YEARS

www.live-production.tv DATA 2020 MEDIA DATA 20192020 | | Studio Editorial Studio 2

Thank you for your support! The last ten years span the period from the end This means that also for of Live Production in standard definition (SD) TV the next 10 years we have to High Definition (HD) TV and the ­beginning interesting and challenging of Live Production in ultra high ­definition (UHD) times for Live Production TV including some first steps to ­production in front of us. We wish you in 8K Super Hi-Vision, which NHK is ­rolling and your development out at the Olympic Games in Tokyo 2020. and production teams all the best and the utmost In parallel we see the substitution of the SDI success in this changing linear production standard towards a non and restless world of Live linear IP networked standard in combination­ Production. with more and more efforts to establish YEARS remote production facilities in a central location and only send the cameras to the event location and receive all the live ­signals via a world-wide operated fibre network.

Reinhard Penzel Managing Director & Editor in Chief MEDIA DATA 2020 | Contents 3 CONTENTS

Online PURE LIVE

Contact 13 The Website 6 The Directory 11

Formats + Rates Online 8 eDossiers 12

Specials + Newsletter 9

Technical Specifications 10 MEDIA DATA 2020 | Since we have started 4

SINCE 2010 WE SAW 6.25 MILLION PAGE VIEWS FROM 1.62 MILLION USERS ACROSS 236 COUNTRIES

The Top 27 Countries 2,2 % 3,5 % 1 16,6 % 16 Belgium 1,2 % 2 United Kingdom 11,6 % 17 Turkey 1,2 % 3 China/Hong Kong 11,5 % 18 South Korea 1,2 % 4 Germany 6,8 % 19 Switzerland 1,1 % 23,4 % 5 France 3,7 % 20 Indonesia 1,0 % 6 India 3,3 % 21 Sweden 0,9 % 7 Canada 2,2 % 22 Thailand 0,9 % 8 Italy 2,1 % 23 Norway 0,7 % 43,3 % 9 Netherlands 2,1 % 24 Malaysia 0,7 % 10 Spain 1,9 % 25 0,7 % 11 Australia 1,8 % 26 Austria 0,7 % 12 Brazil 1,6 % 27 United Arab Emirates 0,7 %

27,6 % 13 Japan 1,6 % 14 Russia 1,5 % 82,7% visitors from Top 27 Countries 17,3 % from the Rest of the World 15 Poland 1,3 % 1 % = 16.000 visitors

Europe Asia America Africa Oceania MEDIA DATA 2020 | Live Production Community Worldwide 5

TRAFFIC STATUS

Point of Focus – Visited Pages

News 2.075.415

Mobile Production 1.797.546

Case Studies 601.344

Home Page 678.543

Studio Production 281.676

Systems Integration 467.322

Rental Companies 348.455

2010 2011 2012 2013 2014 2015 2016 2017 2018 2019

1 January 2010 to 31 October 2019 1 Mai 2019 to 31 October 2019 October 2019

Users 1.625.855 Users 237.621 Users 42.173 Visits 2.238.887 Visits 318.629 Visits 52.005 Bounce Rate 61,79% Bounce Rate 53,73% Bounce Rate 55,97% Countries 236 Countries 221 Countries 193 Page Impressions 6.244.980 Page Impressions 597.229 Page Impressions 107.195 Pages / Visit 2,98 Pages / Visit 2,93 Pages / Visit 2,06 Dwell Time 2’27“ Dwell Time 1’57“ Dwell Time 2‘32“ ONLINE | The Website www.live-production.tv 6

The online and mobile portal www.live-production.tv addresses the international TV Live Production Community and is a high-quality online service platform to get in touch with a global community of more than 100.000 decision makers in more than 200 countries.

As a true working tool our online catalogues help to find service providers, partners, equipment, solutions and applications in the areas of: Mobile Production Studio Production Dry Hire System Integration ONLINE | The Website Contents 7

HOMEPAGE CATALOGUES

News Mobile Production Studio Production Shows OB Trucks Production Studios Sports Surround Sound Mobile Studios Cultural Events FlyPacks Virtual Studios Political Events SloMo & UltraMotion Products Graphic Vans Rental Companies 4K/8K Arising Edit & VT Trucks Video Hire Specialist Cameras Audio Hire Helicopters Acoustics Hire Case Studies Wireless Solutions One Stop Shop Production Facilities UpLink Vans Sports LED Trucks System Integration Concerts Mobile Power Turn Key Providers TV Shows Culture, Arts & Science ONLINE | Formats + Rates 2020 8

