The SK-RSDK Mk V streamlines input and output schemas and has a quicker setup and activation time than earlier builds. In earlier iterations, laptop processor & graphics card stress was a huge pain point. After many rounds of testing and tweaking, it became clear that we either needed to invest in highly optimized (and costly) workstations or find another way. 

Keep It Simple, S--- Well, you know. 

Simplifying audio and video conversion became a priority. All video encoding and overlay compositing are now handled via the ATEM Mini Pro switcher in Mk V, resulting in less laptop processor stress. Audio signals also enter the system at the ATEM Mini Pro, fed by the Zoom LiveTrak L-8. This move was critical to improving not only system performance but audio quality.  

Reaper 64 is a fantastic piece of software and certainly has a place in recording workflows. However, with the computers I have, leaving a session open and encoding for upwards of 1 hour resulted in audio cracks, blips, and synch issues. The Zoom LiveTrak L-8 has eight inputs; plenty of rooms for microphones, video playback, and IR cues. I also love the on-board effects, three discrete monitoring universes, and the built-in audio recorder. It can work as a USB interface, but again, reducing computer processor strain is the goal. 

The ATEM Mini Pro is a little workhorse! Its four HDMI inputs easily handle up to three cameras and graphics/playback/overlays from a laptop running qLab and OBS. Moving to utilize only the "projector out" from OBS frees up so many system resources. Overlay presets send with chroma colors built-in for ATEM removal, and video playback runs through qLab via Syphon & Soundflower. 

This switcher can record, stream, has a ton of built-in effects, and is controllable with the ATEM Software Control app. It uses XML tables for presets, TCP control, and can easily integrate into full ATEM Production Studio environments. Streaming to RTMP platforms from the ATEM Mini Pro's ethernet port is straightforward, and the whole unit is viewed as a webcam when connected to a Mac or PC via the USB-C port (only qualm here, you cannot record to an SSD and connect the switcher as a webcam). I use this option when sending an activation over conferencing platforms such as Zoom. 

More Buttons, More Problems? 

If you've read my earlier posts on the SD-RSDK, the number one consideration in the build is that I'm often on my own to run everything. And while the Mk V solution works so much better, adding in the ATEM Mini Pro and the Zoom LiveTrak L-8 adds more buttons to push, mis-push, and things to control!

TouchPortal was an excellent solution for earlier versions of the setup. It is easy to set up, but the program has issues with hanging while updating presets. It also cannot control TCP hardware - which is the underpinning of the ATEM Software Control environment. Enter BitFocus Companion, which can trigger buttons via OSC, TCP, UDP, HTTP, WebSocket, and ArtNet. The set up could not be more straightforward, and the browser-based IP control is FAST. The programming cycle is around five times faster than when using TouchPortal, and most importantly - no more waiting on cues to trigger! 

What comes next? 

Eventually, it may make the most sense to ditch laptops altogether and move to a couple of small form factor computers. These are generally cheaper, easier to upgrade, and have a longer service life. They could also be housed directly into my mobile networking rack, further simplifying setup!

The most significant trend that I'm seeing developing into 2021 is a move to fully-interactive broadcast events. Clients need to maintain the quality of their socially distanced virtual performances and also include opportunities for the audience to participate - with solutions going beyond chat windows, quizzes, and other text-based enhancements. They want to see and hear attendees in real-time while still having a professionally polished event. 

Keeping The Live Experience Intact.

At first glance, integrating our presentation/studio stage workflow into Zoom, Skype, and similar conferencing application is easy. The USB-C interface on the ATEM Mini Pro allows for injection into any webcam source. Audio stingers and video playback/full-screen graphics can easily send through a second presenter via spotlighting. But advanced switching and video inserts require a few more steps. Prompting can even happen via solutions offered by outstanding technicians such as Michelle Michaelson over at Prompster. The new challenge is providing broadcast quality remote presenter services while enabling real-time audience video participation and interaction.

Maintain Control.

Some clients require broadcast graphics and display options for multiple remote presenters but cannot feasibly use a delayed broadcast feed (such as running Zoom into OBS/vMix/similar). Examples of this would be a behind the scenes tour, parlor concert, magic show, or a talk show set up as a Zoom call. The performers need to have immediate access to the faces and voices of the participants. 

