W UK, is create a virtual Swiss lodge cabin on the lake, with the mountains in the backdrop,” begins John
omen’s football hasn’t always been popular. For starters, there is the ongoing yet erroneous belief that sport is for men; women football players have also faced disputes over equal pay, dress codes and sexual abuse. While these issues are, in many ways, persistent, the sport has been steadily growing its following, with viewing figures for major tournaments now in the ten-millions. The Uefa Women’s Euro 2025, also known as the Euros, is one such event. First held in 1984, the tournament sees 16 Uefa (Union of European Football Associations) teams battle for a championship trophy. This year’s Euros – the 14th edition, held in Switzerland – saw England, the defending champions, retain their title, defeating Spain 3-1 in a riveting penalty shoot-out. To satisfy the growing interest in women’s football, the BBC and ITV split the bill on broadcasting Euro 2025, raking in a combined 16 million viewers during the final match. We caught up with both teams, going behind the broadcast on the biggest Women’s Euros to date. From Salford to Switzerland A longtime supporter of the sport, the BBC again handled the UK broadcast of the Women’s Euros, this time splitting coverage with ITV. The BBC broadcast 16 matches in total, including England’s second group game against the Netherlands, three of the quarter-finals, one of the semi-finals and final (also broadcast by ITV), held on 27 July. With a small team of reporters on the ground in Switzerland, most of the tournament – bar four games – was broadcast from the BBC’s virtual studio in Salford’s Media City. “What we decided to do, with it being in Switzerland and us in the
Murphy, creative director, motion at BBC Sport. With Vizrt acting as the graphics supplier and Lightwell the creative studio, “that’s all coming from an 84-metre, square green box in our office space,” he says. Vizrt and Lightwell collaborated on the virtual set-up, creating a serene backdrop of Lake Lucerne, with sunlight that shifted to mimic the time of day. Powered by Vizrt’s Viz Engine and Unreal Engine, “we were able to have an upstairs and a downstairs where the downstairs is more of a stand-up analysis area,” Murphy says. “You’ve got various virtual screens that the presenters can put graphics on and do analysis from, and we’ve also got an outside linking position back at the studio.” The BBC has plenty of experience broadcasting international sporting competitions – it’s been responsible for the World Cup and the Olympics, for instance. “We’ve done numerous other sporting events – big athletic events – and we create a virtual studio to supplement what the event
PEAK VIEWING The BBC’s live audience reached 12.2 million
is and what the sport is,” Murphy says. The BBC built on the same XR infrastructure it used during the 2024 Olympics coverage, adapting the studio for Euro 2025 – and requiring an editorial overhaul. “We build our presentation around the match feed that’s coming in; we’re not directing the match coverage,” Murphy clarifies. “We’re doing our presentation for UK viewers – the build-up to the game, player profiles, analysis, highlights.” Lightwell handled the studio’s creative direction, and worked closely with Toby Kalitowski, creative director at BK Design Projects, and BBC Sport to design the Swiss-themed set.
VIRTUAL GAME Most of the BBC’s coverage was hosted from Salford
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