{"id":241375,"date":"2023-09-13T11:03:46","date_gmt":"2023-09-13T09:03:46","guid":{"rendered":"https:\/\/rtrsports.com\/check-the-media-production-the-secret-for-sponsors-of-formula-1-and-motogp\/"},"modified":"2026-10-06T19:29:05","modified_gmt":"2026-10-06T17:29:05","slug":"check-the-media-production-the-secret-for-sponsors-of-formula-1-and-motogp","status":"publish","type":"post","link":"https:\/\/rtrsports.com\/en\/blog\/check-the-media-production-the-secret-for-sponsors-of-formula-1-and-motogp\/","title":{"rendered":"F1 and MotoGP TV production: the secret behind sponsor visibility"},"content":{"rendered":"

Both Formula 1<\/strong><\/a> and MotoGP<\/a> have a broad, international sponsor portfolio. These are companies that have followed the top two-wheel and four-wheel series around the world for years, using this incredible platform to build awareness and engage audiences in every corner of the globe. Visibility, both on TV and on site, is one of the most important assets: tens of millions of viewers religiously tune in from five continents to follow the races on the calendar, while on the busiest weekends hundreds of thousands of people pour into the circuits.<\/p>\n

To make sure these partners consistently and precisely receive the exposure they were promised<\/strong>, Formula 1 and MotoGP have built a sophisticated and impressive media production system: a fascinating set of tools, technologies and procedures that ensures the product viewers see all over the world is consistent, controlled and of the highest quality.<\/p>\n

\"MotoGP<\/p>\n

Sponsors and broadcasting<\/h2>\n

In the vast majority of cases, one of the main benefits that official sponsors of the MotoGP World Championship or Formula 1<\/strong> receive is trackside visibility<\/strong>. Meter after meter of signage is carefully placed along the corners and straights of every circuit in the world, facing the cameras, so that sponsors’ logos receive massive TV exposure. In Formula 1, brands such as DHL<\/strong>, a global partner since 2004, Heineken<\/strong>, Aramco<\/strong> and the LVMH<\/strong> group; in MotoGP, Tissot<\/strong>, official timekeeper since 2001, DHL again, Michelin<\/strong>, sole tire supplier until the end of 2026 (Pirelli takes over in 2027), and Repsol<\/strong>, back in 2026 as an official championship partner with trackside presence throughout the calendar: all of them enjoy constant exposure every weekend thanks to their placement along the track. It is media value that, if it had to be bought through traditional advertising channels, would cost enormous sums.<\/p>\n

This seemingly simple exercise actually hides two practical complications, both easy to guess.<\/p>\n

First<\/strong>, the panels carrying the sponsors’ logos have to follow the championships<\/strong>, traveling with them and being set up again at every circuit. Unlike a stadium, which is always in the same place and can store its pitchside boards in a warehouse to display them again at the next match, circuits host MotoGP and Formula 1 only once a year. Panels, billboards and supports carrying the sponsor’s brand must therefore travel with the rest of the championship and be reinstalled every time. It is a huge effort, but it ensures that on-track exposure is overseen first hand and managed down to the millimeter, race after race.<\/p>\n

The second issue is that, on television, you need to be sure that sponsors and partners receive adequate, consistent and fair exposure<\/strong>. No sponsor would want to pay millions of euros only to be forgotten by a director in love with a section of the track where that logo does not appear. To prevent this, and to make sure that at every Grand Prix the product, exposure and direction are always of the same standard, MotoGP and Formula 1 produce the audio and video signal for television themselves, and deliver it to broadcasters as a finished product.<\/p>\n

\"Sponsors<\/p>\n

From the track to the living room: producing racing’s top series<\/h2>\n

For many years now, MotoGP and Formula 1 have chosen to take control of the media production<\/strong> of their own product. Originally, the broadcast of each Grand Prix was handled by crews, directors and equipment sourced locally, with huge differences in how races were produced and aired. Different cameras, different setups, different staff and different transmission technologies meant that watching the South African Grand Prix was an incredibly different experience from watching the race in Monaco<\/strong>, Great Britain<\/strong> or Japan<\/strong>. Not only that: sponsors and partners complained about unequal visibility and inconsistent brand exposure.<\/p>\n

