.”
The same structure is being implemented in both the Netherlands and Belgium. Local production remains central; the integration is primarily organisational and process-related. It is about organising knowledge, innovation and support in a smarter way.”
Within the new constellation, Gijs Vos focuses on the back office and project organisation. All projects will be managed from a single, central project office, with joint crew planning and closer cooperation between departments. Koen Bredael is responsible for operational implementation and the management of people and resources.
“By bringing the project offices together physically and organisationally, we are creating greater efficiency and better coordination between disciplines,” says Gijs Vos. “This represents a clear change from the previous, more separate way of working.”
International experience as an accelerator
Gravity Media has been working intensively within the international group for years, including at major events such as this year’s Olympic Games, the World Cup and Roland Garros. That experience is now being used more explicitly for the Benelux market, says Vos.
Productions such as Love Island are also already being carried out ‘across borders’. “We are applying what we have learned internationally about scale, remote production and collaboration locally,” says Bredael. “That is a clear added value for our customers.”
Two areas are already explicitly organised across the Benelux: innovation and Livecentre (MCR). For the latter, a single joint management structure is being set up, with Livecentre Project Manager Jasper Jurgens responsible for both the Netherlands and Belgium. Both countries are already linked by fixed fibre optic connections and work with main and backup structures across the border. Innovation is also managed centrally across Benelux. New technologies, including software-based and remote production models, are no longer developed per country but shared across Benelux and beyond. Projects such as the World Economic Forum in Davos, which is produced entirely remotely, illustrate this approach.
Market under pressure
This restructuring at Gravity Media Netherlands and Belgium is taking place against a backdrop of increasing financial ‘challenges’, as they are euphemistically called. “These are similar in both countries,” says Bredael. “Budgets are under pressure and at the same time technological development is accelerating.”
AI is playing a growing role in this, particularly in post-production and content operations, such as subtitling and metadata. In other parts of the production process, research is still being conducted into where efficiency can actually be achieved. “Not everythingpresented as AI is actually AI. We make conscious choices in this regard,” Bredael adds.
With the new Benelux structure, Gravity Media is positioning itself as an integrated media service partner, prepared for further scaling, technological acceleration and international collaboration.
FACILITIES
TEXT: Jeroen te Nuijl // Photography: Studio Kastermans
Gravity Media, a leading global provider of complex live broadcast facilities and production services, has completed the refinancing of its senior debt facilities, supporting the continued integration of the Group following its recent rebrand.
The new financing provides a stable foundation to support Gravity Media’s evolution into a single, unified organisation, bringing together teams, capabilities and operations under the Gravity Media brand.
John Newton, Chairman and CEO of Gravity Media, said: “This refinancing marks an important moment in our journey as a newly combined Group. Bringing the two businesses together has always been about building a stronger and more agile organisation, with the financial resilience to execute our long-term plans.
The new financing gives us the flexibility to accelerate development across the Group, deepen collaboration between teams, and continue delivering the innovation and service our customers expect. I’m grateful to everyone involved in getting us here.”
PRESS COVERAGE
Gravity Media, a world leader in production and content and media services and facilities, has strengthened its Middle East operations with the recent appointment of Mohamed Abouelkhair as its new Technical Manager, alongside the deployment of three outside broadcast (OB) trucks, NOVA 101, Nova 109, and SIRIUS 303.
With over 15 years of experience across the broadcast, technology, and communications sectors, Mohamed brings deep technical expertise and leadership to Gravity Media Arabia. Mohamed’s background spans multinational and local organisations across manufacturing, broadcast services, TV, and more. Known for his strong vendor relationships and hands-on engineering knowledge, Mohamed has also designed and delivered numerous technical training programmes, mentoring the next generation of broadcast engineers.
The announcement comes as Gravity Media Arabia successfully delivered a major project under the expanded technical team, The Six Kings Slam, a premier men’s tennis exhibition tournament produced by IMG. Held at the ANB Arena in Riyadh from 15th–18th October as part of Riyadh Season, the event marked its first-ever global live stream on Netflix.
