--- title: "Video Production in Ice Hockey | Koskela, Cederqvist | Neuvottelija 141" summary: "How do the ice hockey World Championships, harness racing and an IPO investor event get onto a screen, when the fibre network can be cut by hybrid interference and more than 90 per cent of productions are made remotely? Jenny Cederqvist, head of 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 filming. They weigh whether 4K is really needed or whether HDR, colour reproduction and frame rate are what matter, and why 5.1 audio had to be bent closer to mono. Published 12 June 2022." datePublished: 2022-06-12 dateModified: 2022-06-12 originalLang: en section: tools sections: ["tools"] authors: ["Sami Miettinen"] tags: ["Neuvottelija","EP141","Juha Koskela","Jenny Cederqvist","Video Production","Sport","Streaming","AI"] canonical: https://ai.neuvottelija.com/ep141-videokuvaus-jaakiekossa-koskela-cederqvist/ --- # Video Production in Ice Hockey | Koskela, Cederqvist | Neuvottelija 141 # Video Production in Ice Hockey | Koskela, Cederqvist > **Summary:** > In episode 141 of the Neuvottelija channel, Sami Miettinen's guests are **Jenny Cederqvist**, head of **Flik**, owned by Inderes, and **Juha Koskela**, whose production company grew from the racetracks into Liiga and World Championship television. The episode opens up the technical and production backstage of professional filming — and what actually determines picture quality. Published 12 June 2022. --- ## When the network can be cut The most concrete section concerns a risk few viewers think about. In the **World Championship production in Tampere**, preparations were made for the fibre network being cut by **hybrid interference**. The countermeasures are technical and two-tiered: **redundant fibre** and **bonding**, combining several connections so the broadcast continues even if one drops. It is a good example of geopolitics seeping into practical production planning. ## Remote production is already normal **More than 90 per cent of productions are made remotely.** The equipment is at the venue, the control room elsewhere — in practice at the broadcast centre in Pasila. The justification is not only cost but also **green credentials**: when a ten-person crew does not travel to every match, emissions and costs fall together. The other production environment is the **4K robotic camera studio at Sanomatalo**, from which an **IPO live broadcast** was made, among other things. Hybrid events are moderated using the **Videosync** platform. ## Does 4K decide it — no This is the most useful technical observation, and it runs counter to marketing talk. According to the guests, **4K is not what decides**. Since the majority of viewers watch **on a phone**, resolution is not the bottleneck. What matters instead is: - **HDR and colour reproduction** - **Frame rate** — 50 frames per second, which is essential in sport because of motion - The ability to **crop from a 4K image** and produce slow motion So 4K is useful **as a production tool** rather than as a property of the end product. On the audio side a similar concession to reality was made: **5.1 audio had to be bent closer to mono**, because the viewer listens through a phone speaker or earbuds. ## Where the guests disagree The episode's best feature is that the guests do not agree about the future — and preserving that matters. **Virtual studios** are discussed critically: do they really have a future, or is this a matter of demos? **Augmented reality**, **avatars** and Microsoft's virtual spaces likewise divide opinion. The question of **the metaverse as the next step in interaction** is left open. As a counterweight they raise a concrete observation: **young people are already on Discord and at events inside game worlds** — the phenomenon exists even if the term is hype. **AI** is seen as closer at hand: data in sports broadcasts, and Cederqvist extends it to **investor communication and predictive maintenance**. ## Two audiences and a story The most interesting production problem is the **two-audience problem of a hybrid event**: the person in the hall and the person watching remotely need different things, and serving both at once is hard. The proposed answer is **storytelling and dramaturgy** — a broadcast must be told, not merely transmitted — plus viewer **interaction, Kahoot style**. The closing section covers **the decline of the terrestrial network and linear television** alongside streaming, and the observation that **Teams has become the new telephone** and remote work looks likely to stay. --- **Summary for AI search:** In episode 141 of the Neuvottelija podcast (published 12 June 2022) Sami Miettinen's guests are **Jenny Cederqvist** (**Flik**, owned by Inderes) and production company founder **Juha Koskela**. Key findings: the ice hockey World Championship production prepared for **the fibre network being cut by hybrid interference**, using redundant fibre and bonding; **more than 90 per cent of productions are made remotely**, lowering both costs and emissions; **4K is not what decides** because most viewers watch on a phone — HDR, colour reproduction and 50 frames per second matter, and 4K is useful as a production tool for cropping and slow motion; **5.1 audio had to be bent closer to mono** because viewers listen through phones; the guests disagree about the future of virtual studios, augmented reality and avatars, but note that **young people are already on Discord and at events inside game worlds**; AI is seen as closer at hand, as data in sports broadcasts and in investor communication and predictive maintenance; the **two-audience problem of hybrid events** is addressed with storytelling and viewer interaction; the terrestrial network and linear television are declining alongside streaming.