The shift was gradual. In MotoGP, Dorna<\/strong> (since 2026 MotoGP Sports Entertainment Group, controlled by Liberty Media), holder of the commercial and TV rights since 1992, began filming every race and directly producing those without a local broadcaster, building a standardized international feed over time. In Formula 1, centralized production already covered almost every race by the end of the 2000s, but the last piece only fell into place in 2023, when F1 produced the Monaco Grand Prix for the first time, until then handled by T\u00e9l\u00e9 Monte-Carlo.<\/p>\n

The idea of centralizing production stems from different needs, the quality of the story told to the public and the visibility promised to sponsors, which nonetheless point in the same direction: giving the public, stakeholders, sponsors and partners a consistent product, with similar characteristics and guaranteed standards<\/strong>, wherever the race takes place.<\/p>\n

Today, on the edge of the MotoGP paddock stands a state-of-the-art TV compound<\/strong>, the technological heart that creates the broadcast viewers around the world watch through broadcasters such as Sky<\/strong> in Italy, DAZN<\/strong> in Spain, TNT Sports<\/strong> in the UK and ServusTV<\/strong> in Austria. Formula 1 has gone one step further: much of its production works remotely from the Media & Technology Centre at Biggin Hill<\/strong>, south-east of London, a transition the pandemic accelerated in 2020, and from there the signal reaches partners such as Sky<\/strong> and, in the United States since 2026, Apple TV<\/strong>. Along the circuits, the same camera setup and the same production team capture the riders’ and drivers’ feats at every round of the championship, while the same directors, sound engineers and graphic designers cut, stitch and edit image by image, graphic by graphic. The effort, in logistics and resources, is immense, and the technology involved is no less astonishing than the technology driving the cars and bikes on track.<\/p>\n

Serialization as a key sports marketing tool<\/h2>\n

Serializing production<\/strong>, in the broad sense, meaning the production of the event on track, the TV broadcasts and the overall management, is fundamental for championships of this size, this economic weight and with such large fan bases.<\/p>\n

First of all, serialization, in other words standardization understood as the systematic replication of protocols, actions and tools<\/strong>, allows a very high level of control. Setting up every circuit in-house<\/strong> ensures, for example, that every sponsor and partner receives the on-track exposure<\/strong> it is contractually entitled to. Being independent in TV production<\/strong> means making sure each sponsor gets the screen time it is owed, or being able to give more space to regional or single-event sponsorships. It is the same principle that makes partnering directly with the rights holder<\/a>, which controls the whole chain, so attractive.<\/p>\n

Secondly, serialization is key to building brand equity<\/strong> and to building loyalty among the public and fans. We know well how effective repetition is in marketing, and how important it is to build a solid, robust and consistent brand over time. These are all fundamental qualities for brands like MotoGP and Formula 1, which today need to speak to an audience increasingly spread across TV, streaming and social media, as we explain in our piece on sponsorship and visibility in the digital age<\/a>.<\/p>\n

\"MotoGP<\/p>\n

The tip of the iceberg<\/h2>\n

The top two-wheel and four-wheel championships are today a massive organizational, economic and logistical undertaking<\/strong>. It is fair to say that what cars and bikes do on track is only the tip of an immense iceberg that always moves below the waterline, often unnoticed by fans and TV viewers. Moving these championships, distributing them on television, setting them up in ever-changing places and climates requires thousands of highly specialized professionals, cutting-edge technology and a substantial flow of money.<\/p>\n

Taking charge of managing the entire championship, serializing its production in every respect, is the answer to marketing and communication problems that are increasingly central today. On the one hand, major international sponsors demand a guaranteed product<\/strong>, without hiccups, in which visibility is certain, delivered and precisely measured. On the other, huge fan bases all over the world want to follow their heroes as if watching a TV series, with the same cinematography, the same direction, the same image quality.<\/p>\n