Gravity Media provided full technical production facilities and crew, deploying its UHD OB unit NOVA 101 to deliver a seamless live broadcast. The production featured an advanced multi-camera setup integrating RED V-Raptor cinematic systems, Canon Cine-servo lenses, and Sony HDC series cameras, supported by a 45-strong technical team managing vision, audio, RF, and engineering.
Martyn Edwards, Managing Director for the Middle East at Gravity Media, commented: “This is a hugely exciting time for Gravity Media in the Middle East. The region’s appetite for world-class live events continues to grow, and our investment in new technology and local expertise ensures we’re perfectly positioned to deliver. With Mohamed joining the team, we’re deepening our technical capability and building even stronger foundations for future growth.”
Mohamed Abouelkhair, newly appointed Technical Manager at Gravity Media, said: “Joining Gravity Media at such a dynamic point in its regional growth is a proud moment. The Middle East is fast becoming a global hub for live production innovation, and I’m excited to play a part in driving that forward. With the deployment of NOVA 101 and SIRIUS 303, and a talented team of engineers behind them, we’re well-equipped to deliver the next generation of production and broadcast excellence across the region.”
PRESS COVERAGE
Supercars, the premier motorsport category in Australasia, and Gravity Media, the leading force in production and content, media services and facilities, today confirmed details of their partnership to deliver all-encompassing, all-screens coverage of this year’s Repco Bathurst 1000.
The undertaking is internationally acknowledged as one of the most significant and complex broadcasting projects in sports coverage.
Across more than 175 television cameras on-track, in-car, in the pits, around the track, embedded in concrete kerbs and walls, in the air and across sections of the track on a wire, and accessing four state of the art high definition outside broadcast trucks, specialty in-car camera technology designed and developed by Gravity Media in Australia, 52 kilometres of broadcast cable and a total production crew of more than 250, Gravity Media and Supercars will capture every moment of Australia’s Great Race.
In a significant shift to its 2025 calendar, the Repco Bathurst 1000 will now serve as the final race of the Ryco Enduro Cup. Following the AirTouch 500 at The Bend, the two-race series will culminate at Bathurst, where the highest-scoring driver pair will be awarded the Cup and the primary driver of the pairing will also secure an automatic entry into The Finals.
On the eve of the Repco Bathurst 1000 will be the Repco Bathurst 1000 Street Party, returning after its inaugural success in 2024, bringing all 27 Supercars of the Great Race from track into the heart of the city with Gravity Media providing 5-camera live coverage on Fox Sports and Kayo.
The Repco Bathurst 1000 will be broadcast on Fox Sports, Kayo Sports, the Seven Network and 7plus across 9 – 12 October.
Coverage of this year’s Repco Bathurst 1000 will be broadcast around the world via Supercars’ international broadcast partners, including Sky in New Zealand and SuperView on the Supercars website and YouTube for outside Australia and New Zealand.
Key production details for television coverage of the Repco Bathurst 1000:
- Ten production trucks, including four high definition outside broadcast trucks driving the overall television production.
- More than 175 cameras across the track, in the pits, in and across cars, on driver helmets, mounted in race walls and track kerbs, including manned trackside, RF handheld and specialty extreme super slo-mo cameras, plus live helicopter coverage.
- 52 kilometres of television production cable and fibre, enough to lap the circuit more than eight times.
- Broadcast and production team of more than 250 across Gravity Media and Supercars Media.
Nathan Prendergast, Head of Broadcast at Supercars, said:
“What makes the Bathurst 1000 unique is not just the race itself, but the way we bring it to life for audiences.”
“With more than 175 cameras, state-of-the-art broadcast trucks and a world-class production crew, we can tell the story of every lap, every pit stop and every moment that matters.”
Ben Madgwick, Sales Director at Gravity Media in Australia said:
“As Australia’s largest and most complex broadcast production, the Repco Bathurst 1000 continues to inspire us to innovate and elevate what’s possible in live sports coverage. Partnering with Supercars, Gravity Media is proud to deliver a broadcast that matches the scale and intensity of the event itself.”
More than 145 in-car cameras will be accessed across Repco Bathurst 1000 and other races across the weekend.
This in-car camera technology was designed and developed by Gravity Media’s Globecam unit which is renowned for creating ground-breaking, high-definition digital miniature live broadcast devices that entertain and engage viewers all over the world with footage captured from exciting new angles and perspectives.
