Australia’s Nine Network has returned to Olympic broadcasting after a 12-year hiatus, securing rights to broadcast the Summer and Winter Olympics until 2032. The network is leveraging its multi-platform capabilities to deliver coverage across free-to-air TV, streaming, digital publishing, radio and print.
The production of Nine’s Olympic coverage involves a collaborative effort spanning three continents with approximately 150 staff members are on-site in Paris, while an additional 300 are working from Sydney. This hybrid production model balances the need for on-the-ground presence with cost-effective remote operations.
At the heart of Nine’s Olympic coverage is a unique studio setup in Paris that leverages a famous background with the latest in augmented reality technology.
The International Olympic Committee provided official broadcasters with shoebox studios in the picturesque Trocadero area, overlooking the Eiffel Tower. These compact spaces – also home to NBC, CBC, BBC and others – created a challenge for traditional studio setups.
To overcome this limitation, Nine’s team opted for a set design that mixes the view, a physical desk and expansive virtual set extensions, creating an extended reality environment. This decision allowed them to create the illusion of a much larger studio while maintaining the coveted Eiffel Tower backdrop.
The set’s physical components are minimal, consisting of a desk, chairs, a window, camera equipment and sidewalls about 10 feet deep. The rest of the studio, including the floor, ceiling elements and augmented overlays are created and rendered using Unreal Engine through Stypeland. Real-time graphics are powered via Vizrt. Mark Roberts Motion Control provided a StudioBot XL, the primary camera in the space, with Stype camera tracking.
The goal was to create a seamless blend of physical and virtual elements indistinguishable to viewers.
Nine partnered with AE Live and scenic designer Jago Design to create the hybrid studio.
One of the key features of the virtual set is its ability to adjust lighting automatically based on external conditions. This ensures a consistent look regardless of changes in natural light coming through the physical window.
The implementation of this technology required extensive preparation. Eighteen months before the Olympics, Nine collaborated with AE Live and Jago Design to design, build and test the hybrid studio in a warehouse in the UK. This process allowed the team to refine the technology and ensure its reliability for live broadcasting.
AE Live’s involvement extends beyond the virtual studio. The company is providing broadcast graphics, including augmented reality (AR) elements, for the Olympics and Paralympics. Nine’s North Sydney headquarters is home to a team of 20 graphics operators, technicians, designers, developers, and project managers, who are supporting the broadcast. Additionally, AE Live has deployed teams in Paris and the UK to support the operation. Virtual artists and AR operators from AE Live UK are assisting in Sydney with the delivery of the virtual studio in Paris and local virtual asset delivery. Meanwhile, an AE Live Australian team is embedded with Nine’s broadcast and technical team on-site in Paris.
The production setup allows for a split operation. Camera operators and floor managers work in Paris, while the director, producer, switcher, and graphics operators work from Sydney.
While the virtual studio offers advantages, it also presents challenges. Technology at this scale is new to Australian sports broadcasting, and its use in a high-profile event like the Olympics carries enhanced risk. To mitigate potential issues, Nine has implemented contingency plans, such as programming the robotic camera to move into a tightly framed shot of the hosts in case of any glitches.
Nine Network suggests that if this production is successful, this technology could become more common in Australian broadcast sports production.
Combining on-site and remote teams, the hybrid production model offers a blueprint for more efficient and sustainable broadcasting practices for future world events. This approach could become increasingly relevant as the industry adjusts to further economic pressures.