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		<title>Webcast Case Study: BC Housing</title>
		<link>https://slvlive.ca/2019/webcast-case-study-bc-housing/</link>
		
		<dc:creator><![CDATA[Shawn Lam, MPV]]></dc:creator>
		<pubDate>Mon, 06 May 2019 19:57:23 +0000</pubDate>
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		<category><![CDATA[Vancouver Videographer]]></category>
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		<category><![CDATA[YouTube Live]]></category>
		<category><![CDATA[audio auto mixer]]></category>
		<category><![CDATA[BC Housing]]></category>
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					<description><![CDATA[Webcast Case Study: How to manage more than a handful of microphone sources on a panel discussion using a digital audio mixer with the assistance of an automatic microphone signal mixer.]]></description>
		
		
		
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		<title>Tutorial: Connecting Content-Creation Workgroups with the ProMAX Platform Portable Y</title>
		<link>https://slvlive.ca/2015/tutorial-connecting-content-creation-workgroups-with-the-promax-platform-portable-y/</link>
		
		<dc:creator><![CDATA[Shawn Lam, MPV]]></dc:creator>
		<pubDate>Thu, 12 Feb 2015 17:00:13 +0000</pubDate>
				<category><![CDATA[Streaming Media]]></category>
		<category><![CDATA[Video Production]]></category>
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					<description><![CDATA[This video production tutorial originally appeared on Streaming Media Producer Whether you need to connect multiple workstations together with shared storage or multiple storage devices to a single workstation, the ProMAX Platform Portable series has you covered. Whether you need to connect multiple workstations together with shared storage or multiple storage devices to a single [&#8230;]]]></description>
		
		
		
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		<title>Gearing Up for 4K Production, Part 3: Storage, Throughput, Switching, and Delivery</title>
		<link>https://slvlive.ca/2015/gearing-up-for-4k-production-part-3-storage-throughput-switching-and-delivery/</link>
		
		<dc:creator><![CDATA[Shawn Lam, MPV]]></dc:creator>
		<pubDate>Mon, 12 Jan 2015 21:34:29 +0000</pubDate>
				<category><![CDATA[Streaming Media]]></category>
		<category><![CDATA[4K video production]]></category>
		<category><![CDATA[streaming media producer live]]></category>
		<guid isPermaLink="false">http://slvlive.ca/?p=3784</guid>

					<description><![CDATA[This article originally appeared on Streaming Media Producer and was delivered as a talk at Streaming Media Producer Live Two big issues that concern almost everyone making the jump to 4K and UltraHD are throughput and storage. How are you going to manage and transfer all those additional bits? Two big issues that concern almost [&#8230;]]]></description>
		
		
		
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		<title>Gearing Up for 4K Production, Part 2: Cameras and Lenses</title>
		<link>https://slvlive.ca/2014/gearing-up-for-4k-production-part-2-cameras-and-lenses/</link>
		
		<dc:creator><![CDATA[Shawn Lam, MPV]]></dc:creator>
		<pubDate>Mon, 29 Dec 2014 21:22:32 +0000</pubDate>
				<category><![CDATA[Streaming Media]]></category>
		<category><![CDATA[4K video production]]></category>
		<guid isPermaLink="false">http://slvlive.ca/?p=3779</guid>

					<description><![CDATA[This article originally appeared on Streaming Media Producer and was delivered as a talk at Streaming Media Producer Live In part 2 of our 3-part series on gearing up for 4K live production, we&#8217;ll explore the cameras and lenses available today for professional 4K production. When I talk about cameras with other video producers, one [&#8230;]]]></description>
		
		
		
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		<title>Gearing Up for 4K Production, Part 1: Connectivity, Codecs, and Capture</title>
		<link>https://slvlive.ca/2014/gearing-up-for-4k-production-part-1-connectivity-codecs-and-capture/</link>
		
		<dc:creator><![CDATA[Shawn Lam, MPV]]></dc:creator>
		<pubDate>Tue, 23 Dec 2014 21:18:20 +0000</pubDate>
				<category><![CDATA[Streaming Media]]></category>
		<category><![CDATA[4K video production]]></category>
		<category><![CDATA[Streaming Media Producer]]></category>
		<category><![CDATA[streaming media producer live]]></category>
		<guid isPermaLink="false">http://slvlive.ca/?p=3777</guid>

					<description><![CDATA[This article originally appeared on Streaming Media Producer and was delivered as a talk at Streaming Media Producer Live We&#8217;ll begin this 3-part series with a look at the two 4K formats and a discussion of why you&#8217;d want to shoot in 4K today even though most viewers and potential clients aren&#8217;t demanding it, and [&#8230;]]]></description>
		
		
		
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		<title>How to Integrate Real-Time Social Media with Streaming Video</title>
		<link>https://slvlive.ca/2014/how-to-integrate-real-time-social-media-with-streaming-video/</link>
		