In addition to the broadcast partnership with Supercars, Gravity Media also provides the technology and systems for Supercars’ team radios, along with isolated camera coverage for the Gravity Media developed and bespoke Gravity Review System, used by the motorsports judiciary and race control in the management of every on-track moment in the Repco Bathurst 1000 and across every race in the Repco Supercars Championship.
Gravity Media’s broadcast facilities and technology collaboration with Supercars, which produces the global and Australian television coverage of the Repco Bathurst 1000, commenced in 2011.
Beyond the Repco Bathurst 1000, Gravity Media’s long-term partnership with Supercars also encompasses the television production of each of the rounds in the 2025 Repco Supercars Championship, including Gravity Media’s acknowledged specialty and in-car camera technologies.
PRESS COVERAGE:
Gravity Media, the leading force in production and content, media services and facilities, today detailed the combining of forces of Gravity Media’s teams in Australia and Belgium to deliver the broadcast technology and television production undertaking that saw Gravity Media create and deliver the broadcast and packaged content for the Pho3nix Sport with Purpose in Switzerland.
The complex undertaking underlines Gravity Media’s global creative production and technology capabilities in combining forces across multiple territories to deliver every on-screen element for the event.
A team from Gravity Media in Australia crossed the globe capturing the essence of Sport with Purpose, the stories of Olympians and young athletes in eleven countries whose lives are shaped by Pho3nix initiatives.
From the rainforests of Rwanda, the Swiss Alps, the streets of Bangkok, the hustle and bustle of Lagos in Nigeria, and multiple locations in South Africa, Ghana, Austria, Switzerland, Poland, UK, Australia, and the Philippines, Gravity Media’s Australian team of five has completed a significant logistical and production undertaking utilising ten road cases of broadcast and filming equipment, including 4K cine-cameras, specialised super-slo, and mini-cameras and all sound, lighting and rigging production requirements.
Following six weeks of filming and production, Gravity Media’s post-production team in Sydney has created 11 mini-documentaries for the inaugural Pho3nix Sport with Purpose Charity Gala held in the iconic Dolder Grand in Zurich, Switzerland on 19 September.
Gravity Media’s in-house creative team in Sydney was also engaged in the production of all screen content and graphic design for the inaugural Pho3nix Sport With Purpose Charity Gala.
Gravity Media’s team in Belgium was then appointed to deliver the broadcast technology and production undertaking for the global broadcast of the Gala across the Pho3nix Foundation’s social channels, accessing one of Gravity Media’s state-of-the-art high definition outside broadcast trucks, an array of jibs, cine Steadicams, Glambot and drone camera technologies and a crew of 25.
The Pho3nix Sport with Purpose Charity Gala featured host James Corden and Laura Woods with headline guests such as Usain Bolt, Anthony Joshua and Chris Froome, marking a celebration of creating meaningful impact through the power of sport through grants, educational programmes, and awards to shape a positive future for children.
The gala shared personal stories from Olympians and emerging athletes whose lives have been shaped by Pho3nix initiatives, such as the Pho3nix Kids Football in Rwanda, Move 4 Life parkour in Thailand, and Kids Fun Runs in Ghana, which demonstrate how sport can create new pathways for children and communities across the globe.
The Pho3nix Foundation is a global non-profit founded and chaired by philanthropist Sebastian Kulczyk.
At the helm of this landmark event is Mana Group, the Pho3nix Foundation’s strategic delivery partner.
Gravity Media was appointed by Mana Group to deliver the creative production outcome for the Pho3nix Foundation
Mike Purcell, Head of Production at Gravity Media Australia commented:
”It is a pleasure for Gravity Media to partner with Mana Group to tell and highlight the wonderful story of the Pho3nix Foundation’s work. To see first-hand the social impact the Pho3nix Foundation brings to kids, local organisations, communities, and athletes globally, brings to light the importance to keep kids active and support up and coming athletes. It is Sport With Purpose.”
