Thank you Event Elevator for this behind the scenes look, done a great job on this slick video. I love looking at the production aspect of ESC and the seeing these shots of the stage and up close to the lights and fixtures
I would love to work with these guys. I was building similar stuff in a resort in Greece for hotels, setting up stages, lights for dj pool parties, live music. I would love to work in such environment.
hi tommy this video changed my perspective by a landlside. i've noticed that every person is just a human being. no matter the intentions thx for that and good luck for ur future journey be yourself
I was there in person. It looked stunning. Shame the security wouldn't allow me to speak to the technicians afterwards, but hey ho. Really appreciate this video 😊
Oh dear, we don't think there's any way back when you look at the stages of the past few years. Maybe if the ESC goes to once to a country with less money and resources.
when u guys capture footage of a piece of software on a pc, please sneakily put in the software name like filming the top corner a bit more, so people like me can look up the software and research it
Thx Tom, we'll put that on the agenda for next year. We'll have to see how the access is and who will be responsible. We are from Germany and Switzerland is not far away, so there is a chance that it will be a bit easier and we will know more people.
Yes, the main FOH was very-very impressive this time because not only all the light consoles for keylight, FX light and audience light and so on were together but also the kinetic and pyro consoles were in the same place. Plus the audio mixing desk for the arena and so on. A total 19 MA Lighting grandMA3 consoles were used all around. It's like being on a massive Star Trek bridge.
@@EventElevator I remember walking straight into the arena and the first look of the FoH gave me actual shivers! I loudly exclaimed "Oh my god, oh. my. god!!!" so jittery that people around me started laughing and mocking me. I couldn't move for 15 min...just looking with a slack jaw, thinking how absolutely INSANE the FoH looked, trying to figure out the logistics between the stations.
They are talking so proud of "the new look for Eurovision" and "setting new standarts". Dont get me wrong, the stage looked good, kind of. But over all it looked booring and empty and overloaded at the same time. the LED Wall and Cubes was woo much content changing at the same time. The Cross Stage was big, but mostly empty. What was shown in TV was confusing and didnt represent the actual show very good. The stage might be technicaly amazing and complex but it wasnt great to look at.
We think, the approach for the stage this year was very ambitious and has also resulted in a much more immersive feel on camera. But you're right that the cross stage wasn't used as intensively as it could have been. It was very ingenious in Rotterdam, for example, when there was a diagonal walkway that led to a separate B-stage. A large screen was then lowered above the walkway, which created a completely new look. In general, this year's Eurovision was produced extremely strongly for the TV audience. Of course, it always depends very much on the wishes and creative visions of the delegations how well the cubes, light fixtures, elements and props are coordinated. It's not easy to offer transformability for nearly 40 performances.
Ah great you made another video, really enjoyed last years too! Insane how much tech is used, not enough viewers realize how much crazy tech is used to produce a show like this.
It's really fun to see the different styles and working methods of the various EUROVISIONS. Each country has its own vibe. In general, the last productions in Rotterdam, Turin, Liverpool and now Malmö were at a really impressive level.
Many, many thanks to you, EE guys, who made this awesome review! Glad 2 hear that Ola is back in the game. In 2009, when Moscow hosted Eurovision, he made the greatest gift to me and my colleagues by taking us a little trip around the venue. So many years passed by and I still remember every single moment!
Ola is a true gentleman. He also gave us great support this time, because it's not always very easy to show insights. The Swedes really outdid themselves this time with the EUROVISION and created a super immersive show conpect.
Would be interesting to know the power supply requirements for the whole production (light+kinetics+sound+broadcasting). Are we still talking about megawatts or already gigawatts? 🙂
Yea, Ola is just so great, he should have done a lot more video blogs this year. It's brilliant that he is so open and shares so many nice little BTS moments. He and Joan Melzig have helped us a lot to produce a few insights here on EE again.
