EMG/Gravity scores at EURO 2024 with ‘reverse remote’ production model
At the recently concluded UEFA EURO 2024 football championship won by Spain for a record fourth time, the EMG/Gravity Media group provided an advanced broadcast infrastructure that allowed the action in Germany to reach fans in the UK, the Netherlands, and Australia.
For UEFA, EMG/Gravity Media leveraged its extensive experience gained from years of working at the EUROs to deliver the Technical Operations Centres (TOCs) and FANTV solution at each of the 10 venues across Germany.
This was achieved in collaboration with the team in Italy, whilst the group’s French crew members on-site delivered the big screens action for the fixtures held in both Münich and Stuttgart on behalf of UEFA.
Besides delivering the technical assets for the giant screen experience in the stadiums before, during and after the matches, EMG/Gravity Media also provided four outside broadcast (OB) trucks and radio frequency (RF) for the 10 matches held at the Cologne Stadium and Düsseldorf Arena.
The group also provided live helicopter 1080p high dynamic range (HDR) aerial coverage for all matches, from the opening to the final in Berlin through the group’s specialist RF and camera divisions, EMG Connectivity and ACS.
The six helicopters, all fitted with the latest Ultra HD (UHD) HDR stabilised camera gimbals, were regionally sourced keeping flying time to a minimum and followed EMG/Gravity Media’s carbon offsetting initiative for helicopter filming on the flying hours required to deliver the tournament’s coverage plan.
For the UK’s ITV, EMG/Gravity Media helped the broadcaster drop their headcount for covering a major tournament from 300-400 people down to just 90.
The workflow for the 1080p50 production was designed around a ‘reverse remote’ production model, with a remote gallery and mini master control room (MCR) set up in Berlin along with a studio and commentary positions. The two presentation areas were fitted out with nine cameras between them, while on-site is a vision mixer, director, PA, producer, autocue op, and a small tech and lighting team.
Crucially, most of the kit underpinning this set up, including EVS replay, sound, and graphics, was all based back in London, with the locations linked together by low latency 10Gb diverse paths. This allowed ITV to maintain a 30/70 split in personnel between the two locations, Berlin and the UK, saving costs and reducing the environmental impact of moving crew and kit across borders.