Nathalie De Mey, Project Coordinator at Gravity Media Belgium commented:
“For Gravity Media in Belgium, it was great to be collaborating with our team in Australia for the first time. We are delighted to be involved in this valuable project, not only because of the impact of the Pho3nix Foundation, but also because it transcends boundaries within Gravity Media. We are proud to be one global powerhouse brand and contribute to such an important social initiative.”
Trent Taylor, CEO of Mana Group commented:
“The Pho3nix Sport with Purpose Gala is a landmark moment that showcases the life-changing power of sport, and we are proud to have appointed Gravity Media to help bring these stories to life on a global stage. Their ability to combine world-class creative production with broadcast technology across multiple continents ensures that the impact of Pho3nix initiatives, from Rwanda to Bangkok to Zurich, will be shared with audiences everywhere. Mana Group’s partnership with Gravity Media builds on years of collaboration across some of the world’s most ambitious sporting projects, and together we are delivering a production worthy of the athletes, children, and communities whose stories will inspire the world.”
The appointment of Gravity Media to create and deliver the production outcome for the Pho3nix Foundation builds on Gravity Media’s long-term partnership with Mana Group which sees Gravity Media working with Mana Group across an array of events including Sub7 and Sub 8 broadcasts and documentaries, Super League Triathlon, Ironman, Stawell Gift and Greatest Mental Health Awareness for New South Wales Department of Education.
PRESS COVERAGE
The investment, announced at IBC 2025, includes the deployment of EVS XT-VIA servers with ultimate LSM-VIA replay systems
IBC, AMSTERDAM, 13 September 2025 – Gravity Media, a leader in production and content and media services and facilities has announced a key agreement with EVS, the leading provider of live video technology for broadcast and new media productions, for the deployment of its cutting-edge LiveCeption® solution. The agreement will see a large-scale rollout of EVS’s XT-VIA® servers and LSM-VIA® replay systems across Gravity Media’s global fleet.
The investment significantly enhances Gravity Media’s media services and facilities infrastructure, ensuring the very best performance, reliability and scalability for top-tier sports, entertainment, news and corporate events worldwide.
Chairman and CEO of Gravity Media John Newton said, “As one global brand Gravity Media pushes the envelope that is underpinned by our constant drive for innovation and embracing the very latest technology – such as EVS’ LiveCeption® solution. Gravity Media also stands for the pursuit and provision of creative and technological excellence and again, embracing LiveCeption® only helps us further achieve these goals.”
This EVS investment solidifies Gravity Media’s position as a premier provider of integrated production and media services and facilities worldwide. With operations spanning Australia, Middle East, UK, Ireland, the United States and key European markets including France, Belgium, Germany, Italy and the Netherlands, Gravity Media delivers world-class production solutions across diverse regions.
Newton added, “This strategic investment underscores our commitment to pioneering the future of live production technology. By enhancing Gravity Media existing EVS’s XT-VIA platform, we empower our teams to deliver immersive, high-quality content with unmatched efficiency across all regions. With EVS as one of our trusted partners, we are well-equipped to meet the dynamic demands of next-generation live productions globally.”
The EVS Cerebrum orchestration, control system, and SDN, already integral to Gravity Media’s fully IP-enabled OB mobile units, serves as the backbone for managing complex live IP workflows. The agreement also includes a comprehensive Cerebrum Service Level Agreement (SLA) with EVS, guaranteeing comprehensive technical support and Cerebrum software updates.
Working in collaboration, EVS and Gravity continue their partnership focused on the development of a next-generation Cerebrum SDN, combining their expertise to push the boundaries with Cerebrum.
“We are proud to continue our long-standing partnership with Gravity Media,” said Serge van Herck, CEO at EVS. “This extended agreement represents a significant milestone in our shared ambition to transform the future of live production. It reflects our mutual dedication to innovation, excellence and the pursuit of new possibilities in broadcast technology. By equipping Gravity Media’s global fleet with our LiveCeption solution, including XT VIA servers and LSM VIA replay systems, we are enabling a new generation of live storytelling. These tools allow production teams to capture and deliver the emotion and energy of live events with exceptional clarity, speed and creativity. As the industry moves toward more intelligent, decentralised and flexible workflows, our technology is designed to evolve and lead. With Cerebrum providing orchestration and a comprehensive service agreement in place, this partnership ensures Gravity Media is prepared to meet the challenges of tomorrow and embrace the opportunities of a rapidly changing media environment.”
