Eurovision Eurovision 2024

Eurovision 2024 to Embrace a Cinematic Look

SVT's Tobias Aberg reveals the secrets behind this year's broadcast with a focus on achieving a film-like aesthetic.

In an interview with TVBEurope, Tobias Aberg, Executive in Charge of Production for Eurovision 2024, detailed SVT’s plans to bring a cinematic feel to this year’s contest. The focus will be on high-quality visuals and sound, with a special emphasis on capturing the audience’s energy.

Cameras and a “Filmic Look”

A total of 26 cameras will be used, including a mix of RF, handheld, and Steadicam options. Interestingly, Aberg reveals they’ll be employing a 1080i25 format with a creative twist: PSF mode for a more cinematic aesthetic. While the Green Room’s location remains a mystery, Aberg assures viewers of exciting interviews and a focus on the enthusiastic “standing fans.”

Enhanced Sound Design and Open-Source Graphics

The audience experience will be further amplified with a robust sound system, including handheld mics, belt packs, and dedicated commentary cabins. Open-source graphics powered by HTML, JavaScript, and CSS will manage all visual elements, including the voting graphics.

The soundscape will be rich with handheld microphones, belt packs, audience mics, and dedicated commentary cabins. A multitrack system with 48 channels ensures pristine audio mixing for broadcast, live sound, and in-ear monitoring.

For graphics, SVT is leveraging an open-source system, managing voting boards and templates using HTML, JavaScript, and CSS. While augmented reality won’t be featured, overlays will be strategically used for visual impact.

Sustainable Production

SVT prioritizes sustainability this year. Crew transportation utilizes electric cars, stage lighting relies solely on LED and laser sources, and most equipment is rented to minimize waste. Additionally, the artist postcards were filmed remotely with a focus on social media aesthetics.

Redundancy for a Flawless Broadcast

As always, Eurovision prioritizes a seamless broadcast. Back-up plans include three in-sync backtracks, redundant OB vans, and diverse signal distribution methods. Aberg acknowledges the challenges presented by the in-the-round stage design but expresses confidence in the final product.

Get ready for a visually captivating and immersive Eurovision experience this year!

Source:  TVBEurope

5 thoughts on “Eurovision 2024 to Embrace a Cinematic Look

  1. > (…) they’ll be employing a 1080i25 format with a creative twist (…)

    Strange that the songs from the finals they uploaded to YouTube are 1440p50. Although I think the image is not as sharp as other 1440p YouTube-content.
    German ARD offers 1080p50 HEVC via their Mediathek.

    1. SAT and SRT FEEDs TV stations around Europe received a 1080i25 feed, but TV stations use the 1080i50 standard for their broadcasts. You can compare smoothness in movement between 2023 videos and 2024 videos and clearly see the difference. According to the production team, the reason is a new creative approach.

      1. I watched this year’s competition. Something horrible. Video smoothness was terrible. At first I thought it was some novice engineer who made a mistake in the video configuration and it would be corrected soon. But no! It’s not that I don’t like the cinematic look. Simply applying a cinematic look to a broadcast lasting several hours, with lots of lights, decorations and dynamic action is doomed to failure. It was very hard to watch. The decision to produce in this format means that Eurovision is over for me. It’s sad. Eurovision lasted 67 years. This year, due to the sick ambitions of the creators, it came to an end. This is unwatchable.

      2. I will add one more thing. Instead of focusing on the real improvement of broadcast quality (I mean, for example, the 4K 50p HDR format), the creators gave us an unpleasant viewing experience. Simply put, the cinematic look is not suitable for this type of event. It’s as if someone broadcast a football match in a cinematic look and justified it with the desire to achieve an artistic look. Absurd. This is not the way, dear ESC creators! Only the 50i or 50p format is suitable for such broadcast.

  2. It was interesting – the competition was produced in 1080i25, but the on-screen graphics and results announcements from each country were in 1080i50.

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