LIGR: Providing live graphics solutions and a broadcast management platform benefitting Australian football 

Since 2016, Australian company LIGR have provided a range of football organisations, and the production companies that aid them, with live graphics solutions and a broadcast management platform which is simple and efficient to use.

Luke McCoy, co-founder of LIGR, explained to Soccerscene that his previous experience of owning a live production business, which broadcasted lower-tier sporting matches, inspired him to establish LIGR LIVE due to a lack of sophisticated graphics he encountered at that level.

“Previously I founded a company called Virtual Performance Analysis that turned into VPA Productions. During that process we ended up with a contract to stream the Football NSW Grand Finals,” he said. 

“The problem with any of the live broadcasts in second-tier and grassroots competitions was always how to improve match data integration into broadcast graphics. What we found was once you can achieve that, the main question and opportunity was the ability to then attach sponsors into those broadcasts, so the sports organisations who own the rights to their content could have the chance to commercialise their audience with in-game sponsorship. 

“So around four years ago we began developing the product that is now LIGR Live; an operating and broadcast management platform for live sports broadcasts. I co-founded it with my friend Adam Burke (CTO of LIGR), and we found immediate success amongst the major sports in Australia across Rugby League, Football, Aussie Rules and Cricket. 

Co-founders of LIGR – Adam Burke (left) and Luke McCoy

“The big features of that system include graphics, automation, sponsorship, fixtures, live scoring and team collaboration workflows all built around helping sports organisations produce a professional live stream that can be commercialised through in-game sponsorship display and the analytics around that.”

Since development, the company has now partnered with seven of the nine football member federations in Australia.

Most of the FFA Cup streams that happen around Australia use LIGR in some form, whether through a sports organisation account like Football NSW or a host of production companies who have a LIGR account and act independently servicing clubs directly.

LIGR play a pivotal role in a huge selection of State League, NPL and NPLW games across the country, including 550-600 games a season in Victoria, for example.

“We’re contracted to the member federations, from Football Victoria, Football NSW, Football West, Football SA etc…and it’s a combination, from their state league games up to their NPL competitions and obviously the women’s NPL as well,” McCoy said.

“LIGR Live connects external live data sources to live broadcasts including being a data supplier ourselves where external data does not exist. Most of the NPL matches have an external live data source available through Stats Perform, a global provider of live data to the sports industry, who we have a direct partnership with.

“We pull in the live data feed in real time and connect it automatically to LIGR Live and populate graphics templates that are then triggered based on real time events from the data, completely automatically removing any requirement for a graphics operator or data live scorer.”

For the NPL, LIGR have built a specific template which is only shown on broadcasts of that competition.

All of the member federations have access to this theme and the governing bodies can log in to LIGR’S cloud-based operating system and manually upload team logos, colours and ad sets, which they can flexibly incorporate at their will into their live streams.

An example of LIGR’s graphics in a Bulleen Lions match.

This aspect of commercialising the live streams through integrated advertisement placements through graphics, has helped bodies like Football NSW generate additional revenue and sponsorship opportunities.

“The whole idea of streaming our competitions was to provide greater commercial opportunities for the league and our clubs,” Brian Meinrath, Head of Commercial at Football NSW, told the LIGR website.

“Using LIGR has helped us shape how we approach the market with our sponsorship offerings. To be able to work with a group that continually looks and asks how they can make their product better makes a big difference.”

Football NSW are not the only governing body to benefit commercially through the use of the LIGR service, as they, alongside Football West, Football SA, Football NT, Football Tasmania, Football Victoria and Football Queensland were the beneficiaries of a sponsorship deal with Pilot Health late last year.

Pilot Health, a male telehealth brand, purchased advertising space across all Men’s NPL live broadcasts for part of the 2020 season, in the listed state and territory federations.

“It is really exciting to be able to partner with the Australian Football Federations utilising LIGR Live’s platform to deliver this first of its kind advertising,” Pilot Health Co-Founder, Tim Doyle, said at the time of the deal.

“At Pilot we are always looking for new ways to reach our audience and the LIGR platform allows that, while also supporting the second tier of football across the country in a seamless, fast, aggregated process.”

