The Eurovision Song Contest, now entering its 57th year, is easily the largest indoor production and most-watched non-sporting event on television with an estimated 200 million viewers. So when the talented technical team that manages the mass of equipment requires a Wireless DMX signal, they turn to W-DMX.
For the most recent production in 2010 in Oslo, Norway, Lighting Designer Al Gurdon used
W-DMX™ for a special keylight ring built into the Technocrane in addition to the cameras in the Green Room to achieve specific lighting effects. The Technocrane ring light was operated by Gurdon himself while the Green Room camera ring lights were operated by Sveinung Solbrekke, Lighting Designer for the Green Room.
Production Manager of Design Ola Melzig said, "There's a very good reason that W-DMX™ is used for Eurovision – it works. You name it and it's present at Eurovision: every kind of wireless and broadcast equipment, moving sets, thousands of fixtures and thousands of people. Wireless DMX is required for some aspect nearly every year and we just won't take a chance with any brand."
The show was televised by host broadcaster NRK and held at Telenor Arena located just outside the capital of Oslo, hosting 39 countries and 3 interval acts, including the world's largest flash mob dance. It was also the first year in which the Green Room was actually built directly behind the stage, allowing for some creative camera work, which was why the ring lights were of particular importance in that space. PRG of UK and Germany provided all technical equipment and crew for the show with support from Norwegian supplier Frontlite.
W-DMX™ was used to an even greater extent for the 2007 Eurovision Song Contest held in Helsinki, Finland. 37 W-DMX™ Generation 3 BlackBox units were used to send Wireless DMX signal to moving trusses and other equipment during the show, eliminating the need for excess cable. This was critical for a roof load that reached just under 100 tons. The weight of DMX cable alone that would have been required to substitute the W-DMX™ signal would have put the load over capacity, possibly endangering the entire production.
W-DMX™ controlled a total of 6 universes of DMX, including moving trusses containing Syncrolite B-52s and moving lights. It was also used on a 120cm large prism mirror ball suspended from the ceiling, as well as custom assembled mobile fog machines, and a Cyberhoist-rigged Fogscreen that descended from above the stage during the opening act.
W-DMX™ avoided all interference – even in a television broadcast environment loaded with 24 cameras and a hostile radio signal atmosphere.
Eurovision doesn't take any chances with equipment failure – further proof that W-DMX™ is the most dependable Wireless DMX system on the market. Melzig, who was also Production Manager for Eurovision 2007 said, "it worked very well and we didn't have any problems."
When it comes to large indoor productions involving moving set pieces and a multitude of radio traffic, trust W-DMX™ to operate flawlessly.
