Saturday 14th May was the annual Eurovision Song Contest, in which millions of viewers around the world tuned in to watch the 61st edition, held in Stockholm, Sweden.

The 2016 Eurovision winner was Jamala, representing Ukraine with a heartfelt, politically charged ballad about deportation of Crimean Tartars.

This year was a new year for the voting system and despite initially starting in the top half of the leader board, the United Kingdom soon plummeted to the bottom, finishing up 24th out of the 26 entries.

However, following a three hour plus commitment to watching the contest I have now learned some very exciting and interesting facts about the technical aspect of the show. With roughly 10,500 spectators at the Ericsson Globe in Stockholm it was recorded that since work initially began on April 4th the venue has in fact sunk 35mm! However, is this really surprising when 109 tons of rigged gear was located in the roof alone?

In addition, 1397m of truss, 78 Cyberhoists and 350 rigging points were located around the venue. The 78 Cyberhoists will not only be used for flying props etc quickly around the show, but to also provide stage automation. Examples of this were four footlight trusses which travelled up and down the ramps in the LED mountain.

The Eurovision 2016 stage alone weighed in at 65 tons with 220sq-m of high-gloss surface performance space in a 50m by 32m area. Furthermore, the wall itself was constructed from 5397 pieces of scaffolding.

Approximately 172 trucks carried in all the required equipment needed for the show, including 143km of cables, with an additional 15km of high-voltage power lock cables. In order to power the contest, 10 generators were used from the generator farm outside the venue, with 10,000 litres of fuel consumed every day.

Lighting for the show consisted of 1828 fixtures with 25,300 control channels, consuming 854,000W. The lighting alone required five main and five back up lighting consoles to run the show, with 14 spot operators. During the broadcast 45 people were involved in running the entire light show with 220 people required to run the live broadcast. One particular lighting fixture used was the LightSky AquaBeam with a throw of over 50metres. Multiple units were used and the spot where all units hit the floor was warm enough to fry an egg!

Sound inside the venue outputted from 134 Martin MLX Subs and L'accoustic K2 speakers, 64 microphones, 7 sound consoles, 18 in-ear monitors and 152 in-ear monitor receivers.  The sound aspect of the show used 345,000W and required 32 people to run the sound during the broadcast.

Pyro for the 2016 contest consisted of 30 flame units, 20 CO2 units, 30 firing positions and 6 heavy fog outlets. The whole Pyro for the show was designed by Markku Aalto.

Video at this years Eurovision Song Contest took place as a result of a selection of LEDs, media servers, moving mirror systems and more. The video aspect featured the world's largest video projector with 12HDQ 40 projectors and a further 900sq-m of high-resolution LEDs, 71,000,002 pixel resolution and 10 high end moving mirror systems were all used. In order to handle all video content from the show 19 media servers had to be operated and 37 people were involved in running the video during the live broadcast.

The broadcast itself took place as a result of 40 cameras, 22 cameras for Globe Arena broadcast, 1 2D camera, 1 drop camera and SVT CuePilot. The broadcast was directed by two people and 50 additional people were also involved in the running. Technical partners for the broadcast included Litecom, Pixmob, Green Hippo, MA Lighting and more.