Formats File Sizes / Pixel (35 kb) Positioning 1

1 Superbanner 940 x 90 top of page on each page no rotation 3 2 Premium Rectangle 300 x 250 premium positioning on each page no rotation 3 Skyscraper 160 x 600 right-hand positioning on each page 4 Rectangle 300 x 250 left-hand positioning on each page 2 5 Fullsize Banner 600 x 100 central positioning on each page

3 5 4

Pricing + Formats 2019 Price/Period Euro 3 month 6 month 12 month Category 1 1 Superbanner 4.150 7.280 12.470 2 Premium Rectangle 4.150 7.280 12.470

3 Category 2 Rotation: from the bottom to the top on a daily basis 2 3 Skyscraper 2.430 4.290 6.950 4 Rectangle 2.430 4.290 6.950 5 5 Fullsize Banner 2.430 4.290 6.950

Price includes: 1 banner on each page Homepage/News Mobile Production Rental Companies Case Studies Studio Production System Integration ONLINE | Specials + Newsletter 9

BRANDED GALLERY NEWSLETTER Two individually designed images (headline, text, photos) to be The newsletter is addressed to all registered users of the home- part of the slide show on top of the homepage. These two branded page (verified and qualified address pool continuously updated). pictures are presented on position one and two of the slide show. Usually it goes out fortnightly but weekly before the big shows. They rotate with the other photos.

Size of the “branded gallery”: 940 x 367 px Fullsize banner: 600 x 100 px without animation Native Ad: photo, text, link 210 € per week (7 days); max. booking period 2 weeks Top Position 180 € per newsletter all other positions 150 € per newsletter ONLINE | Technical Specifications 10

We accept three types of Media Sales + Services Please specify the following when file formats Evelyn Ode Marketingberatung sending your data Mobile: +49 173 730 9545 Name of customer the files can Name of the campaign be delivered as: Delivery address for online Name of the motive advertising materials Booking period LIVE-PRODUCTION.TV GmbH Online media format *.jpg *.png *.gif e-mail: [email protected] Size of the file Banner-Link (URL on click) and should be less than max 35 KB Contact person at your company Java-script functions used

We need up to 3 days lead time before the start of a campaign. PURE LIVE | The Directory 11

Content On 180-200 pages we present new HD/UHD/4K OB Vans and Studios. Supported by market analyses, comprehensive case studies, portraits of international system integrators, rental facilities and production houses worldwide. We show FREE how to distribute and display entertainment, sports and event productions on any platform around the world. Reports DOWNLOAD on exceptional live-productions in sports and entertainment are highlighting our areas of focus: video, audio and light- for registered users

ing. In short: all you need for a perfect live-production is featured in the PURE LIVE. all PURE LIVE Magazines Circulation The PURE LIVE Special has a circulation of 5.500 pieces. Round about 3.000 are send to a VIP list (professionals in the in- dustry) and to our registered users. We sell over our online shop and distribute at shows like IBC, Broadcast Asia, Sportel http://www.live-production.tv Monaco and some European Open House events (mainly customers).

PURE LIVE PURE LIVE PURE LIVE PURE LIVE PURE LIVE DIRECTORY 2014 DIRECTORY 2015 DIRECTORY 2016 DIRECTORY 2017 DIRECTORY 2018 Date of publication: Date of publication: Date of publication: Date of publication: Date of publication: August 2014 August 2015 August 2016 August 2017 August 2018

(D) 25,00 € (D) 25,00 € (D) 25,00 € (D) 25,00 € Special Edition Special Edition Live Companies Special Edition Special Edition Live Companies Live Companies Live Companies

08/2016 PURE 08/2015 PURE PURE 08/2017 PURE 08/2017

LIVEwww.live-production.tv www.live-production.tv www.live-production.tv www.live-production.tv DIRECTORY DIRECTORY DIRECTORY DIRECTORY 2015 2016 2017 2018 PURE LIVE | eDossier 12

PURE LIVE eDossier Your case study, OBVan portrait or technical papers will be designed as PURE LIVE digital report, highlighted on top of our website and distributed via live-production.tv, our newsletters and social network.

