We invited the company’s executive to Industry Voices to share key insights into the new strategic phase of Gravity Media, shaped by its merger with EMG

*This content is included in the February issue of TM BROADCAST. You can access the full magazine here.

Technological progress has made it possible, on the one hand, to cover a broader range of events and, at the same time, to produce competitions that were traditionally delivered under conventional models using more efficient approaches. Gravity Media is fully aware of this shift, particularly following its merger with EMG.

While maintaining its strategic focus on major events, the company recognises that the pace of technological change also requires it to pay attention to competitions that, for budgetary reasons, demand alternative production models.

“You need to operate in both worlds. Major events will still require traditional infrastructure. But many clients are moving towards software-defined production. It’s about aligning with each client’s journey”, explains Eamonn Curtin, CCO of Gravity Media, whom we invited to the Industry Voices section to provide an overview of the phase the company is currently undergoing.

“We don’t want to be seen simply as a facilities company providing OB or flyaway services. We have a much broader range of capabilities and we’re also exploring markets we wouldn’t traditionally have entered before”, he adds, pointing, for example, to the creative agency space. In this effort to engage with clients and convey a clear message about the true scope of its offering, the company is focusing much of its activity.

In this conversation, we review some of its most emblematic projects of 2025, both top-tier and mid-sized — and beyond sport — and we also ask for his perspective on the evolution of the market. Among the major changes is software-defined production, a transformation with which our readers will be very familiar, as it has been widely referenced by previous Industry Voices guests: “It changes the investment model. We were traditionally CapEx-driven — trucks, cameras, routers. Now there’s a shift toward licence-based, server-based models — more OpEx”.

The interview follows below:

How do you assess the recent evolution and the current position of Gravity Media?

Since the Gravity Media and EMG merger in January 2024, we have become a global powerhouse. We’ve strengthened our global position, not only through the merger itself but also through key partnerships. We’ve been able to align and deliver a truly global service in a consistent way.

Regarding your merger with EMG, which is, of course, one of your main recent milestones, what does this integration represent for Gravity Media?

Strategically, it solidified our presence within an ever-changing market. It broadened our portfolio of services and strengthened what we look at as two verticals: media services and facilities, and production and content.

The merger enabled us to expand our production centre capabilities globally. We now have two in Australia, one in London, one in Holland, one in Belgium and one in Italy. That supports the drive towards remote production and enables our clients to have greater flexibility based on the portfolio of services we can now deliver.

And is the integration process now fully completed, or not yet?

We’ve now moved to one global brand. We are known as Gravity Media. There is still work in progress in terms of rebranding some areas in certain business units. For example, most recently in Australia, we have started rebranding all the OB vehicles and fleet with the new Gravity Media logo. That process is being executed across the business, so very soon everything will simply be known and branded as Gravity Media.

“The main objective is to ensure that all our clients are fully aware of the complete suite of services we can deliver”

What would you say are your main objectives for the coming years?

The main objective is to ensure that all our clients are fully aware of the complete suite of services we can deliver. It’s important that the message is clear, because our offering is quite broad. We’ve had to diversify, given how the market continues to evolve.

We need to look beyond traditional markets because of new players entering the space — streamers, digital platforms, federations seeking one-stop solutions. It’s about making sure the message is clear.

We don’t want to be seen simply as a facilities company providing OB or flyaway services. We have a much broader range of capabilities and we’re also exploring markets we wouldn’t traditionally have entered before.

And regarding your clients, what are their main needs? What are they looking for when they approach you — cost efficiency, flexibility…?

It’s all of the above. Every client is different, but we need to ensure both they and we operate sustainably. They still need to deliver content, sometimes in new or unique ways, and we see ourselves as a true partner — enabling them to choose the solutions that best suit their needs.

That can mean everything from remote production to AI, to full turnkey delivery — production, graphics, specialty cameras, RF, everything. We did that on some major projects last year, where we delivered the entire production chain, and it was very successful.

“We need to look beyond traditional markets because of new players entering the space — streamers, digital platforms, federations seeking one-stop solutions”

Could you mention one of these projects that really reflects your current strategy or highlights your capabilities?