Through the use of LIGR Live’s platform to standardise the broadcast quality, the state federations sold specific percentages of advertising time through the course of a match, including particular events such as goals, cards and team lists.

McCoy believes deals such as this showcase the true worth of his company.

“It is maybe the most encouraging sign of LIGR’s value as a company moving forward, to be able to provide a distribution network for brands to access live grassroots sports,” he said at the announcement of the deal.

“It is naturally hard for brands to do multiple small deals across multiple sports organisations. Being able to have a single, white labelled platform that aggregates those opportunities simplifies the process for brands that show a keen interest in live amateur sport, but have no way to enter the playing field effectively. 

“Pilot’s interest in the Australian football’s audience has put money directly back into the member federations which is the ultimate goal of LIGR.”

LIGR do have an eye to the future, recently partnering with Pixellot – a leader in global AI camera technologies, understanding that broadcasts at some point are going to be completely automated productions.

LIGR announced a deal with Pixellot earlier this month.

Despite this global push, McCoy is proud of the strides LIGR has already made since its creation. 

“It’s been an exciting journey so far, particularly in football, which is where we started,” he said.

“We went from one game a week, a match of the round, to 30 games a week for Football NSW, and that  spread across the member federations to help maintain quality across a large scale of content and many production suppliers.

“Now, the amount of content they are producing would almost be the most in Australia for sports organisations, in regards to their live content.

“It’s been pretty cool to see within the past few years how quickly that’s changed, so it’s definitely rewarding and exciting.”

 

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Netflix’s Women’s World Cup deal puts IMG’s technology in the spotlight

Netflix’s first exclusive football deal will see the next year’s FIFA Women’s World Cup at the centre of it’s live-sport strategy. The US-streaming service company has appointed IMG as its production partner for all 64 matches in Brazil, as well as more than 100 hours of live studio programming. The deal includes English and Spanish coverage for viewers within the US, and English and French-language coverage for those in Canada. IMG will also support Netflix’s coverage of the tournament’s draw in December.

The 2027 Women’s World Cup runs from June 24 to July 25 across eight host cities, and will be the first edition to feature 32 teams. The scale of the tournament makes it an ambitious first foray into sports broadcasting for Netflix – which means IMG’s involvement will be of great significance.

IMG’s production engine

IMG has built its reputation on producing and distributing live sport at scale. It’s Stockley Park, London facility includes broadcast studios, production galleries, edit suites and facilities for radio, podcasting, dubbing and visual effects. The company has worked across major properties including the Premier League, Major League Soccer and other international sporting events.

For a World Cup, this infrastructure provides more than a place to make television; it creates a central point where production teams can manage feeds, graphics, replays, commentary, editing and distribution while events are taking place thousands of kilometres away.

Remote production is the key

The most important technology for a tournament spread across eight Brazilian cities is connectivity. IMG has invested in remote-production workflows that allow production teams to work across locations, rather than putting every specialist inside each stadium. Its wider production operation has used fibre, satellite, cloud and IP-based connectivity to move live signals between venues and production centres.

That model can reduce the amount of equipment and specialist staff required at every venue while allowing senior producers, directors, replay operators and graphics teams to work from centralised facilities. IMG has also demonstrated long-distance IP production, including a 20,000-kilometre link between Tokyo and London that carried uncompressed, low-latency video. For Netflix, those capabilities are particularly relevant. The platform is building a single viewing experience for audiences in two markets, but the raw ingredients will come from stadiums spread across Brazil. A resilient network becomes just as important as the cameras themselves.

From stadium to stream

The technology chain does not end when the pictures leave the venue. A modern sports production operation has to manage ingest, replay, media asset management, graphics, audio, quality control, archiving and transmission. IMG’s facilities have been built around those workflows, with master control and transmission capabilities alongside post-production and archive operations.

That infrastructure also gives IMG the ability to turn the live tournament into a wider stream of content. A goal can become a replay, a highlight, a social clip or part of a studio package without waiting for the match to finish. For Netflix, that fits a platform built around on-demand discovery as much as live viewing.