Price on request. DIGITAL

2 LIVE

- PURE LIVE When the contest goes live - cur - rently with 43 countries, forc- ing Eurovision to broadcast two semi-finals and one final - every The (ESC), already running for 63 years, is one of the most debat song has those same 3 minutes on REPORT | ed, loved, and hated entertainment formats ever created and ESC has grown to become stage to impress. PURE LIVE Eurovision Song Contest a true annual behemoth in live TV production and a cultural phenomenon around the world. Since the contest started to be widely promoted on social media and streamed live on the Internet, the originally European base of ESC’s fan base has evolved globally, conquered millions of additional viewers in Asia, South America, and North America, and participating countries, which recently expanded to include Australia. SPECIALS 3 PURE LIVE REPORT | Eurovision Song Contest LIVE 4 LIVE

Lighting Controlled by: Robe RoboSpot Remote Controls … and controlling: For the first time at the Eurovision In this regard, Riedel introduced SIP for the first time at ESC this year, replacing ISDN lines for com- 3 Grand MA 2 sessions, running with; 63723 mx parameters for moving lights Song Contest, Riedel deployed a mentators whilst providing much better audio quality at the same time. 10 Grand MA 2 full size consoles, 5 active, 82114 dmx parameters for pixel mapping and complete solution based on Session In addition, Riedel provided an access control system designed to simplify guest and crew entry into 5 back-up in network backwall of 351x Ayrton Magic Panel FX 4 Grand MA 2 light, 2 video, 2 tech ops Initiation Protocol (SIP) to support the arena, boost security, and provide efficient visitor management. The system required personnel 3314 dmx parameters for hippotizers 39 Grand MA 2 NPU commentary booths for almost 30 to pass through turnstiles where their accreditation cards, embedded with RFID chips, were swiped 158 universes for moving lights 3 Grand MA 2 VPU MKII countries covering the contest for with stationary or wireless reading devices, and the RFID data was matched to an online database. 88 universes for the backwall of 351x Ayrton 2 Green Hippo Boreal+ Media Server Magic Panel FX their local audiences. Anchored by Also, Riedel once again worked with partner TPO to provide a comprehensive IT and infrastructure, 16 ELC GBX-8 port nodes 80 universes rgb pixels in set ESC 2018 four Artist 64 intercom mainframes including all switches, servers, 170 wireless access points, for up to 2,000 journalists in the press was presented and 40 Artist CCP-1116 commentary center and a comprehensive Cyber Security Package. by Sílvia Alberto, panels, the system used Cymatic Au- Team Riedel for ESC 2018 comprised of 25 people, including project and program management and Daniela Ruah, REPORT | Catarina Furtado dio’s uTrack24 devices, loaded with specialized engineers. LIVE Eurovision Song Contest and Angelbird SSD hard drives, to man- PURE Sennheiser Supplied Wireless Digital 600 Micriphones to ESC “The exemplary cooperation with Ayrton was vital for the success of the show Robe RoboSpot Effects age line IDs for the commentary Altogether, more than 100 wireless channels were in use for audio alone. An ideal en- and the almost 800 fixtures from Ayrton gave Jerry an important addition to booths. Riedel Equipment on site his toolbox, enabling him to create a magnificent, multi-layered design that vironment for Sennheiser’s6000 Digital microphones 6000 to and demonstrate used either its SKM spectrum 6000 efficiency.handhelds with All

