Technical Director Attilio Di Pietro shares how a 4K multicam live workflow built around URSA Broadcast G2 and ATEM Constellation 8K helped bring one of Italy’s most ambitious band’s record-breaking tour to life.
With a blend of pop, rock, and irony, Pinguini Tattici Nucleari have become one of Italy’s most followed bands. Their 2025 stadium tour, which included two sold-out shows at Milan’s iconic San Siro, marked a major milestone in the group’s career.
Tasked with a complex 15-camera 4K live production across some of the country’s largest venues, production company IDF Services, led by Giuseppe De Muro, brought in ADP Events and Technical Director Attilio Di Pietro for overseeing the most logistically demanding early stops of Campovolo and San Siro.
“The brief was to deliver high quality IMAG visuals and synchronized playback across six LED walls while capturing cinematic b-roll for highlights content after the performances and a blue ray release,” said Di Pietro. “The scale of the tour was massive, but the real challenge was maintaining stable, low latency signal transmission over long cable runs while keeping set up time to a minimum.”
Di Pietro opted for a modular Blackmagic Design solution to match the scale and complexity of the tour. “In stadium environments, the priority is signal reliability and quick deployment,” he said. “If you trust the rig, everything else falls into place, allowing you to think ahead and deliver an exciting live experience.”
To simplify logistics, the entire setup was configured in pre-racked flight cases. “We built a compact, mobile control room that could be deployed backstage at any venue, reducing setup time and keeping us as close to the action as possible,” said Di Pietro.
The camera configuration was replicated in all the three stops and featured three URSA Broadcast G2 cameras positioned front-of-house, two shoulder-mounted URSA units at stage left and right, and five Micro Studio Camera 4K G2s locked off on drum kits, instruments, and musicians.
“All these cameras ran in 4K25p, with signals transmitted via hybrid LEMO SMPTE fiber using Blackmagic Studio Fiber Converter 12Gs,” explained Di Pietro. “For shorter runs, we used paired 12G-SDI copper cables to control the Micro Studio cameraswhile preserving tally and shading.”
For additional dynamic shots, a Pocket Cinema Camera 6K was rigged to a wireless steadicam, while two polecams captured under-stage walkways. A second Pocket 6K provided a static wide shot from FOH
At the heart of the live production workflow was a Blackmagic Design ATEM Constellation 8K live production switcher, paired with two ATEM Camera Control Panels for real-time adjustments during the show.
“We needed a large multi M/E switcher capable of managing a stadium size production from a single location,” said Di Pietro. “The ATEM handled all the feeds:from PGM and returns to Super Source layouts.”
Each stadium featured six massive LED walls and, to keep the screen content perfectly synced with the onstage performance, the production team set up a dedicated graphics control room, receiving clean program (PGM) and preview signals from the ATEM Constellation 8K live switcher over fiber.
Live graphics and playback were handled via an external vMix system. “We used it to inject real time overlays, transitions, song titles and pre-rendered content,” he said.
Further synchronisation was handled through CuePilot, operated by Leonardo Cianci of ShowCall. The system sent timecoded cues and transition triggers directly to the ATEM switcher. “This kept video, lighting, and choreography perfectly synced,” says Di Pietro.
The final mixed feeds were routed back into the system and distributed to six IMAG LED walls, two of which split dynamically during the show to display alternate angles or SuperSource layouts, completing a fully integrated production loop designed to enhance the audience experience.
Signal routing relied on a mix of the Blackmagic Videohub 40×40 12G and Blackmagic Videohub 20×20 12G routers. “With cable runs between 50 and 150 meters, we relied on a combination of SDI and fiber to maintain signal integrity,” said Di Pietro. “We kept local runs on copper and used fiber for longer distances, especially between FOH, stage, and screen control. Format matching and conversion, particularly for playback inputs, was handled using Teranex AV and 12G-to-Quad SDI converters as needed.”
The team captured a mix of PGM feeds and isolated camera feeds (ISO) using five HyperDeck Studio 4K Pro broadcast decks, with four additional HyperDeck Studio HD Mini recorders. At the same time, the URSA Broadcast G2 cameras recorded internally in Blackmagic RAW. “That gave us a backup layer and options in post production knowing we also had raw media to work with.”
Audio was embedded at source and mirrored across the HyperDecks, so post could sync everything immediately. “We delivered clean PGM, ISO feeds, and cameraoriginal media with synced multitrack audio,” he added. “Everything was structured for a straightforward conform and remix ahead of the Blu-ray release.”
For Di Pietro, it was the human experience as much as the technical success that made the production stand out. “The band was fantastic to work with, humble, professional, and passionate,” he says. “We brought together a great team and built a workflow that met every creative and technical need.”