Seeing this extraordinary organizational machine in action is an unparalleled thrill, even for those who are not fans. Being part of it, as a sponsor, is a guarantee of quality and visibility.<\/strong><\/p>\n

\r\n\r\n

Frequently asked questions about F1 and MotoGP media production<\/b><\/h2>\r\n \r\n
\n
\r\n\r\n

\r\n Who produces the TV pictures of Formula 1?<\/b>\r\n <\/h3>\r\n\r\n
\r\n
\r\n

Formula 1 produces them itself, creating the international feed for every Grand Prix and delivering it to broadcasters. Since 2023 it has also produced Monaco, the last race still handled by a local TV station, and much of the production works remotely from the Media & Technology Centre at Biggin Hill.<\/p>\n <\/div>\r\n <\/div>\r\n\r\n <\/div>\r\n
\n

\r\n\r\n

\r\n Who produces the TV pictures of MotoGP?<\/b>\r\n <\/h3>\r\n\r\n
\r\n
\r\n

The rights holder produces them: Dorna Sports, since 2026 MotoGP Sports Entertainment Group, with its own TV compound in the paddock at every Grand Prix. The finished feed is then distributed to national broadcasters such as Sky, DAZN, TNT Sports and ServusTV.<\/p>\n <\/div>\r\n <\/div>\r\n\r\n <\/div>\r\n
\n

\r\n\r\n

\r\n Why do F1 and MotoGP produce the TV signal themselves?<\/b>\r\n <\/h3>\r\n\r\n
\r\n
\r\n

To guarantee a consistent product at every race and to control sponsor exposure. Centralized production ensures every partner receives the visibility set out in its contract, without depending on the choices of different local directors from one circuit to the next.<\/p>\n <\/div>\r\n <\/div>\r\n\r\n <\/div>\r\n
\n

\r\n\r\n

\r\n How is sponsors' trackside visibility guaranteed?<\/b>\r\n <\/h3>\r\n\r\n
\r\n
\r\n

The signage travels with the championship and is set up by the organizer at every circuit, in the positions the cameras frame. This way, on-track exposure is managed consistently and measurably at every round.<\/p>\n <\/div>\r\n <\/div>\r\n\r\n <\/div>\r\n
\n

\r\n\r\n

\r\n Which sponsors have visibility at F1 and MotoGP circuits?<\/b>\r\n <\/h3>\r\n\r\n
\r\n
\r\n

In Formula 1, global partners such as DHL, Heineken, Aramco and the LVMH group; in MotoGP, brands such as Tissot, official timekeeper since 2001, DHL, Michelin, tire supplier until the end of 2026, and Repsol, back as a championship partner in 2026.<\/p>\n <\/div>\r\n <\/div>\r\n\r\n <\/div>\r\n
\n

\r\n\r\n

\r\n What does serializing production mean in sports marketing?<\/b>\r\n <\/h3>\r\n\r\n
\r\n
\r\n

It means systematically replicating protocols, tools and procedures at every event. In motorsport it makes it possible to control sponsor exposure race after race and to build a recognizable brand identity for the championship.<\/p>\n <\/div>\r\n <\/div>\r\n\r\n <\/div>\r\n
\n\r\n <\/div>\r\n \n","protected":false},"excerpt":{"rendered":"

Both Formula 1 and MotoGP have a broad, international sponsor portfolio. These are companies that have followed the top two-wheel and four-wheel series around the world for years, using this incredible platform to build awareness and engage audiences in every corner of the globe. Visibility, both on TV and on site, is one of the […]<\/p>\n","protected":false},"author":2,"featured_media":195758,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[12],"tags":[],"class_list":["post-241375","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-motogp"],"acf":[],"contentshake_article_id":"","yoast_head":"\nF1 and MotoGP TV production: the secret for sponsors<\/title>\n<meta name=\"description\" content=\"F1 and MotoGP TV production: why both championships produce their own TV feed and set up every circuit to guarantee sponsor visibility.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/rtrsports.com\/en\/blog\/check-the-media-production-the-secret-for-sponsors-of-formula-1-and-motogp\/\" \/>\n<meta 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