GM
I'm not liking they have got rid of the old titles and replaced with something that someone has knocked up on After Effects or Vegas....
SA
Having just seen the new titles, I see what you mean - to me they don't look as polished and professional as the old ones did.
I'm not liking they have got rid of the old titles and replaced with something that someone has knocked up on After Effects or Vegas....
Having just seen the new titles, I see what you mean - to me they don't look as polished and professional as the old ones did.
BR
Ana Matronic pretty decent as a commentator (not so much as an interviewer). The butterfly effect was great throughout but I did think you could really tell the stage was small - I don't think the two columns either side framing it help either - without them it would probably look a lot bigger.
DS
Each year I write a review of the Eurovision, mostly from a technical point of view, as it has been one of the biggest television events that has inspired my interest in multi-camera television production and has spurred me on to work in the TV industry. Also, I find each year that I basically go along and say that it was an impressive and well put together production, then I’ll look back on it a few months later and think “actually…it wasn’t that good”. This has certainly been the case for 2011 and 2012 where, in my opinion, Germany’s efforts left a lot to be desired with only a slight improvement in Azerjabin…Azer…in Baku.
However, this year, I feel that I can quite confidently complement Sweden’s efforts at hosting the contest. Many see Sweden as an integral part of Eurovision’s history and as one of the countries that take it most seriously, so they were always going to give it their best shot. Given the EBU’s requests to scale down the contest I think that it felt like much more of a classic Eurovision than in other years gone by, but also felt like one of the most contemporary of recent times too.
The decision to stage the contest in the Malmö Arena, whilst partly a logistical choice, worked in the show’s favour on the whole. I didn’t miss the enormous scale of recent productions one bit and thought that it helped the contest to feel more personal. The performers didn’t look lost in a sea of LED and staging. The stage design itself had plenty of depth and worked well in many different states for the different sequences and performances. The addition of the bridge, that was later flown, for Lorraine...Lo Lo's opening act was very well used too.
Credit really has to go the lighting, staging and screens crews to name but a few who really have pulled out all the stops to be very creative with each performance, as well as the links sequences. For the past month or so I have been keeping up to date with Ola Melzig’s M&M Production Management ESC Diary (I know a link has already been posted earlier in this thread so I won’t repost). He has stressed the feeling from Swedish and EBU executives to change away from stalwarts such as LED. It really worked well and was a noticeable improvement. The ‘Kinetic Sculptures’ hung from the lighting grid and used for perspective in wide shots were also very good – last used a similar design in 2005, in Kiev, if I re-call correctly!?
The absence of LED screens as a background to the stage was welcomed and the Barco HDQ 40 projecters used as a replacement seemed to hold up well.
I am always a fan of the use of small sound effects and music tracks throughout the contest, so felt that the sound and screen stings used when coming back from a postcard to the opening of a performance were good. It sounded to me like they were using the first note from ‘Euphoria’ for it?! The butterfly transitions worked well between Arena and Graphic content and the Full-frame/Strap graphics felt like a take on last years just with an update in branding style. They were clear and concise, which is all you need really with on-screen graphics.
From a camera point of view it seems that they have pretty much gone for a similar camera plan to that used for Melodifestivalen. This is a configuration that I believe works well for maximum arena coverage during both performance and presentation sequences. I believe there was a Technocrane each side of the stage and a Jib arm with a Dutch Head high in the arena audience. There were also 2 Stedi-cams and an X-Trak Camera (maybe not that model though) running the length of the arena. The long lenses were well placed this year in the centre of the audience allowing for Mid Shots etc that didn’t look like they were being controlled from the opposite side of the city. The camera scripting was top class again, fitting well with music, lyrics, lighting and choreography – again much in line with Melodifestivalen (I believe it’s the same team of Directors) and much better than previous years’ efforts.
The use of instant slo-mo going into the Postcards to emphasise the Butterfly transition was fantastic, and one of those finate details that I think you’d only find in one of a few territories broadcast efforts. This can also be said for the effects used during the live performances; Montenegro and Lithuania were the most noticeable I believe. Possibly noggin can point me in the correct direction with these, I am thinking they are using a Mixer DME cued via GPI for these? Any ideas – could they be using some extra external effects unit to put these in live? (Seen here: http://youtu.be/sU-GQdeIpf8?t=55s)
Petra was a good host although I got the feeling that the humour wasn’t quite getting through and will keep my fingers crossed for Thursday and, most importantly, Saturday.
Now onto the BBC’s contributions for this evening; and really I wish they hadn’t bothered and just left us with the international feed. I find it embarrassing that they don’t feel they can trust us to vote via SMS or the Eurovision App. Maybe this was due to financial reasons or whatever – but it did look like the BBC had stepped back into the dark ages for a moment.