John Newton concluded, “Our clients across the globe rest assured that we will always push the boundaries of creative and technical excellence that will allow them to tell their incredible stories. To that end, integrating the LiveCeption solution boosts our replay and highlights capabilities while providing the flexibility to scale operations seamlessly across continents. Whether it’s a major sporting event, a live concert or production this partnership helps ensure we will always deliver consistent, premium experiences for our clients.”
PRESS COVERAGE
*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.”
Gravity Media, a global leader in broadcast solutions, production, and media services, is pleased to announce that its revolutionary fully electric 19T tender vehicle (eTSV1) has successfully completed its first six months of operation and will play a key supporting role in its supply of broadcasting facilities for 2025/26 English Premier League season as well as making its debut at the Women’s Super League at the Emirates Stadium on 6th September.
In fulfilling its jobs to date, including work on a number of EPL matches, it has driven over 3200 km with zero tailpipe emissions. This makes it an even more sustainable option than the latest fleet conversions to HVO fuel, and highlights just what is possible when charging fully electric vehicles using renewable energy both back at base and at an increasing number of venues around the country.
With a fully charged range of over 200 km and a 5-tonne payload capacity, ‘eTSV1’ is well-suited for urban-based productions. It features a Volvo FE Electric 4×2 chassis cab and is powered by four GEN 3 traction batteries, providing a total energy capacity of 280 kWh. This makes it an important part of Gravity Media’s ongoing sustainability strategy; the company has been awarded the DPP’s top Committed to Sustainability Mark and is the only outside broadcast facilities provider on the BAFTA albert Suppliers Directory.
Gravity Media UK CEO, Jamie Hindhaugh commented, ‘The eTSV1 is possibly the most consequential truck we have commissioned and deployed at Gravity Media. While previous landmark trucks reflected pivotal shifts in technology, such as the move first to HD and then 4K, and the transition to IP, this represents something even more fundamental; a movement toward sustainable, lower-carbon broadcasting. Real progress will come from learning from one another, sharing ideas and collectively driving initiatives forward. And the importance of that extends beyond just broadcasting.”
“We are delighted by the reception that eTSV1 has had so far and the way that it has performed in the field,” added Rohan Mitchell, ESG Director, Gravity Media. “Driving over 2000 miles and producing absolutely no emissions over each and every one of those miles is a significant achievement. The technology is advancing all the time too, with greater vehicle range at increasingly competitive price points, and we are looking forward to seeing the pioneering work we have done with eTSV1 reflected across the wider OB industry in the next generation of all-electric vehicles.”
Gravity Media, the leading force in production and content, media services and facilities, has today been unveiled as the new main sponsor of Wycombe Wanderers Women’s Football team for the 2025/26 and 2026/27 football seasons.
This partnership marks a powerful alignment between a company deeply committed to the growth of women’s sport and a club targeting promotion to the Southern Region Women’s Football League (SRWFL) and with bold ambitions to climb the football pyramid.
The announcement follows Gravity Media’s successful delivery of host broadcast services for the UEFA Women’s EURO 2025, a record breaking tournament that captivated millions and underscored the unstoppable rise of the women’s game with an historic victory for England’s Lionesses. Gravity Media, having been at the heart of that global broadcast effort, is now reinforcing its dedication by investing locally in the game’s future, showcasing women’s football from the elite stage to the local pitch.
This sponsorship reflects Gravity Media’s belief in the transformative power of league football to inspire the next generation. Wycombe Wanderers Women (W3) strive to be the best on and off the pitch, also actively supporting local community initiatives through Wycombe Wanderers Foundation and inspiring the next generation of young female players. The club has a strong vision to create a unified club structure with a progressive, player-centred environment focussed on aspiration, development and performance with a clear development pathway from first kick to first team.
Jamie Hindhaugh, CEO of Gravity Media UK, commented:
“With our outside broadcast operations based out of High Wycombe, it was important for us to invest in our local community and we can’t think of a better place to show our new logo than on the shirts of the Wycombe Wanderers Women’s team. We have a passion for sport; from the top tiers of international competition right through to local clubs with big ambitions. This partnership reflects everything we value; community, collaboration and a shared drive to succeed.”
