Veeva Systems Summit at Bella Center Copenhagen — Pop-Up Podcast Studio & Multi-Day Production

The brief — two rooms, three filming days, 20+ sessions

Veeva Systems needed a production that could run continuously for three full days alongside their R&D Summit — one of the pharmaceutical and health-tech industry’s major annual gatherings in Europe. The brief required two fully equipped dedicated filming rooms running in parallel, a highlights videographer covering the conference floor, and same-day delivery of selected content throughout the event.

Room 5 — The Podcast Studio. A relaxed, intimate setting for two and three-person conversations. Fireside format, visible microphones, warm lighting, the feel of a professional podcast environment rather than a corporate interview setup. Multiple back-to-back sessions per day across the three filming days.

Room 6 — The Customer Interview Room. A clean, polished two-camera setup for individual customer interviews. One wide, one close-up, consistent lighting and a locked-off configuration that could run efficiently across high volumes of sessions without reconfiguration between takes.

Both rooms needed to hold their visual quality across a full day of back-to-back recording. That kind of endurance production — where the same setup is performing at the same standard at session 18 as it was at session 1 — requires equipment, experience and pre-production planning that goes well beyond a standard interview shoot.

The build day — why the day before matters as much as the filming days

We arrived at Bella Center on 26 May — the day before filming began. Roland, Ako and Mattia on the build.

The build day is not glamorous. It is the day that determines whether the filming days run smoothly or not. Camera positions are tested and locked. Lighting is built and balanced. The podcast furniture is positioned, adjusted, repositioned and adjusted again until the three-camera configuration works from every angle. Wireless microphone frequencies are scanned and set. Audio levels are checked through each channel. The practical lamp is placed, moved, placed again. The dried botanicals go in, come out, come back at a different height.

By the time we left Bella Center on the evening of 26 May, both rooms were fully rigged and ready. The following morning, the crew walked in and started shooting. No setup time, no troubleshooting, no improvisation. The build day absorbed all of that.

For any brand planning a multi-day conference production — whether at Bella Center or any other major venue — this is the most important thing to build into the budget. A production that starts rigging on the morning of day one is a production that spends the first two hours of the client’s event figuring out where the cameras go. A production that has a dedicated build day starts shooting the moment the first guest arrives.

We applied the same principle during the Volaris Quadrants 2026 production — a five-day multi-location production across Bella Center, Tivoli, Carlsberg Byen and the Marriott Hotel. The venue and logistics knowledge we built during that production directly informed how we approached the Veeva setup.

The podcast studio — built from scratch inside a conference room

The podcast studio in Room 5 is worth describing in detail because it illustrates something important about what a pop-up studio production actually involves.

The room started as a standard Bella Center conference space. Ceiling tiles. Carpet. No character, no warmth, no visual depth. Our job was to transform it into an environment that felt considered, intentional and premium — and to do that in a way that would hold up across three cameras, under continuous recording, for three full days.

The set we built:

• Two curved grey velvet chairs angled 20–30 degrees inward — improving on-screen intimacy and giving each camera a natural eyeline without requiring the guests to look directly at each other
• A round coffee table between the chairs — low enough to not interrupt the sightlines
• Globe pendant lights overhead — practical lighting that reads as a set design choice rather than a production light
• Tall dried botanicals in ceramic vases behind the chairs — adding height, texture and warmth without competing with the subjects
• A practical lamp in-frame to the side — creating depth and a warm practical light source that improves the on-camera look of both guests
• Curtain backdrop behind the set — giving the cameras a clean, neutral background that was not a blank conference wall

Three cameras ran throughout: a wide two-shot, a guest close-up with over-the-shoulder framing, and a host single. Solomon managed sound across both rooms for the full three days — wireless lapel mics on every guest, continuous monitoring, clean audio on every session.

The result looked like a podcast studio that had been purpose-built for the space. That is the point. The best pop-up studio productions are invisible — the audience sees a considered environment, not a production crew working around venue constraints.