I actually missed Sara Cox this evening as she was funny with the mayhem going on around her. Ana Matronic didn’t seem particularly suited to the role and certainly can’t appear to be able the count judging by the results sequence. The Loreen interview was possibly one of the worst things I have ever seen on the BBC – what was up with the Camera work!? I think it was even worse than the epic BBC Three series “Help Me Anthea, I'm Infested!”.
They also don’t seem to be able to read a Running Order as after the second song recap Scott Mills just carried on with an interview section over the top of Petra closing the voting lines. I understand why the BBC do this style of presentation for the semi-finals, but really, can we just have slightly less of it please?
I think it fair to say that from early indications SVT have once again proved that they have a fantastic ability to host large scale events and that, in a wider sense, they are a credit to PSBs in Europe.
Obviously, the final word has to go to the Amayzzing Lynda Woodruff – who again showed us her truly unique presenting style and fantastic grasp of foreign culture…and it was certainly better than a load of ad-libbed BBC Three twaddle.
However, this year, I feel that I can quite confidently complement Sweden’s efforts at hosting the contest. Many see Sweden as an integral part of Eurovision’s history and as one of the countries that take it most seriously, so they were always going to give it their best shot. Given the EBU’s requests to scale down the contest I think that it felt like much more of a classic Eurovision than in other years gone by, but also felt like one of the most contemporary of recent times too.
The decision to stage the contest in the Malmö Arena, whilst partly a logistical choice, worked in the show’s favour on the whole. I didn’t miss the enormous scale of recent productions one bit and thought that it helped the contest to feel more personal. The performers didn’t look lost in a sea of LED and staging. The stage design itself had plenty of depth and worked well in many different states for the different sequences and performances. The addition of the bridge, that was later flown, for Lorraine...Lo Lo's opening act was very well used too.
Credit really has to go the lighting, staging and screens crews to name but a few who really have pulled out all the stops to be very creative with each performance, as well as the links sequences. For the past month or so I have been keeping up to date with Ola Melzig’s M&M Production Management ESC Diary (I know a link has already been posted earlier in this thread so I won’t repost). He has stressed the feeling from Swedish and EBU executives to change away from stalwarts such as LED. It really worked well and was a noticeable improvement. The ‘Kinetic Sculptures’ hung from the lighting grid and used for perspective in wide shots were also very good – last used a similar design in 2005, in Kiev, if I re-call correctly!?
The absence of LED screens as a background to the stage was welcomed and the Barco HDQ 40 projecters used as a replacement seemed to hold up well.
I am always a fan of the use of small sound effects and music tracks throughout the contest, so felt that the sound and screen stings used when coming back from a postcard to the opening of a performance were good. It sounded to me like they were using the first note from ‘Euphoria’ for it?! The butterfly transitions worked well between Arena and Graphic content and the Full-frame/Strap graphics felt like a take on last years just with an update in branding style. They were clear and concise, which is all you need really with on-screen graphics.
From a camera point of view it seems that they have pretty much gone for a similar camera plan to that used for Melodifestivalen. This is a configuration that I believe works well for maximum arena coverage during both performance and presentation sequences. I believe there was a Technocrane each side of the stage and a Jib arm with a Dutch Head high in the arena audience. There were also 2 Stedi-cams and an X-Trak Camera (maybe not that model though) running the length of the arena. The long lenses were well placed this year in the centre of the audience allowing for Mid Shots etc that didn’t look like they were being controlled from the opposite side of the city. The camera scripting was top class again, fitting well with music, lyrics, lighting and choreography – again much in line with Melodifestivalen (I believe it’s the same team of Directors) and much better than previous years’ efforts.
The use of instant slo-mo going into the Postcards to emphasise the Butterfly transition was fantastic, and one of those finate details that I think you’d only find in one of a few territories broadcast efforts. This can also be said for the effects used during the live performances; Montenegro and Lithuania were the most noticeable I believe. Possibly noggin can point me in the correct direction with these, I am thinking they are using a Mixer DME cued via GPI for these? Any ideas – could they be using some extra external effects unit to put these in live? (Seen here: http://youtu.be/sU-GQdeIpf8?t=55s)
Petra was a good host although I got the feeling that the humour wasn’t quite getting through and will keep my fingers crossed for Thursday and, most importantly, Saturday.
Now onto the BBC’s contributions for this evening; and really I wish they hadn’t bothered and just left us with the international feed. I find it embarrassing that they don’t feel they can trust us to vote via SMS or the Eurovision App. Maybe this was due to financial reasons or whatever – but it did look like the BBC had stepped back into the dark ages for a moment.