was absolutely needed to master this beast without having LED screens or any artists relied on Digital To guarantee the maximum efficiency of the live show, wTVision also Intercom Commentary Radio other video canvas in our set up,” says ESC Head of Production, Ola Melzig. “And 4 Artist 64 intercom Mainframes 4 Artist 64 intercom Mainframes 300 Hytera PD605 Handheld Radio MD 9235 dynamic capsules, or SK 6000 bodypacks with Sennheiser custom headmics. developed a project specifically for Eurovision Song Contest, called the guess what, we did not miss video for a second of the whole of the spectacular 67 RCP-1128 Intercom Panels 40 CCP-1116 Commentator Panels 260 Motorola Tetra Handheld Radio For wireless monitoring, 2000 series systems were on duty: Rack-mount SR 2050 IEM Host Voting System. Thanks to a web technology setup, directors and broadcasts we created in the wonderful city of .” Every year since its early inception, the ESC - 10 RCP-1112 Intercom Panels two-channel transmitters transmitted their signals via A 5000-CP circularly polarised hosts of the show were provided with valuable information, such as 24 DCP-1116 Intercom Panels Hub IT Services format represents the most formidable chal- antennas to the artists’ EK 2000 IEM bodypack receivers. A large number of bodypacks 6 Bolero Antennas MediorNet system 170 Access points qualified countries, countries currently voting and, eventually, the con- ensured that all artist groups and the technical crew could be provided with high-qual- lenge in live television production, far sur 32 Bolero Beltpacks 6 MetroN Frames Accreditation firmation that Israel was the winner of the Eurovision Song Contest ity audio signals. passing any other format, including the Olym- 30 MicroN Frames 20 Turnstiles + Viewing Stations 2018. The voting information was also provided to the commentators pic opening ceremonies or even the Super 24 Modular Frames 5 Accreditation Work Stations Large RoboSpot System is a Winner at from the 43 participating countries. Eurovision 2018 For backstage communications, the new Command function of the 6000 series was Bowl. Because this is about live music, an end- Seventeen Robe RoboSpot Base Stations con- Claypaky Scenius Light Engines Management of the more than 100 Wireless Audio Channels by Sennheiser being used to enable the ESC’s technical team to establish talkback links, for example less parade of 43 countries live on stage and trolling/tracking Robe BMFL fixtures provided a for the stage director or the liaison manager. For this, the crew used special SKM 9000 comprehensive remote follow spotting solution on-air, representing the millions of viewers in With songs from 43 countries to light individually and uniquely, this follow spotting for production lighting designer Jerry Appelt at COM handheld transmitters or SK 6000 bodypack transmitters that have been Com- system greatly increased the flexibility at his fingertips. He could mix and match the each country - with all the political and cul- the ESC. mand-enabled via the KA 9000 COM Command switch. available follow spots to get this essential element precise and exactly to his liking and tural extent - the pressure for the production EBU Voting Control Center The RoboSpot system was specified onto the for what worked best on camera and onstage. show by Jerry and his gaffer Matthias Rau, and teams is tremendous. - BMFL Blade luminaires were rigged to one of the front trusses with two more single Sennheiser equipment on site 6 SKM 9000 COM handheld transmitters used extensively throughout the event’s nail-bit- And to make matters worse, this is followed fixtures on side trusses left and right of the stage. 6 KA 9000 COM Command switches ing final and two live semi-finals, which were BMFL Blades with one MotionCamera per pair of fixtures, were positioned on an up- 21 L 6000 rack-mount charging units with chargers for by the always entertaining and nerve-wreck beamed and streamed live via host broadcaster 41 EM 6000 two-channel receivers stage truss and used for rear following, highlighting and silhouetting. SK 6000 and SKM 6000/9000 ing voting process, where all countries have Rádio e Televisão de Portugal (RTP), reaching a 74 SK 6000 bodypack transmitters Two more single BMFL WashBeams were rigged on trusses right at the far end of the 17 SR 2050 IEM two-channel transmitters final worldwide audience of around 200 million. 68 SKM 6000 handheld transmitters, with MD to submit the results of their vote - creating arena and used for long throw shots and presenter pick-ups. Again the power of the The technical implementation for the 63rd ESC 9235 capsules for the artists and KK 204 capsules 112 EK 2000 IEM bodypack receivers BMFL was ideal for this application. a massive infrastructure for bidirectional live took visual imagination to new levels of ambition for communication purposes Another two paired sets – a BMFL WashBeam and a BMFL Blade running with one Mo- contribution links, which is precisely what the More than 800 Claypaky entertainment fixtures and excellence for both broadcast and live stag- 115 custom Sennheiser headmics tionCamera each - were located over the stage and used for spotting people, interviews The spectacular light shows for the Eurovision Song Contest have been created using many ing. Under the direction of Ola Melzig and Tobi- Eurovision broadcast network (EBU) repre- Some of the Ayrton Lighting Fixtures and other activities happening in the Green Room which was set up at the end of the Commentator Desk with Screen for Voting Information products from Claypaky. At ESC 2018, the staging for the artists will included 750 moving as Åberg who headed the large, highly talented arena furthest from the stage. sents after all. lights from Claypaky together with around 50 static lights from ADB. One of the highlights technical teams, production values soared