Zoom OSC is a fantastic solution created by Andrew Carluccio of Liminal Entertainment Technologies. Zoom OSC enables direct control of the Zoom application via Open Sound Control (which in turn can be controlled by BitFocus Companion, etc). This functionality allows for mixing sources, dynamic muting/spotlighting, and a bevy of other features. It's incredible, and it's free. 

Liminal also offers StreamWeaver, which can transmit all sorts of show controls over the internet. I've just started working with Zoom OSC and am most excited about figuring out how to overlay lower thirds on to a remote presenter natively in Zoom! 

To Infinity, and Online? 

No matter what the crystal ball says about the future, the need for virtual event offerings is here to stay. I genuinely hope that live events come back in full force during 2021. When that happens, a significant portion of attendees will still be unable to meet in person for numerous reasons. Providing access is key to our shows' success, the retention of audiences, and most importantly, the mental health of everyone involved as we continue to distance and overcome the global pandemic. 

Moreover, no man (or production company) is an island. I am so grateful to all of the outstanding professionals that have helped me devise and test my solutions. Thank you from the very bottom of my heart! I'd love to see your setups and hear more about your virtual and digital solutions. Let me know what you've been working on in the comments below!

Audiences want fresh, new works - something they've never seen before. Performers want to perform and are interested in getting their work (and new works) in front of audiences. It can be challenging to imagine how to accomplish this, particularly when taking into account strict social distancing needs, and lower than ever operating budgets. Thankfully, we have more technology at our disposal than ever before. 

Vegas City Opera and StudioKurcan collaborated on the execution of their 2020 Digital Opera Workshop. Students from across the nation participated in lessons, workshops, coachings, and performances - entirely online. The culmination of the program was the premiere digital staging of Leoš Janáček's The Cunning Little Vixen. 

Emily Kurcan Stephenson, Director of Education & Outreach with VCO, led all student instruction and music direction. Debora Gordillo paired down the orchestral score and created performance tracks. Students were required to have access to reliable internet - and a video recording device. All students received a chroma screen, orchestra records, and character-specific props. Vegas area professionals also came on to perform the most challenging roles. 

Preparing the musicians for the performance was accomplished by providing custom practice tracks for every part. Participants recorded themselves without supervision for progress checks and final performance videos. Two main performances took place; a solo recital, and the Janáček. 

All participants received additional guidance on digital recording best practices from StudioKurcan. One hundred eleven (111) individual performance clips were submitted - 38 gigabytes of data. The final assembly took forty hours of pre-production organization/management and 45 hours of editing, audio, and graphics work. A compressed post-production cycle happened in three days.

Pluraleyes by Red Giant handled the first audio synch between the individual performers and the orchestra track. This process was around 50% effective (Janáček's writing is very dense and fooled the program). Second wave synch involved editing with the score in hand, moving parts frame by frame until acceptable. 

It is essential to note the importance of managing client expectations in this scope and size project. Crystal clear video is not realistic when asking students to capture individual performances at home - many will use cellphones and less than adequate lighting. Audio will not be studio-quality and may clip or have noise/artifacts. Cutting out actors from the chroma screens was, at times, challenging. Future projects of this scope would benefit from a standardized recording setup - akin to the DropKit by Hayden5, or bringing each performer into a soundstage location, such as offered by Digital2Physical Design. 

Overall, this was most certainly new territory for all involved, and we are very proud of every artist involved throughout this ambitious project!

Creatively, we approached the project as a digital storybook. Doing so allows us to hide some of the deficiencies in the capture artfully. This approach was further enhanced by the use of stock imagery in title sequences. It also allowed for narration to explain the story arc better, filling in the gaps as needed.

The final product was striking and very well received by the performers and community viewers. Moreso, it provides a solid proof of concept with endless room for enhancements by utilizing professional capture techniques, a longer production cycle, and larger production budgets. 

As a company, the biggest lesson learned from this initiative is that new and innovative performance works can and should happen in the digital space. While it does require proper planning and buy-in from all stakeholders, the results are worth it - a vehicle for continued audience viewership and continued patronage. The arts will surely survive the pandemic if we all continue to look forward and collaborate.

No matter the scope or scale of your project, StudioKurcan is here to help. Drop us a line and let us know what you're working on! And of course, stay tuned for more Pivoting to Digital Events.

