The 2026 PLASA Show programme features sessions on networked production technology, AI in creative workflows, and the technical implementation of major live events like Eurovision and The Traitors. The event will also address industry-wide challenges including sustainability, digital product passports, and the convergence of audio, video, and lighting onto shared networks.
The emphasis on networked technology and AI at the PLASA Show 2026 programme signals a shift toward highly integrated, software-defined live environments. By examining the technical architecture of Eurovision and The Traitors, the event highlights how cinematic hardware like the ARRI ALEXA 35 is migrating into the live broadcast space to meet rising audience expectations for high-fidelity visuals. This convergence forces a re-evaluation of traditional hardware silos in favor of unified IP-based control systems. As the industry grapples with new sustainability mandates, watch for how the adoption of Digital Product Passports affects the supply chain and lifecycle management of production hardware throughout 2027.
The PLASA Show 2026 programme's Eurovision session draws directly from one of the most technically ambitious live broadcasts in recent memory. For the contest's 70th edition in Vienna, host broadcaster ORF deployed 24 ARRI ALEXA 35 Live cameras as the complete main camera package, supported by Riedel's DIVA+ infrastructure, reaching more than 132 million viewers across 35 participating territories. Riedel's MediorNet backbone connected cable cams, telescopic cranes, wireless Steadicam rigs, and remote dollies alongside intercom, tally, and return signals, maintaining the deterministic low-latency signal layer required during the live show. This deployment represents ARRI's most significant entry into live broadcast, a market where the company has historically had minimal presence.
The business case for cinematic live production is driven by audience metrics that justify the engineering investment. The 2026 Grand Final captured a 54.8% viewing share among 15-24-year-olds in measured markets, more than four times the broadcast channels' average for that demographic, while official content across YouTube, TikTok, Instagram, and Facebook generated over 2.75 billion views across the season. The Grand Final livestream alone drew 5.43 million unique YouTube viewers. These figures explain why host broadcasters continue to invest in premium production technology, and why the PLASA Show programme positions networked infrastructure as the backbone for such ambitious deployments.
Technical execution details reveal how cinema cameras were adapted for the broadcast environment. According to SVG Europe's coverage, ORF considered both a traditional and a cinematic multicam workflow before the final decision was made in January 2026, with eight cameras running over SMPTE fibre and the rest wireless or via SDI. The ALEXA 35 Live units were equipped with standard broadcast lenses and transmitted in 1080i after conversion from 1080p, a pragmatic compromise for reliability. NEP, the OB integration partner, also had to solve the challenge of syncing the rolling-shutter ARRI cameras with an approximately 500-square-metre LED video wall. CineD's embedded documentary noted that ORF Head Cameraman Max Meissl found the ALEXA 35 Live operation hardly different from normal broadcast camera use, and that all 27 deployed camera positions appeared matched, as if coming from a single camera.
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