to Cutaways showing the tension and emotions building in the Green Room are a funda- was the Axcor Profile 900, which was making its official debut in Lisbon. This LED-based new heights. The RoboSpot system was supplied mental element of the Eurovision drama and TV coverage, so spotting this area proper- profile spotlight from Claypaky is the most advanced of its type on the market. Its powerful by main lighting contractor Flashlight from the EBU had tasked wTVision (part of Mediapro) ly is as crucial as ensuring the performers onstage are properly lit. 880 W pure white LED light engine delivers 46,000 lumens. There were also more than Netherlands, who worked in conjunction with Riedel’s MediorNet real-time media network provided redundant and decentralized to design the Host Voting System. The project The 17 x RoboSpot BaseStations were all located in a designated backstage area, so the 300 products from the Scenius family on the ESC stage. They were all equipped with highly Pixelight from Portugal. operators had no direct view of the stage. signal routing and transport from start to finish. Through tight integration with Me- included wTVison’s PCR solution that com- efficient 1,400 W lamps from Osram, specially developed for such demanding applications. The RoboSpots, each with individual MotionCam- Riedel Deliverables for ESC Robe Deutschland’s Martin Opitz was the RoboSpot systems engineer and co-ordinat- diorNet, Riedel’s Artist digital matrix intercom system and Bolero wireless intercom The contestants in the Eurovision Song Contest were also be lit by Claypaky’s Hepikos, a hy- eras, were all from Robe’s powerful BMFL series of Continuing a 13-year tradition, Riedel Communi- bines Studio CG and the R3 Space Engine (re- ed the training and technical support. His first task on arrival in Lisbon a few weeks brid beam/wash light equipped with an Osram HRI Sirius 440 W lamp and by the new ADB moving lights – a mix of BMFL Blades and BMFL provided comprehensive and reliable communications for crew and performers. For all al-time 3D graphics engine) as well as a team ahead of the final … was to train up 17 locally based operators to work the RoboSpots. cations again supplied a massive, all-fiber com- Klemantis, an asymmetrical cyclorama light based on a six-color LED module. WashBeams. Having these on the rig for key However opposite broadcasts, including semifinals 1 and 2 and the Grand Final, Riedel supplied the signal Martin was impressed with how quickly they learned the system and its philosophies. munications and signal distribution system for of six operators. The voting data was imported lighting and highlighting with their intensity and - “After 30 minutes, they had the basics and we all moved forward from there. The more Eurovision Song Contest 2018. and communications backbone for Videohouse, which produced the show’s world feed in real time, integrating with the official pro- Ayrton adds architecture to Appelt’s Eurovision splendour high CRI helped produce excellent results and familiar they became with the equipment, the smoother the whole follow spotting on behalf of EBU and Portugal’s public broadcasting company, RTP. Lighting designer, Jerry Appelt, chose more than 700 Ayrton fixtures for his stellar design. perfect flesh tones. to previous years where Riedel was engaged on a vider, and the graphics were implemented by operation became,” commented Martin. Deployed in a decentralized configuration, Riedel’s MediorNet network ensured Appelt chose not to incorporate any video element in the show, instead returning to a They were positioned around a variety of over- year by year basis, in 2018 EBU and Riedel agreed wTVision’s broadcast design team. lighting-based design in which Ayrton fixtures were a key creative feature adding depth, head vantage points which meant Jerry was not on a three years contract. In addition to the pro- fully redundant distribution of all video and audio signals for commentary, inter architecture and variety to the visuals. With over 2000 fixtures using 300 universes and restricted to using one set of follow spots in a vision of radios and, intercom panels, commen- com, signal distribution, and radio communications, including the feeds for mon- 150,000 channels, Eurovision is the biggest production in the world and demands the high- specific location / direction to highlight every tator panels and fibre backbone with MediorNet itors in commentary booths and for displays and projectors in the Altice Arena. est production levels. performer in every shot. for signal distribution, the contract includes the Crew communications were facilitated by a robust intercom system anchored by four delivery of the accreditation and access control more Artist 64 mainframes and more than 100 Artist RCP and DCP intercom panels. The system, an entire IT solution with WiFi distribu- Artist panels provided fully redundant, decentralized distribution of all Bolero wireless tion for the whole production team including the intercom signals, with 32 Bolero beltpacks deployed to the production team. Bolero’s accredited press (hardware, service and Cyber Se- Advanced DECT Receiver (ADR) technology ensured clear communications throughout curity package). This makes Riedel a one stop for the Altice Arena using only six AES67-networked antennas. The Artist infrastructure the ESC’s production digital eco system. also supported almost 600 Hytera and Motorola TETRA handheld radios.

Riedel’s MediorNet Real-Time Media Network Provided Redundant and Decentralized Signal Routing and Distribution

Jon Ola Sand, Executive Supervisor ESC and Thomas Riedel, CEO Riedel Communications MEDIA DATA 2020 | Contacts 13

Reinhard Penzel Managing Director & Editor in Chief

Live-Production.tv GmbH Ubierring 13 D-50678 Köln

Tel.: +49 (0) 221 - 310 3045 work Mobile: +49 (0) 170 - 939 8024 [email protected]