The latest iteration of the StudioKurcan Remote Studio Deployment Kit (SK-RSDK Mk. IV) addresses critical performance, logistical, and creature comfort issues from the Mk. III build. These updates have improved overall system performances and will allow a production crew to manage departments easily, and are as follows: 

Internet: 

The SK-RSDK Mk. IV depends on a strong & stable onsite wired internet connection for transmission. We have found, however, that location wireless options are often lacking to handle remote control operations. A Gigabit Switch routes signal to both the OWC Thunderbolt 3 Hub and a Linksys EA6400 wireless router. This router manages control signals coming from iPads running Touch Portal and TouchOSC. A bonded-cellular backup system would best serve a future iteration of the kit but does have a high entry cost. 

Audio: 

TouchOSC has been a welcomed addition to the setup. This program controls Audio signals routed to Reaper DAW from the UMC-1820, allowing for fast control of individual channel levels and muting. VST effects can be applied to any track, subgroup, or master via Reaper. And the control layout is fully customizable based on production needs. TouchOSC makes it easy to hand audio control to a proper A1, reducing missed cues/peaking/operational strain on the Technical Director.

Data: 

As more devices join the system, the voltage and data demands increase as well. Signal drops started occurring on occasion when adding hard drives, additional monitors, and longer show runs. A discretely powered USB 3.0 hub ran directly to the host computer now handles all audio device and peripheral connectivity. The OWC Thunderbolt 3 hub handles video input, internet, and one local monitor. Additional monitors are connected to the host computer directly via display adapters. Any power-only USB devices such as lamps, mobile devices, etc are ran from a dedicated power conditioner.

This updated schema has dramatically improved performance and mitigates dropped video frames from the J5 Create input cards. Heat is also an emerging problem as we attempt to consolidate and rackmount gear. Cooling fans are in production to assist, and a custom fan mod to the OWC Thunderbolt 3 dock in the works (currently a small laptop cooling pad - a 3 cm fan and vents will be installed soon). Eventually, a move to the OWC Thunderbolt 3 Pro Dock may be warranted - but for now, the spirit of DIY hacking works well. 

Crewing: 

As our activations' scope and frequency are increasing, we find it essential to enlist a more extensive production crew! An onsite Producer has been invaluable in our success. Clients can see a difference in the setup day's smoothness and value in having an informed representative available to field questions and wrangle talent. At the same time, the Technical Director is free to triple check all connections and assets. It's also important to note the often overlooked functions of the Producer:

• Verifying all schedule and run-of-show information.

• Writing show flows.

• Blocking talent (meaning directing them to their proper on-camera location, and so much more!

Everyone wins at an adequately staffed production! Additional positions will join as needed - keep an eye out for an upcoming SK Best Practices dedicated to defining a production crew's roles and advantages. 

We'd love to hear about the setups you are using, and of course, see your work! StudioKurcan is always here to help - offering full-service media production, webcast & virtual event production, and consultation services. 

This final stage of the production often fills clients and creatives with dread. Pre-production is the dream, onsite production packed with action. Post-production is the sobering moment wherein we have to stitch all of these fantastic shots together in a compelling fashion. 

The good news is that post-production doesn't need to be terrifying. With proper organization, a video practically edits itself (with, of course, a stellar editor in play). While the stages may vary based on the type of project you're working on, the standard process is as follows: 

1. Logging 

2. First Assembly 

3. Rough Cut 

4. Fine Cut

5. Locked Cut 

6. Mastering

Logging or Ingest can be one of the most time-consuming stages of the post-production workflow. During onsite production, the Script Supervisor should be taking notes on each shot, and the Digital Image Technician will index and organize all video and audio content on to hard drives. This process will immensely help the editor during logging. All recorded content gets ingested into the editing system, organized into bins (folders) that correlate to the planned script and storyboard. Applicable raw footage and audio files will be synched, and selects (best takes) are identified at this time. For highly technical or content-dense projects, transcribing all audio takes for reference is invaluable.

First Assembly (aka First Cut or Editor's Cut) is just that - the first assembly of select content into a story. This cut will extend well beyond the ideal length of the finished video and may contain multiple takes side by side for comparison. The sequence should follow the general arc of the approved storyboard. 

The Rough Cut or Director's Cut is the first look at the fleshed-out story. This cut should be able to convey the client's vision for the video. It should have a music bed, tentative transitions, and “For Placement Only” placeholders for any pending titles, motion graphics, or special effects. If a voiceover is required, a scratch track is laid down by the editor for timing. This cut will often render in a lower quality setting for speed. 

Keep in mind that a rough cut will not be perfect - audio and color grading will be rough. Focus on the story and overall flow. It is crucial to address any significant changes to the story, to avoid costly revisions down the line. Client approval must happen before moving onto the fine cut stage. 