The crew — five people, four days, two rooms and a conference floor

The production crew for the Veeva R&D Summit:

• Roland Varsbergs — Lead Producer and camera, Room 5 podcast studio
• Ako Kurnusenko — Director of Photography, overall camera and Room 5
• Mattia Abeni — Camera Operator, Room 6 customer interviews across all filming days
• Solomon Okurut Emong — Sound Technician, covering both rooms across all days
• Lukas Bukoven — Camera Operator, highlights coverage on Day 1

Running two filming rooms in parallel requires a level of crew coordination that a single-room production does not. Solomon moving between Room 5 and Room 6 throughout the day — mic’ing up the next guest in one room while a session was still recording in the other — was a workflow that only worked because it was planned in advance, not improvised on the day.

The highlights coverage on the conference floor added a third simultaneous production thread. Conference photography and video happening live across the summit while the studio rooms ran back to back — all feeding into the same same-day delivery pipeline.

The highlights film

Below is the highlights film produced from the Veeva Systems R&D Summit — edited and delivered while the summit was still running. Multi-camera coverage, conference floor footage and studio session moments cut into a single event film.

Same-day delivery — content live while the summit was still running

One of the core requirements of the Veeva brief was same-day content delivery. Selected footage from each day’s sessions needed to be available while the summit was still in progress — for internal communications, for social distribution and for content that could be used in the following day’s programming.

This is a fundamentally different workflow from a standard post-production pipeline. It requires decisions to be made about selects in real time, footage to be offloaded and reviewed during the event rather than after, and an editing workflow that can produce finished assets on the same day they were shot.

Across three filming days at the Veeva R&D Summit, same-day highlights were delivered on schedule. The production infrastructure — build day setup, continuous offloading, clear communication between crew and client — made it possible. The content was in Veeva’s hands while their guests were still in the building.

This is the same workflow we used during the Volaris Quadrants 2026 production, where same-day photography selects were delivered each evening for use in the next morning’s keynote pre-roll. Same principle, different format — the infrastructure that makes same-day delivery possible at that pace is built into how we plan every multi-day production.

We can build this studio anywhere

The most common question we get after showing the Veeva podcast studio setup is: can you do this at our event?

Yes — and this is one of the things we specifically designed the pop-up studio capability to do. The setup does not require a purpose-built studio space. It requires an empty room of reasonable size, power access and a crew that knows how to build an environment from scratch. We have done this at Bella Center. We can do it at Tivoli Congress Center, DGI Byen, DR Concert Hall, Zoku Copenhagen, hotels across Denmark, and at events internationally.

The podcast format specifically has become one of the most requested production formats we handle. Conference organisers want to create podcast content at their events — sessions that can be distributed as audio and video after the conference, that generate owned media from a live event, that give speakers and guests a more intimate format than a panel or keynote. A pop-up studio makes that possible without requiring a permanent studio booking.

For pharmaceutical and health-tech conferences, SaaS summits, financial services events and professional association gatherings — the audience expects a certain production standard. The Veeva setup delivered that standard consistently across 20+ sessions over three days. That consistency is what a properly planned pop-up studio production produces.

What the Veeva R&D Summit taught us about multi-day conference production

Every large production teaches you something. The Veeva R&D Summit reinforced several things we already knew and confirmed one thing we had suspected.

The build day is non-negotiable. A multi-day conference production that does not include a dedicated rigging and setup day before filming begins is asking the crew to solve problems on the client’s time. We will not quote a multi-room multi-day production without a build day included.

Sound is the most important room in the production. Solomon’s role across both rooms was as important as any camera operator’s. Clean audio on 20+ sessions across three days, under continuous recording conditions, requires a dedicated sound technician managing levels, monitoring for interference and staying ahead of the schedule. It is the part of a conference production that clients notice least when it goes right and notice most when it goes wrong.

Set design is production design. The podcast studio environment we built was not decoration — it was a production decision. The chair angles, the lighting temperature, the botanical height, the lamp position in frame. Every element was there because it served the on-camera result. Treating set design as an afterthought produces sets that look like afterthoughts on camera.

Back-to-back sessions require session management. 20+ sessions across three days does not happen smoothly without someone managing the flow — who is coming in next, how long the previous session ran, whether the mic pack needs a battery change before the next guest sits down. Production management at this level is a role in itself, not something that happens automatically.

For how we approach multi-day event production more broadly — including the five-day Volaris Quadrants 2026 production across four Copenhagen venues — read our Volaris Quadrants 2026 case study.