There are several examples. In 2025, we delivered the Women’s Euros. We supplied the production teams, graphics, OB trucks, RF, specialty cameras — everything — a true one-stop shop. That was very successful.

We did something similar in Australia for the Tour Down Under [the country’s premier cycling race]. Traditionally, many of our clients are production companies, but in some cases, we’ve delivered directly for sports federations internationally.

Following the merger, we’ve continued to deliver worldwide events. Last year we covered the World Athletics in Tokyo. We also opened an office in Riyadh and delivered the Six Kings Slam. That’s a good example of new streamers entering the live sports space.

But we’re not just about sport. We delivered the World Economic Forum in Davos, and what was unique there was that it was produced remotely from Vilvoorde in Belgium due to security restrictions. All switching was done remotely. That approach is now being adopted more widely in similar events.

We also have Gravity House in London, where films such as ‘Hamnet’ were edited. And we are entering the creative agency space. Recently, we announced a strategic partnership with a creative company called Green Couch to develop light entertainment formats for broadcasters. So, it’s about stepping outside our traditional lanes and exploring additional growth areas.

“We delivered the World Economic Forum in Davos, and what was unique there was that it was produced remotely from Vilvoorde in Belgium due to security restrictions”

Beyond top-tier events, do you see increasing demand for sports broadcasting in mid-sized leagues?

Absolutely. For example, we’ve delivered the UK Basketball League and several leagues across Italy, Belgium and the Netherlands. We’ve also worked with the Kings League. In Italy, we built the arena next to our Milan headquarters and deliver the full production. That’s a completely new format.

There’s growth in new leagues, in influencer-driven competitions, and in e-sports. And women’s sport has seen enormous growth. We deliver more Women’s Champions League football and recently covered the Women’s Rugby World Cup. We also produce the Women’s Super League remotely for a client whose coverage airs on the BBC.

The volume is increasing, but the key is how you deliver it. These competitions don’t always have Tier 1 budgets. That’s where simplified production models come in — cloud, on-premise solutions like Simply Live or Live OS.

Gravity Media has traditionally been strong in flyaway and remote centres. For example, here at our Production Centre in London, White City we produce ATP Tennis and Formula E remotely. Major courts are done traditionally on site, while others are done remotely. Lower-tier tournaments are handled via simplified solutions. It’s about offering the full suite of services.

I’d also like to get your perspective on the market. What do you see as the most critical challenges facing the industry?

The speed of technological change — particularly around software-defined production. It changes the investment model. We were traditionally CapEx-driven — trucks, cameras, routers. Now there’s a shift toward licence-based, server-based models — more OpEx.

You need to operate in both worlds. Major events will still require traditional infrastructure. But many clients are moving towards software-defined production. So, it’s about aligning with each client’s journey. All clients are different. You need to provide choice — like in a supermarket.

Taking into account all the topics we have discussed, what would you say sets Gravity Media apart from other companies in the global market?

What truly sets us apart in the global market is our people. Across regions, and markets, we are united under one brand identity with a shared commitment to excellence. Our teams are deeply customer-centric, consistently placing client needs at the heart of every decision we make.

We combine that focus with flexibility, adapting quickly to changing market dynamics and tailoring solutions to meet unique customer requirements. This agility, paired with our drive to deliver best-in-class services, ensures we not only meet expectations but exceed them.

It’s this powerful combination, our people, our unity, our customer-first mindset, and our commitment to excellence, that differentiates us on the global stage.

Offering clients real choice, whether creatively or financially. We continue to invest in new technologies like 5G for RF cost efficiencies. For example, we conducted private 5G tests at Roland Garros and we’re exploring 5G solutions for smaller cycling events that can’t afford traditional aerial RF setups.

We also have our own in-house RF development team. We use proprietary tools like Live Tools, used on the Tour de France, and we’re integrating 5G into that roadmap. It’s about diversification and flexibility, while maintaining strength in media services and facilities, and continuing to serve major global clients.

“We are entering the creative agency space. It’s about stepping outside our traditional lanes and exploring additional growth areas”