The Fine Cut should address all notes gathered from the rough cut. All FOP (for placement only) placeholders are replaced with motion graphics (but not special effects). Audio should be balanced, and the professional voiceover track included. The client must approve picture lock, meaning that the timing and length of the video can no longer change without overage charges.  

A Locked Cut or Final Cut will go through audio mastering and color grading. Audio mastering is often called sweetening the mix and will include any ADR (automatic dialogue recording), sound effects, and music touch-ups. Color grading ensures that all video clips are visually consistent throughout the piece. This cut will have overlay special effects, chroma-key backgrounds, and closed captioning added if needed.  

Once everything has been reviewed and approved, the editor will render the Master. This render will be at full resolution and packaged in various digital and physical formats. The master cut undergoes a final quality check and if passing goes to the client for distribution. And that's it - pop the cork and let the champagne flow! 

While the post-production process may seem daunting, proper planning and execution will make it a lot easier to bear. StudioKurcan is always here to help you through the process. Quality, consistent communication between the post crew and the client throughout every stage is essential. Stay tuned to the SK Backstage Blog for more insights, tips, and tricks!

Hopefully, your production team is working off of an approved creative brief, storyboard, and production timeline. These documents will be your guiding light when providing feedback, assuming that the initial vision of the video hasn't drastically changed. 

Before providing any feedback, watch the cut a couple of times. Try and view it from the eyes of your intended audience - does the content help achieve the goals you've prescribed? From there, it can be helpful to apply the S.M.A.R.T. Criteria to all feedback given to your production team:

• Specific

• Measurable 

• Actionable

• Results-oriented

• Timely

Provide specific feedback on what you'd like to change and the time-code of where it needs to happen. Various online review tools make this kind of feedback easy, such as Frame.io, Dropbox, HighTail, and others. Many platforms allow for markups in addition to comments - a great way to precisely show what you're referencing. 

Make sure that any qualitative changes are measurable and actionable. For example, avoid ambiguous statements such as, "I'd like to have this element more blue." Instead, say, "I'd like to have this element match this color (insert picture, link, or color code here).". Provide reasoning behind the changes - "The copy here makes it seem ____." If there are audio issues, call out exactly what the problems are: "I'm having issues hearing the speaker here." or "The music bed isn't hitting the mark. Can we find something that sounds like this? (Provide a link in addition to your comment). 

The review process is the perfect time to check that your video is on track to obtain the results you've envisioned. Refer back to the creative brief, storyboard, and production notes for guidance. Call out any critical errors you see: mislabeled call-outs, grammar, odd cuts, audio issues, and the like. Your video editor is (presumably) human and will fall prey to general lapses and mistakes. 

Now is not the time to mince words - be succinct and severe - your production team will thank you. If a group of stakeholders will sign off on the final edit, select one to be the final decision-maker. If that's not possible and an impasse occurs, your production team should be able to meditate, explain the rationale behind what they've shown, and help all come to an agreed-upon direction). 

Make sure that all feedback happens in a timely manner. Adhere to the production timeline as much as possible. A seemingly simple change can quickly become a full creative team effort, with updated animations, audio tracks, and video assets. Your production partner will advise you on expected revision turnaround times. 

Finally, keep an open mind throughout the process. Your production team may respond to edits with budgetary, logistical, or timeline concerns - weigh them thoroughly, and make objective decisions. If everyone keeps the big picture in mind and works together, you will create something amazing! 

Stay tuned for our next installment of SK Backstage!

You have a fantastic idea. Don't blush - you know it's true. It's such a good idea that you need to create a video for maximum audience engagement and promotional value! 

So... now what?

Now you start the task of planning your video: Pre-Production. This vital process will help organize your thoughts, needs, and vision. The documents you create will guide you and your creative team throughout the life of the production. In the end, it will save you time - which will save you money. 

I. Audience Personas & The Creative Brief

While what you want to say is important, who you are speaking to is everything. A well thought out audience persona and creative brief will help you define your audience, and what exactly your message needs to be. You may find that you need to create multiple audience personas based on your audience demographics. Developing these personas will help you better target your content. 

Just like any story, you need to describe who, what, when, where, and why. The creative brief answers those questions - and more! During this process, you will identify what objectives the video will accomplish, general timelines, and the specific intended audience. This document will be your roadmap that guides everyone on the project.

