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We tell the intricacies of the technology deployment that will be in the final gala of the 60th Eurovision Song Contest, which this weekend held in Vienna.
Next May 23 be held in Vienna the final gala of Eurovision 2015 , which celebrates its 60th anniversary as the festival European music par excellence and one of the most impressive audiovisual shows of the year. Without entering into a discussion on geopolitics, the quality of the songs, what is our favorite representative or whether they are sufficient or too many 35 million budgeted for this year, we wanted to make a trip to the bowels of the event to meet technology which enables more than 180 million people enjoy the show in live.
26 cameras is responsible for recording everything that happens in the Wiener Stadthalle. Apart from the steady cams, which opened the mouth thanks to many performance in 2009, it will be used for the first time in the history of Eurovision one camera that hangs from the ceiling of the enclosure, so it looks like we will witness stunning aerial shots. Of course, there will be spidercams , famous system used, for example, in tennis matches. They are very flexible cameras and provide a 360º, with the advantage that can zoom in, zoom or scroll to either side in a cable on which to ‘climb’ Spider installed.
Perhaps most surprising of this year the system He mounted the stage lights. The technology on which it is based is called Kinect Sculpture and arrange to install the Danish company Wahlberg. It consists of 650 motorized balls hanging on the roof of the arena. As you can play with the mobility of each ball, the amount of light and 3D effects that can be achieved it is enormous. Do not lose detail of this video shows:
Note that this clip is four years old. I recommend you to take a look at this other more recent (and does not allow embedded off YouTube).
The charge of giving life to this technology will be the designer Al Gurdon , which has a long experience in big events like the Super Bowl, MTV Awards, the Sochi Olympics and the Eurovision itself. He has also worked extensively with Florian Wieder, designer of the stage. Both are responsible for much of the performance of 40 performances will witness the final gala.
The setting for this year has been designed by Florian Wieder , a regular at such events. His resume includes production and design reality shows like The X Factor, America’s Got Talent or the MTV Video Awards, as well as scenarios of artists like Beyonce and U2. In addition, he was responsible for the stage of Eurovision 2011 (Dusseldorf, Germany) and 2012 (Baku, Azerbaijan).
This year, the stage will be 43 meters wide, 14.3 meters high and 22 meters deep. On the back an LED panel 30 meters wide and 9 meters high that can be separated by half (for artists appear) will be placed. The floor will feature an imposing 14-meter LED screen and most characteristic are perhaps the most 1300 led bars distributed around the central assembly, which give that futuristic look. Although size is not the biggest stage of the latest editions (the Baku was greater, for example).
The public (about 10,600 people) will be placed ahead surrounding the stage. There will be 58 booths for journalists relayed from there the gala for his country.
Live and Live
The European Broadcasters Union (EBU) is a public entity the European Union and is responsible for relaying the festival each year. Combines fiber optic with satellite broadcasting for getting images of the event worldwide. Actually, the hard part is not broadcasting itself, because after all it is a signal sent by satellite and that each country can use as you see fit (can broadcast it live, live with comments or deferred) but really the challenge is to make the whole process live and direct.
This is a process, at palabras Graham Warren, director of Eurovision network, requires a great coordination because there are too many elements that must be present, both from the point of view of realization (only the number of cameras there, you can imagine the number of planes to be managed per second) as a technician. In this connection, the data transmission system is a very powerful optical fiber base that works at speeds above 10Gbps .
The latency is a headache for live connections So many gigabytes per second should be enough, right? Yes, provided it is a one-way transmission. The headache comes when there must be some interaction, which is just what happens when you connect directly to each country to provide the results of voting. There is always some kind of greeting and minimal conversation between headquarters and the person Eurovision country is by voting occurs. This is where satellite broadcasting, by default, always introduces a delay that can reach several seconds is required. Essentially, what is being done to avoid that latency is the original signal compressed to take up less and less to be sent later.
Finally, this year Microsoft act as partner technological the event. For example, video transmission will be based on Microsoft Azure and more than 1,000 employees working at the festival will be coordinated through Yammer.
May 21, 2015
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