Episode 141 · 2022-06-12 · 46:21 · Original in Finnish
Video Production in Ice Hockey | Juha Koskela and Jenny Cederqvist | Negotiator 141
Originally published as “Videokuvaus jääkiekossa | Juha Koskela Jenny Cederqvist | Neuvottelija 141”
How do the ice hockey World Championships, harness racing and an IPO investor event get onto a screen, when the fibre can be cut by hybrid interference and more than 90 per cent of productions are made remotely? Jenny Cederqvist, who heads Flik, owned by Inderes, and Juha Koskela, founder of a production company that grew from harness racing into Liiga television, open up the backstage of professional broadcasting. They weigh whether 4K is really needed or whether high dynamic range, colour reproduction and frame rate are what matter, and why 5.1 audio had to be bent back towards mono.
Core theses
- Over ninety per cent of production is now remote, which turns a broadcast into a network engineering problem as much as a camera one.
- The contingency planning for a cut fibre during a home tournament is the concrete answer to what hybrid interference means for live television.
- 4K is the specification people ask for; dynamic range, colour and frame rate are what actually change what the viewer sees.
- In a hybrid event the online audience needs more attention than the one in the room, which inverts how such events are usually staffed.
Watch and listen
Key moments
- 00:00 — Intro
- 00:28 — Jenny's background: FLIK Helsinki and the Inderes IPO, Navigare TV, and coding including TEAL
- 02:09 — Juha's background: Suora Broadcast, harness racing, Liiga hockey and Ylivieska
- 04:08 — Filming the Lions' home championships and the Olympic gold from China, produced remotely from Pasila and Copenhagen — and how a hybrid strike mid-tournament would have been countered with backup routing
- 08:56 — Producing Norrhydro's share offering from FLIK Helsinki's Sanomatalo studio with POI 4K cameras, and running hybrid events and interaction through Videosync
- 13:00 — Bringing live productions to life with AR and VR; the arrival of the metaverse and its communities, and their problems; how Suora Broadcast reached carbon neutrality by producing remotely; the limits of virtual studios, enlivening a broadcast with data, and AI in sport, entertainment and business; machine-to-machine communication
- 32:11 — Storytelling and solutions to the talking-head problem; Kahoot and other interactions; in a hybrid event the online audience needs more attention than the one in the room
- 37:20 — The metaverse and avatars: can Microsoft, Meta and Epic/Unreal succeed at collaborative tools and join game worlds to linear television; rising delivery reliability; AR, VR and the metaverse
Summary
How do the ice hockey World Championships, harness racing and an IPO investor event get onto a screen, when the fibre can be cut by hybrid interference and more than 90 per cent of productions are made remotely? Jenny Cederqvist, who heads Flik, owned by Inderes, and Juha Koskela, founder of a production company that grew from harness racing into Liiga television, open up the backstage of professional broadcasting. They weigh whether 4K is really needed or whether high dynamic range, colour reproduction and frame rate are what matter, and why 5.1 audio had to be bent back towards mono.
Ninety per cent remote
The single structural fact behind the whole conversation is that the production crew is mostly not at the venue. Cameras are at the rink; everything else happens down a fibre in Pasila or Copenhagen. That makes reliability of the connection the first-order risk, which is why the hybrid-interference question is an operational one rather than a hypothetical.
What 4K is not
Resolution is the number clients ask for and the least of the variables that change the picture. Dynamic range, colour reproduction and frame rate do more, and the guests are straightforward about selling the specification people recognise while caring about the ones they do not.
The audience that is not in the room
A hybrid event fails on the online side, not the physical one — people in the room are carried by being there, and people at home are one click from leaving. The practical conclusion is that the remote audience needs the larger share of the attention, which is the opposite of how such events are usually run.
Watch
The recording lives on the Neuvottelija channel: Videokuvaus jääkiekossa | Juha Koskela Jenny Cederqvist | Neuvottelija 141. A Finnish edition of this episode is published at www.neuvottelija.fi.
In depth
The Neuvottelija AI editions carry a long-form write-up of this episode: English · suomeksi.
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Guests: Juha Koskela, Jenny Cederqvist
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