The creative brief will also help your creative production team generate a proposed budget, synopsis, treatment, and script. Once you have completed audience personas and the creative brief, story development can begin. Eventually, these developmental documents will turn into your script. Depending on what kind of video you're producing, you may only need one of these devices or can combine them. 

II. Synopsis & Treatment

A synopsis is a brief overview of the story, generally no more than three to four paragraphs long. There is no set format for a synopsis - it can be a table or chart, prose, or any other form that works best for you. Keep your writing in the active voice, and focus on the narrative arc of the video.

At this stage, avoid substantial detail and leave out scene headings/slug lines (INT. OFFICE, etc.). Focus on the subject, problem, and soliton. The synopsis will often serve as the client pitch. 

After the synopsis, the treatment will further outline the story and specify the accompanying visuals. A simple A/V two-column style may suffice for some projects, but a treatment storyboard hybrid allows stakeholders to visualize the final project in more concrete terms. 

The storyboard will become more intricate as you move into the scripting phase of pre-production. 

III. Script & Storyboard

Write your script. Revise it. Revise it again. And again. Make sure you are saying exactly what needs to be said. 

Read the script aloud and watch for any tongue twisters. Make sure that your script fits into the expected length of your video. If it takes a minute to read your script, assume that the video will run a bit longer than that - accounting for cutaways, animations, and pacing. 

Insert action points throughout the script. Describe the type of shot envisioned, what sounds accompany the action, and what the viewer is seeing. Call out any segments that require animation or overlay graphics. Keep track of time in the script for each scene. A two-column AV script will organize this neatly. Lock the script as soon as you can agree on having no more changes. 

Once locked, fold the script into a full storyboard to plan out every shot and piece of media that will appear in the video. Don't worry if you are not a fantastic artist; the goal here is to visualize every part of the video from start to finish. 

If needed, pull stock images that match intended poses or actions. Place branding elements on top of these images, where applicable. I use a PowerPoint deck designed for speed and editability. Worst case, write out a bulleted list of what needs to happen in the shot. 

• Medium Close Up of Talent.

• Talent turns to face camera. 

• They are holding the product. 

Your production team will build a script breakdown and shot list from the storyboard, helping to maximize onsite shooting time. The script breakdown will identify every item needed for the video: locations, props, effects, voiceovers, music, talent – literally everything that needs to be sourced or made for the final product. The shot list will provide a shot-by-shot breakdown of each scene, delineating framing, and other details such as lensing, location, camera movements, and time of day. 

IV. Next Steps

With a solid set of pre-production materials completed, it's time to plan the shoot. Your production team should start scouting locations, physically going to each location, and observing lighting conditions, any possible sound issues, amongst other things. 

Take copious notes during a site visit. Are there sounds from HVAC, or road noise? Are there windows that will need covering before shooting? How far will gear need to be pushed to get to the location? 

Photos and videos should be taken of every location for reference. A director's viewfinder (or viewfinder app) can be useful to preview what shots will look like on the actual production camera. The location scout is also the perfect time to think about onsite logistics, insurance, and permits that may be needed. 

Now that you've prepared a bulletproof plan for your video, you and your team can start sourcing talent, crew, props, and any gear that is required. Do not stress if you feel that you've missed a step. There's always time to course-correct, and you'll be able to attack pre-production better for the next project. 

Be sure to take a look at the pre-production template documents here, and stay tuned for our next installment of SK Backstage!

 Live events are moving into the digital realm faster than ever. Performing arts organizations are smartly following suit. Webcasting has become an alluring option, with a bevy of viable platforms available. Content creators can start with gear as simple as phone or laptop. It's affordable, scalable, and a great way to stay connected with audiences. 

As more performances go digital, audience engagement becomes a critical issue. No longer playing to a captive audience, our content must be able to compete with a range of other media and distractions. Studies show that we have only 10 seconds to capture the attention of video audiences. However, if we can attract the audience, they are three times more likely to watch a live stream rather than an archived video. Webcasts compete with a myriad of distractions around our viewer's home, and the vast amount of content available on the web. 

 We've all seen casual "pop-up" live streams. These can be excellent tools when you're out on location, in-studio, at a rehearsal, or backstage. It's best to treat these as short interactions, no more than 1-2 minutes at a time. Use these to generate interest in your main event and keep viewers on the edge of their seats, waiting for "what's next?". Longer performances take a more nuanced approach to keep audiences interested and tuned in to a stream. StudioKurcan is here to help, with our continuing series Pivoting to Digital Events offering pointers on navigating digital media production. 