		<dc:creator><![CDATA[Shawn Lam, MPV]]></dc:creator>
		<pubDate>Sun, 12 Oct 2014 20:13:46 +0000</pubDate>
				<category><![CDATA[Live Video Switching]]></category>
		<category><![CDATA[Streaming Media]]></category>
		<category><![CDATA[Video Production Product Review]]></category>
		<category><![CDATA[Webcast]]></category>
		<category><![CDATA[live streaming video]]></category>
		<category><![CDATA[Streaming Media Producer]]></category>
		<category><![CDATA[vMix HD]]></category>
		<category><![CDATA[webcasting]]></category>
		<guid isPermaLink="false">http://slvlive.ca/?p=3775</guid>

					<description><![CDATA[This article originally appeared on Streaming Media Producer Viewers interacting with a second screen while consuming content is not something that we, as producers, have much control over, but by integrating real-time social media with streaming video we can try to maintain viewer engagement and encourage them to use their second screens to interact with [&#8230;]]]></description>
		
		
		
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		<title>Sony a7S Full-Frame Mirrorless Camera, Part 3: Video Camera Review</title>
		<link>https://slvlive.ca/2014/sony-a7s-full-frame-mirrorless-camera-part-3-video-camera-review/</link>
		
		<dc:creator><![CDATA[Shawn Lam, MPV]]></dc:creator>
		<pubDate>Thu, 25 Sep 2014 19:58:07 +0000</pubDate>
				<category><![CDATA[Video Production]]></category>
		<guid isPermaLink="false">http://slvlive.ca/?p=3773</guid>

					<description><![CDATA[This article was originally published at Streaming Media Producer In the last two articles in this 3-part series on the Sony a7S, we covered a lot of ground discussing what to look for in video lenses and lens adapters for the Sony e-mount that is native to the Sony a7S. Now it is time to [&#8230;]]]></description>
		
		
		
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		<title>Tutorial: Grass Valley ADVC-G1 Converter</title>
		<link>https://slvlive.ca/2014/tutorial-grass-valley-advc-g1-converter/</link>
		
		<dc:creator><![CDATA[Shawn Lam, MPV]]></dc:creator>
		<pubDate>Fri, 12 Sep 2014 19:55:21 +0000</pubDate>
				<category><![CDATA[Streaming Media]]></category>
		<category><![CDATA[Video Production Product Review]]></category>
		<category><![CDATA[Grass Valley ADVC-G1 Converter]]></category>
		<category><![CDATA[VGA to HD-SDI]]></category>
		<category><![CDATA[VGA to HDMI]]></category>
		<category><![CDATA[video converter]]></category>
		<guid isPermaLink="false">http://slvlive.ca/?p=3771</guid>

					<description><![CDATA[This article was originally published on Streaming Media Producer Some video switchers have built-in scan converters for converting VGA signals to an internal standard that you can use in your live production workflow. If you don&#8217;t have that, then you&#8217;re going to need a converter like the Grass Valley ADVC-G1 that can convert that VGA [&#8230;]]]></description>
		
		
		
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		<title>Sony a7S Full-Frame Mirrorless Camera, Part 2: Adapting Lenses to the E-Mount</title>
		<link>https://slvlive.ca/2014/sony-a7s-full-frame-mirrorless-camera-part-2-adapting-lenses-to-the-e-mount/</link>
		
		<dc:creator><![CDATA[Shawn Lam, MPV]]></dc:creator>
		<pubDate>Sat, 02 Aug 2014 19:51:01 +0000</pubDate>
				<category><![CDATA[Streaming Media]]></category>
		<category><![CDATA[Video Camera Review]]></category>
		<category><![CDATA[Video Production Product Review]]></category>
		<category><![CDATA[Metabones Adapter]]></category>
		<category><![CDATA[Sony a7s]]></category>
		<guid isPermaLink="false">http://slvlive.ca/?p=3769</guid>

					<description><![CDATA[This article was originally published on Streaming Media Producer Now that we have covered some of the important characteristics of lenses from a videographer&#8217;s perspective, we&#8217;ll discuss several of the lens-and-adapter combinations for E-Mount cameras, like the Sony a7S, that are also relevant for the Sony FS100 and FS700/R. Now that I have covered off [&#8230;]]]></description>
		
		
		
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		<title>Review: Canon XF205 Professional Camcorder</title>
		<link>https://slvlive.ca/2014/review-canon-xf205-professional-camcorder/</link>
		
		<dc:creator><![CDATA[Shawn Lam, MPV]]></dc:creator>
		<pubDate>Wed, 30 Jul 2014 19:46:26 +0000</pubDate>
				<category><![CDATA[Streaming Media]]></category>
		<category><![CDATA[Video Production Product Review]]></category>
		<category><![CDATA[Canon XA20]]></category>
		<category><![CDATA[Canon XA25]]></category>
		<category><![CDATA[Canon XF200]]></category>
		<category><![CDATA[Canon XF205]]></category>
		<guid isPermaLink="false">http://slvlive.ca/?p=3767</guid>

					<description><![CDATA[This review was originally published on Streaming Media Producer The Canon XF205 pro camcorder resembles the acclaimed XA25 consumer model introduced last year in several respects, but adds welcome features such as individual rings for iris, zoom, and focus; 2 additional channels of internal microphone recording; 1080/30P HD-SDI output in the XF205, and more. As [&#8230;]]]></description>
		
		
		
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