Live from UEFA Women's Euro 2025: Broadcast facts and camera plan for the England vs Spain final By Heather McLean Thursday, July 24, 2025 - 14:29
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Women's Euro 2025, Geneva Stadium
As the UEFA Women's Euro 2025 draws to a dramatic close this weekend with a final match between England and Spain [Sunday 27 July], UEFA has been responsible for all host broadcast operations.
UEFA has supplied its rights holding broadcast partners with coverage of all matches, supplementary editorial content and digital services as well as unilateral services at the eight venues.
The UEFA Women's Euro 2025 has been delivered to over 60 broadcast and radio partners, operating in over 165 territories worldwide. The cumulative live audience target is 500 million viewers.
UEFA has provided broadcast partners with approximately 1,000 hours of content, broken down into:
Approximately 800 hours of live production packaged' content, across all feeds
Approximately 200 hours of supplementary additional programming and all raw material
Broadcast partners have been able to select from a wide ranging catalogue of over 150 unilateral rate card service items using UEFA's dedicated online broadcaster booking system (BBS), enabling them to create unique productions for their own local audiences.
UEFA has employed over 650 staff to deliver broadcast operations at UEFA Women's Euro 2025.
UEFA live production and venue broadcast operations overview
The standard camera plan has featured 23 cameras for all group stage matches, 25 cameras for the quarter finals and semi finals, and 27 cameras for the Final.
Up to 19 of these cameras have covered every angle of the on-field action, while the rest have covered other events surrounding the match (team arrivals, fans and drone shots), providing a variety of additional content.
The camera plan for the Final will include:
Three super-slow-motion triple-speed cameras
One high speed camera
Two polecams (one at each end)
One drone
One aerial camera
Up to five handheld cameras
UEFA has selected five experienced TV match directors to direct the 31 matches: Sarah Cheadle (UK), Beni Giger (SUI), Andrew Swift (UK), Jonathan Slack (UK) and Michael Burke (UK).
At all venues, UEFA has provided broadcast partners with a full range of bookable services and facilities for their unilateral needs, such as commentary positions with different setups, stand up and interview positions, studios and platforms for live shows and various unilateral camera positions. This has enabled broadcast partners to customise their coverage of any given match according to their individual requirements.
These facilities include, among others, up to:
55 commentary positions
4 tribune presentation platforms
2 pitch-view studios
10 pitch presentation positions o 10 TV & radio flash interview positions
UEFA editorial content services
UEFA's editorial content services have provided a wealth of HD content to broadcast partners, allowing them to enhance their match coverage and create bespoke content before, during and after the tournament.
This will include:
Pre-tournament: host city promotional trailers, meet the team' features, mascot launch content, final draw content and archive content from past UEFA Women's EURO tournaments
In-tournament: enhanced player idents (new for Women's Euro 2025), team interviews ahead of every match, promos for the tournament, semi finals and final, off-tube world feed commentary, match ISO compilations and an official film of the Final
More digital content than ever has been shared with broadcast partners using UEFA's official clip-sharing platform. This platform offers all content from UEFA's vertical producers and photographers, plus selected match clips in collaboration with ScorePlay. It serves as a one-stop shop' of video and photo content for broadcasters and PNAs to run their own digital and/or social channels.
Each match has been covered by a minimum of three vertical producers, one of whom is positioned in the stands to cover a unique fan perspective. Enriched photography has been offered at the tournament, including squad access days and player portrait photography, as well as live match photography and tournament colour, including from the fan festivals.
In-tournament material, including raw footage of team training sessions, player interviews and city/fan activations, have been gathered by ten ENG crews travelling across Switzerland. Eight of the crews were based within easy distance of team base camps and host cities and an additional two were dedicated to gathering content for UEFA Women's Euro 2025 sponsors.
More than 500,000 new social media followers are expected to be gained during the one month of the competition, resulting in more than 500 million impressions and over 15 million engagements across UEFA Women's Euro 2025 social channels.
The official UEFA Women's Euro 2025 website and application has delivered in-depth coverage of every game, team base camp and host city with a new emphasis on vertical storytelling, in line with social media trends.
UEFA technical broadcast & digital operations overview
UEFA has produced the Women's Euro 2025 in 1080p50 SDR. All feeds and selected ISO camera angles have been distributed in 1080p50 SDR and 1080i50. All matches have been distributed via satellite as HD-SDI 1080i50.
Each match featured 4 feeds: Feed A, Clean Feed A, Feed B with pre- and post-match interviews, and Beauty/Coaching Camera Feed.
In addition to the traditional satellite distribution, broadcast partners have been able to access all live feeds and selected ISO camera angles remotely through the content hub/point of presence (PoP) service provided by UEFA's distribution partner, Eurovision Services.
All feeds available at PoPs in
