SVG Europe
Following Loreen's win in Liverpool in 2023, Sweden has the honour of hosting the Eurovision Song Contest for a record seventh time with preparations for the annual song-a-thon which draws 162 million viewers over three live shows.
article here
Hosted by Swedish broadcaster SVT in collaboration with the
European Broadcasting Union (EBU), the E68th
Eurovision Song Contest is set to take place in the Malmö Arena on
Saturday, 11 May, with Semi-Finals scheduled for Tuesday, 7 May, and Thursday,
9 May.
SVT is working in partnership with facilities provider NEP
and with Eurovision Services, the one time broadcasting arm of the EBU but
since February 2023 owned by Munich based venture capital Dubag Group. The EBU
remains its main customer and the Eurovision Song Contest the largest event it
works on.
“I’ve loved Eurovision since I was a little boy and I still
have to pinch myself that I get to help produce Eurovision as a job,” says Lennard Bartlett, project leader at
Eurovision Services. “It’s a great privilege and I’m very proud of my
Eurovision Services team and European Broadcasting Union (EBU) and BBC
colleagues for what we have achieved together last year. Over to you SVT -
bring it on.”
Eurovision Services provide distribution of the produced
World Feed and is producer of the live voting element of the final in which 37
live feeds from participating members need intricate coordination with belt and
braces backup.
Speaking from the Eurovision Services truck located in the
OB compound 20m outside of the Malmö Arena Bartlett says, “It is the biggest live music event in the
world by audience and no other show attempts live voting on this scale.”
The World Feed itself remains in 1080i 50 SDR after an
assessment by the EBU after 2023 in Liverpool found there was not sufficient
demand for a 4K UHD HDR (or even a HD HDR) production among its public service broadcaster
community.
That said, production values are being upgraded with capture
for the first time in Progressive Segmented Frame (PsF), a means of acquiring,
producing and distributing a progressive scan from interlace equipment.
“The intent is to add a more filmic look to performances,”
says Bartlett. “Inside the Arena you can really tell from that the standards of
lighting, staging and sound quality will be top notch in terms of production
standards. You can see that too in monitors from the OB compound during
rehearsals that this is going to be a very high quality show.”
ROE Visual is the official supplier of all LED kit for the
song contest for which Creative Technology Sweden is responsible for the
installation.
This
comprises around 1,000 sqm of LED screen including a stage floor LED of 186 sqm and a backdrop LED screen of 340 sqm. Hanging from the ceiling of the Arena are five LED cubes totalling 460 sqm.
A
6-person stage management team leads the three Live Shows and manage a further 36 crew who have
just 55 seconds to reset the
stage between each
of the 37 songs. These movements have been carefully choreographed and rehearsed, just like
everything else in the Live Shows.
Eurovision Services’ facility is connected to NEP’s OB truck
via a Technical Operations Centre (TOC) and manages onward distribution over
fibre and/or via satellite to all EBU members. Signal redundancy is provided
from two teleports including one in Geneva.
Signals for the live voting components are contributed via
satellite or direct fibre connection or video over IP.
“We require each of the 37 participating members to provide
us with a main feed and a back-up link.”
Security is another crucial part of the Eurovision Services
operation and it is the piece of the puzzle that shifts most year on year.
“We can’t go into detail on the mechanisms we have in force
for obvious reasons but it is an area we reassess regularly to make sure we
have the latest encryption methods and that our kit is patched with latest
updates to the highest specification basically to ensure we are protected.
We’ve taken aboard information provided by SVT, EBU and other security agencies
to ensure we’re operating within the evolving cybersecurity picture.”
This is Bartlett’s
second Song Contest as project lead but the 12th for lead engineer Felix
Berndt. Many of the team producing in Malmö are veterans of the 2013 show also
hosted in Malmö and of the 2016 host in Stockholm.
“We’ve a very experienced team and it all has a very family
feel,” he says. “The vibe is definitely building. The city is getting prepared
and hardcore fans are arriving. The Eurovision Village and Eurovision street
and other dedicated areas are buzzing. It promises to be a huge production.”
In one change to the format, artists from France, Germany, Italy, Spain and the UK plus Sweden will each perform their entries live
during the Semi-Finals. The so-called Big Five get a ‘by’ into the final
but will showcase their entries to
viewers live alongside the competing acts.
Twenty-four year
old Swiss rapper Nemo is the bookies favourite to win this year.
Eurovision Services are next in action in Germany for the
Euros and then again in Paris at the Olympics.
No comments:
Post a Comment