There are many aspects of the European Football Championship that are worth taking a closer look at. A competition contested by teams selected according to gender and country of birth seems remarkable in itself these days. The identity-forming effect on the different fan groups is reflected in "uniforms" (fan jerseys), symbols, chants and typical group behaviour. Is this the often-cited dominant culture or just practised folklore? "That's obvious and has always been the case!", you say now? True, but everything else has changed. In an almost borderless Europe and the legal possibility to determine your own place of residence, lifestyle and even gender, this "yesterday's" behaviour could also be alienating. But it doesn't. It's refreshing, isn't it? Refreshingly old-fashioned.

Consumer behaviour is also remarkable. Contrary to all abstract analyses of entertainment media user behaviour, the matches fill stadiums and public viewing areas - meeting places, just like cinemas. Although the entire programme could also be consumed from the comfort of one's own home or even from anywhere thanks to mobile devices, hundreds of thousands are leaving the sofa at home. And those who are there realise that second screens hardly play a role - and even communication is largely analogue, as it used to be - people talk to each other, laugh, celebrate and sing. Behaviour that is usually only seen at Christmas mass.

The traditional format of around 90 minutes has also been retained. Nevertheless, a match can be followed worldwide via text, images, video clips, video streaming, audio commentaries on the radio or messenger snippets. In the stadium, on the other hand, technology is breaking new ground, with Wi-Fi for guests and the typical second-screen content on large public screens, which is otherwise only familiar from music concerts. "Film" entertainment can gather ideas here in many places.

Behind this is a gigantic effort that can only be handled by a few service providers. It is also interesting to note that despite the high-tech partners involved, such as Telekom, traditional TV service providers handle the content processing. Incidentally, something similar was already observed in the USA during the Superbowl. There, too, the tech giants left this business to the specialists.

In addition to many temporary employment and technical service providers, often coordinated locally in "broadcast centres" and master control rooms (most of them in the VTFF organised) orchestrates the Plazamedia the more than 40 signalling paths without which no image would be visible outside the stadiums in Germany.

It is probably widely known that American major studios are working intensively on new forms of utilisation and the resulting global value creation. Shorts, reels and other short-form formats captivate millions and millions of people in front of mostly small streams. Technical effects that are easier to access thanks to AI, but are also devalued as a result, only offer a short-term advantage. What counts is authenticity, authenticity "without filters", reality. The Black Forest Studios have developed their concept in the internationally successful, Oscar-winning "Navalny" is being introduced. According to experts, virtual production in particular, i.e. the combination of "bluebox punching technology" and "real-time graphics", will play a massive role here. People and objects can be integrated where the recordings take place - even if they are not there. The background with all its elements is recreated in the studio. Advantages for flexibility, more opportunities for creativity, but above all potential for added value through immediacy and simultaneity: real experiences can be staged much more flexibly, neither technology nor space are subject to restrictions. 

This technology has long since found its way into major shows and fictional productions. The Penzing Studios were able to earn important credits for Germany as a location with successfully realised major projects. A comparison of a real set with travelling costs and typical imponderables can be easily compared with the possibilities in the studio. The use of creative elements or contributors can also be optimised. What forms of entertainment are likely to emerge when AI and live expertise are added to the mix? We will probably see the next really big boost in innovation and market success in show and non-fiction. It's no wonder that local market leaders have also massively expanded their expertise and resources in precisely these areas.

The main thing missing for the reliable further development of our location is the long overdue Funding reform. 

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(Author: Markus Vogelbacher)