INSIDE
Let’s start talking about your previous experiences. You undertook the 2012 Summer Olympic Games of London with a remote-set up. What are the differences between that production and the FIS Alpine World Ski Championships? The mayor change from the past is that this time we do not have technical facilities on-site in the hills, except for the cameras and the power supply. That means that everything was controlled from our base at Stockholm. So it is basically the first time for me especially of this scale, when the technical set onlocation in Åre in a regular production would be at least 2 OB trucks worth around 10 million EUR.
What were your mediapartners in the FIS Alpine World Ski Championship production? What have been the functions of each one? We had Ravenna and Lawo for the sound, Clear-
36 MAY ‘19
Remote IP production is a reality. The FIS Alpine World Ski Championship was held in Åre (Sweden) from February 5 to February 17 and featured an unprecedented achievement in the broadcast world: 80 cameras, 270 microphones and many other signals were produced 700 km from the venue, in Stockholm, using a redundant 100 Gbps circuit. Adde Granberg, CTO of SVT and technical responsible for the event, explains everything about how this massive production of InFront and SVT took place and tell us about the benefits, challenges and future perspectives of this type of production.