April 25


What up music lovers!? Stand in rehearsals are going very well, and it’s wonderful to see how it all comes together on stage!

One thing that is kind of crucial when you do television is photographers! So, lets’ check them out today.

We got a total of 17 cameras in the main hall, and another 6 in the greenroom.

Here are our 3 main cameras that takes all the frontal close ups and mid shots. You can see an iPad on the right side of the camera handle. This is the individual shot list that each photographer has. We are using a software called CuePilot on Eurovision since 2013. The director’s script all their songs on an online platform, to the same time code that we are using for sound, light, pyro, video and automation. The scripts are uploaded to a computer that controls the vision mixer. This is how we can do so exact cutting of camera shots and be able to repeat them time after time.

We have the CuePilot information superimposed to all monitors that we use for viewing of the rehearsals, so everyone always sees the shot number, what camera it is, the duration of the shot, and the time code. This is an extremely powerful tool for us to revieve and handle feedback from all the delegations.

We are using GrassValley LDX 86N series cameras that are running in 1080@50i . That means 1920×1090 with 50 frames per second interlaced frame rate.

All cameras are supplied by NEP Sweden, so they come from faaaaaaaaaaaar away!

Besides the piedestal cameras, we also have Steadicam operators. Here is Daniel, whom is, like most of our photographers , from Israel. He is carrying on the legacy of his father Itzik, a legendary Steadicam operator.

And here is his Norwegian brother from another mother, Tim. The red arrow points at his focus puller Stephanie, while the green one points at a Muppet named Oskar. We’ll have a thirrd Steadicam operator in greenroom, and his name is most probably not Sven. But I’ll investigate and get back to you as soon as we start with rehearsals in there!

We also have two cranes in our set up. This is the stage right, or camera left if you like, 52ft telescopic Moviebird crane. We have a 45ft on the opposite side. There are also two rails with telescopic heads in the main venue. One in front of our main cameras, and one following the shape of the main stage on stage left.

Least but not last, we have a 2D wire camera system that can fly through the entire hall. Both cranes, rails and the 2D cam is supplied by Opertec.

Now, when you know all about the camera set up, you can try to do a Eurovision in your home! Send the results to: scooby@dooby.tv

Over and out!

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