Behind the Lens: Tim Tønnessen Talks Triumphs and Trials at Eurovision 2024 (INTERVIEW)

 

In the high-octane world of Eurovision 2024, Steadicam operator Tim Tønnessen has been the unsung hero behind some of the most dynamic and visually stunning performances. From navigating unexpected technical glitches to seamlessly gliding through intricate choreography, Tønnessen has faced it all with remarkable resilience. In an exclusive interview with Euro Glitter, he shares his experiences, reveals how he tackles on-the-fly challenges, and discusses the future of camera technology in live television. Let’s dive into the world of Steadicam magic and discover what makes this year’s Eurovision a spectacle like no other.

 

-Hi Tim! Thank you for your time and our first question is do you have a favorite performance or moment from your time working on Eurovision this year?

Not really. Every act is challenging. But I think it’s super cool when both steadies are on stage at the same time and goes through a lot of choreography together, like in the Belgian song.

 

-Have you ever experienced a technical difficulty or unexpected issue during the rehearsals or Live Shows in this year’s Eurovision? And how did you handle that?

During the Greece performance in the final, I lost one of my batteries a third into the shot. It was a million to one happening. The release button of the battery hit the LED lamp following the performance during the extreme moves we did together with the singer.  Luckily I have a power system that use two batteries so I didn’t loose the power to the camera or link. But without the weight of the battery on the bottom of the rig, the Steadicam wants to turn upside down. We tried to get the battery clicked on again, but with no luck. So I needed to cling on to the rig for dear life to keep it level, trying to do the rehearsed choreography work to the end. I made it. But it didn’t look as good as it should.

 

-How do you collaborate with singers and delegations to achieve the desired visual style? Have you ever had any communication trouble with a country delegation?

We don’t talk that much with the delegations or the artists other than the normal greeting.  The most of the communication goes through the stage directors, floor manager or with a choreographer. Only now and then we talk directly to the artist about specific moves or directions. It’s all about the having the communication process as easy as possible for the artist that normally is overwhelmed by everything entering the stage.

 

-Personally what was the most fun Eurovision or national final that you worked on?

I love doing ESC or JESC. Everyone I have done is fun in its own way. I can’t say that I have a personal favorite. It’s a lot of work, challenging you physically and mentally. You as a Steadicam operator must deliver the best that you can. Always. I find that fun.

 

-What future developments or innovations in camera technology are you excited about? Are we going to see new camera technologies in the near future?

I think we will see more of the “film look” on events on TV. Than we need new cameras and lenses to accomplish this in a multicam environment.

 

-What advice would you give to someone aspiring to become a Steadicam operator?

Go for it. If you like movements of the camera, Steadicam is the coolest way to do it. I think. Take a course, or contact an operator to get started. You need to be devoted, and do a lot of training with the rig on. Never give up on your dreams. Be dedicated and work with purpose to reach your goals. It will take time and effort.