A new test for Netflix

Netflix has already made a significant investment in football through documentaries and other programming. The 2027 Women’s World Cup takes it up a level. FIFA describes the agreement as the first competition Netflix has acquired in full, making the tournament a major test of its live sports operation. IMG therefore has a job that goes beyond producing 64 matches; it must help Netflix build the technical backbone for a month-long, multi-venue broadcast, while maintaining consistent production standards across languages and locations.

The viewer may simply press play and see a World Cup match appear instantly. Behind that button will be a complex network of cameras, connectivity, control rooms, production systems, people and data. That is the real significance of Netflix’s IMG deal: the streamer is bringing the tournament to its platform, but IMG is providing much of the machinery that can make a global football event feel seamless.

The ball is no longer just being improved it is being connected

The humble football is becoming one of the more technologically advanced objects on a football pitch.

Across the A-Leagues, Mitre’s new Ultimax Pro is focused on improving what happens when the ball is kicked, while LaLiga has taken the next step by turning the ball into a source of live match data.

The contrast shows how football technology is moving in two directions at once, improving the physical performance of equipment while increasingly connecting it to the digital systems surrounding the game.

Refining the Physical Object: Mitre’s Ultimax Pro

The Ultimax Pro, which will be used across the 2026/27 A-League Men and Ninja A-League Women seasons, incorporates Mitre’s HyperFlow, HyperFoam, HyperSeal and Delta Skin technologies.

Its debossed grooves are designed to reduce drag and improve stability in flight, while the cushioning, bonding and surface technologies are aimed at producing consistent rebound, durability and control. The ball carries FIFA Quality Pro certification, reflecting the testing standards required for professional match balls.

The technology is largely invisible to supporters. Its purpose is to make the ball behave more predictably for players, rather than fundamentally changing the football itself.

Connecting the Ball to the Digital Ecosystem: LaLiga’s Sensor-Driven Approach

LaLiga’s approach is different.

The Spanish competition has introduced a radio-frequency sensor developed by KINEXON into its PUMA match ball, with the technology being used across every LaLiga EA Sports fixture this season.

The sensor continuously transmits information about the ball’s position and the precise moment of contact. Around 12 antennas installed in each stadium capture the data and feed it into LaLiga’s wider technology infrastructure.

That gives the ball a role beyond simply being the object of play.

Knowing exactly when the ball is touched can help officials in a variety of situations. Offside, handballs, deflections and other decisions where a difference of milliseconds can affect the outcome could all benefit.

But the more interesting development may sit outside officiating.

LaLiga is using the connected ball to create xBALL, an official data layer that can feed broadcasts, digital products and future second-screen experiences. Data such as shot speed, ball spin and trajectory could all be incorporated into its media and digital products.

The ball is no longer just something that manufacturers compete to make faster, more durable or more responsive. It can also become a source of proprietary data that leagues can use to improve broadcasts, develop digital products and create new ways for supporters to understand the game.

The Ball as Part of Football’s Intelligence Layer

Mitre is refining the physical object. LaLiga is connecting that object to the digital ecosystem of the match.

Together, however, they point to the same direction of travel.

Football equipment is becoming increasingly intelligent.

The evolution is not necessarily about adding technology for its own sake. In the A-Leagues, the objective is consistency: predictable flight, touch and rebound. In LaLiga, the objective is precision and information: knowing exactly where the ball is and when it was touched.

The commercial opportunity comes from what can be built around those capabilities.

As stadiums become more connected, broadcasts become more data-rich and clubs and leagues collect increasingly detailed information about matches, the football itself can become another input into that infrastructure.

It also changes the relationship between equipment manufacturers and competitions.

A match ball used to be primarily a physical product supplied to a league. Connected technology creates the possibility of the ball becoming part of a broader technology stack involving officiating systems, broadcast platforms, analytics and fan-facing digital products.

The A-Leagues are starting with the physical performance of the ball. LaLiga is showing what can happen when that physical object becomes connected.

The next generation of football technology may not be something players wear or referees use.

It may be the ball itself.

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