Nigel Kingston, President of W3, said:
“We are delighted that Gravity Media have agreed to back our Women’s team for the coming season and look forward to their knowledge and experience in global media production helping to drive W3 forward both on and off the pitch”. The Gravity Media logo will now proudly feature on the Women’s team’s home and away kits for the 2025/26 and 2026/27 season, further strengthening the bond between broadcast innovation and community sport.”
Gravity Media UK CEO, Jamie Hindhaugh, added:
“England’s historic win in the Euros has been a pivotal moment for the women’s game and we want to do all we can to help build on that legacy. Wycombe Wanderers Women are not only inspiring role models within their community but also a team with vision and determination. Together with the Lionesses, they represent the future of football and we’re excited to support them on their journey.
Following the successful integration of the complementary businesses of EMG and Gravity Media and furthering its commitment to delivering production & content and media services & facilities, the combined entities have come together to form one, global powerhouse brand – Gravity Media.
The new Gravity Media global brand logo
Gravity Media Executive Chairman and CEO John Newton explained, “Once in the lifetime of a company like ours something big happens. Something very big. For us, today, that is our transformation for the future and our coming together under one global brand that is Gravity Media. Our look is new, but our commitment to our staff, our customers and as always to capture, craft and create the very best content remains the same. This is a pivotal moment for Gravity Media and one that has many benefits for our clients and the global market.”
The companies that come together under the new Gravity Media brand collectively form a world leading global provider of production and content and media services and facilities.
Newton continued, “The plan for Gravity Media moving forward is to strengthen our creative and facilities offerings, grow our global presence and provide even more value and better solutions for our clients. As one global brand we will push the envelope that is underpinned by our constant drive for innovation, embracing the very latest technology and employing the best people. The new Gravity Media brand represents our commitment to providing the highest quality work and ethics for our team and our customers all across the globe.”
Gravity Media in action at the UEFA EURO 2024 Championships
No-one doubts the speed and consistency of change in the ever-evolving broadcast, production and events industries. It’s this change that also spurred on and underpins the new global rebranding.
Newton added, “In a world where change is the only constant it’s never been more important that a company like ours who enables the most incredible stories to be told be consistent, innovative, reliable and efficient. Our one, single Gravity Media brand embodies those goals. It brings together and successfully combines our strengths and expertise delivering a truly unique range of creative, media and facilities services and solutions to clients and for events around the world.”
Whilst Gravity Media brings together the majority its brands some of its key independent sub-brands including Boost Graphics, EMG, Gravity House, Livetools Technology, Origins Digital, Motionmakers, and Wall On Media will remain and happily coexist under the Gravity Media Group umbrella.
Gravity Media in action at the Australian Open
Newton said, “Gravity Media stands for the pursuit and provision of creative and technological excellence. For those brands where there is more benefit to our clients to have them integrate into Gravity Media they have done so. For those where the market needs them to remain as sub-brands, that will be the case. The one thing our new Gravity Media brand does is guarantee our consistency of offering and communication across all the areas of our business.”
Gravity Media’s broadcast, technology, production and post-production solutions are used by the world’s most renowned federations, broadcasters and production houses to produce many of the world’s most-watched live events and entertainment programmes including Formula E, FIFA World Cup, English Premier League, UEFA Champions League, UEFA EURO Championships, Tour de France, ATP Grand Slam tournaments and the Indian Premier League (IPL).
Gravity Media’s growing global footprint spans 37 locations across 11 countries with over 2,000 employees, more than 100 outside broadcast trucks, 30 studios and production facilities across the UK, Europe, the Middle East, United States and Australia.
John Newton concluded, “The new Gravity Media global brand symbolises and crystallises who we are, collectively our many decades of experience and critically our path for the future. Now more than ever our clients across the globe can rest assured that we will push the boundaries of creative and technical excellence that will allow them to tell their incredible stories. As a global company we live to enable our clients to produce those hair-raising, jaw-dropping, spine tingling moments that are talked about for many years to come. That is and always will be, Gravity Media.”
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