I actually missed Sara Cox this evening as she was funny with the mayhem going on around her. Ana Matronic didn’t seem particularly suited to the role and certainly can’t appear to be able the count judging by the results sequence. The Loreen interview was possibly one of the worst things I have ever seen on the BBC – what was up with the Camera work!? I think it was even worse than the epic BBC Three series “Help Me Anthea, I'm Infested!”.
They also don’t seem to be able to read a Running Order as after the second song recap Scott Mills just carried on with an interview section over the top of Petra closing the voting lines. I understand why the BBC do this style of presentation for the semi-finals, but really, can we just have slightly less of it please?
I think it fair to say that from early indications SVT have once again proved that they have a fantastic ability to host large scale events and that, in a wider sense, they are a credit to PSBs in Europe.
Obviously, the final word has to go to the Amayzzing Lynda Woodruff – who again showed us her truly unique presenting style and fantastic grasp of foreign culture…and it was certainly better than a load of ad-libbed BBC Three twaddle.
DV
Been out at a meeting and have only now caught up .... Watched the SVT webstream, so can't comment on the BBC Version
Superb. Loved the whole thing.
Petra Mede excellent host, Linda Woodruff Sublime and the Aussie element brilliant. Interval act sensational.
Will be watching on delay on Thursday too. Sorely tempted if the web-stream holds to watch the SVT final presentation too.
Superb. Loved the whole thing.
Petra Mede excellent host, Linda Woodruff Sublime and the Aussie element brilliant. Interval act sensational.
Will be watching on delay on Thursday too. Sorely tempted if the web-stream holds to watch the SVT final presentation too.
BR
It does make us feel like that naughty little country who isn't trusted to play with the toys other Europeans have. I just don't believe for one second that the rest of the world can handle text and app voting but Britain can't. It all comes back to 2007 and TV not defending itself properly - it is ridiculous that they took the wrap for not receiving messages that the phone operators couldn't deliver, especially when all it needs is a simple disclaimer stating that all votes "made or received" after the cut off won't be counted. (That said though the short number mobile voting is a better system anyway).
Now onto the BBC’s contributions for this evening; and really I wish they hadn’t bothered and just left us with the international feed. I find it embarrassing that they don’t feel they can trust us to vote via SMS or the Eurovision App. Maybe this was due to financial reasons or whatever – but it did look like the BBC had stepped back into the dark ages for a moment.
It does make us feel like that naughty little country who isn't trusted to play with the toys other Europeans have. I just don't believe for one second that the rest of the world can handle text and app voting but Britain can't. It all comes back to 2007 and TV not defending itself properly - it is ridiculous that they took the wrap for not receiving messages that the phone operators couldn't deliver, especially when all it needs is a simple disclaimer stating that all votes "made or received" after the cut off won't be counted. (That said though the short number mobile voting is a better system anyway).
BA
I think the voting differences aren't a problem - Graham Norton always makes it out that it's the host that's stupid for not getting it right.
Having the short number for mobiles is a nicer system - it's easier to dial that number a few times than faffing around sending multiple texts. Is there a reason for the lack of app voting? I realise that there have been problems in the past with app votes going wrong on other shows, but is there an official line as to why?
Personally, I prefer a system where there are fewer routes, because it means they don't have to reel off all the options each time.
Having the short number for mobiles is a nicer system - it's easier to dial that number a few times than faffing around sending multiple texts. Is there a reason for the lack of app voting? I realise that there have been problems in the past with app votes going wrong on other shows, but is there an official line as to why?
Personally, I prefer a system where there are fewer routes, because it means they don't have to reel off all the options each time.
GO
Apparently the app vote is actually just a standard text generated by the app, hence it not being available in the UK.
I think the voting differences aren't a problem - Graham Norton always makes it out that it's the host that's stupid for not getting it right.
Having the short number for mobiles is a nicer system - it's easier to dial that number a few times than faffing around sending multiple texts. Is there a reason for the lack of app voting? I realise that there have been problems in the past with app votes going wrong on other shows, but is there an official line as to why?
Personally, I prefer a system where there are fewer routes, because it means they don't have to reel off all the options each time.
Having the short number for mobiles is a nicer system - it's easier to dial that number a few times than faffing around sending multiple texts. Is there a reason for the lack of app voting? I realise that there have been problems in the past with app votes going wrong on other shows, but is there an official line as to why?
Personally, I prefer a system where there are fewer routes, because it means they don't have to reel off all the options each time.
Apparently the app vote is actually just a standard text generated by the app, hence it not being available in the UK.