There are two well-established delivery platforms to take guidance from; Broadcast Television and Video Game Live Streaming. Both media delivery systems use a proven collection of tools to keep viewers engaged and invested. Let's take a look at some of the assets that will help add production value and enhance the viewer experience. 

I. Interstitial Graphics are full-screen graphics that separate the main section of a broadcast. These graphics help control the flow of broadcast and break up show segments. Typical interstitials are: 

• Waiting Room Graphics play at the top of the broadcast and are an easy way to communicate to viewers when the stream will start. These can be static graphics or animated with factoids, sponsorship information, trivia, and teasers of the upcoming show. 

• Opening & Closing Credits are full package videos that that start and stop the stream, just like a standard broadcast show. These packages introduce hosts and set the tone of the show. 

• Break Graphics are perfect to use when you need a moment off the camera or need to transition to a new segment of the show. 

II. Overlay Graphics are pieces of media that play over the main content - most generally the host or performance. Their primary purpose is to provide information and create a more dynamic experience for viewers. These graphics are usually pre-produced and used when needed. Here are the most common types of overlay graphics:

• Lower Thirds are the ubiquitous overlay, seen in nearly every live show. These graphics sit in the lower third part of the video window. They can display name & title slates or incorporate a news-style crawl/ticker for a more dynamic presentation. 

• Bumps or bumpers are short 5-10 second pieces of content that traditionally come between the show and commercial break. We have a little more flexibility on a webcast. These can be channel identifications, an animation referencing the show you're watching (great for late attendees to get up to speed), or call-to-action pieces.  

• Snipes are short animations that tell viewers what's happening next on the show. These can reference show segments, other channels, or future events. 

• Call-outs bring attention to a specific area of the screen or highlight an item or idea.  

• Takeovers play on both the top and bottom of the screen.

• Bugs are small graphics situated generally at the lower right-hand side of the screen, used for station logo or channel identification.  

III. Alert Overlays rely on pulling live data from online sources and displaying them over your stream. Likes, shares, follows, and comments can be aired live in real-time on top of the broadcast. These are a fantastic driver of engagement but do take a little bit of set-up to work flawlessly. We will dive deeper into these in a future post. 

All of the aforementioned graphic devices will help drive excitement to your stream. Adding a suite of broadcast graphics to your stream will help you present a professional and polished broadcast to your followers. Creating these packages can be done rather simply, with programs such as Photoshop, Illustrator, AfterEffects, and Premiere (and, of course, their open-source alternatives). Numerous stock element sites like Envato Elements and Storyblocks offer readymade customizable animations. StudioKurcan is always available to help you create dynamic graphics as well! No matter your approach, remember to keep all asset backgrounds transparent, follow these standards for the best results:

  Stills: .png format, transparent background.

 Motion: .mov format, RGB+Aplha.

So, how do you use all of these elements during an actual webstream? Let's take a look at a live stream developed and activated for Opera On Tap Las Vegas. "Opera On Tap Live! In your Living Room " was the inaugural OOTLV webcast. Ten of the OOTLV Divas worked up stellar performance videos recorded in their own homes, and a live webcast streamed from Co-Managing Diva Emily Kurcan Stephenson's living room.  

The broadcast started with a simple waiting room graphic, an animation of the Opera on Tap national logo. Future iterations of the webcast waiting room scene will include OOTLV factoids, sponsor call-outs, and a live countdown timer. 

When the host was ready to go, a 48-second opening credit video played, introducing the show and hosts. Design elements from this video appear throughout the broadcast in the form of lower thirds and Interstitials. 

Opening Credits for the Opera On Tap Las Vegas Live! show.

Throughout both the host and performer scenes, liberally applied overlay graphics introduced individuals, asked for donations, and informed viewers about various social media destinations. During host scenes, overlay elements were triggered live, maintaining flexibility - allowing a call-to-action to play while the host is describing it. Overlays were baked into each performer video to alleviate system resources during playback. 

Careful planning ensured that all graphics shared similar design elements, adding a level of visual cohesiveness to the broadcast. Pre-production is key here, making sure you’ve covered every situation you can think of.

For the Grand Finale, all singers performed a multitracked rendition of The Rainbow Connection. Red Giant Plural Eyes made this an easy project on the pre-production side, synching ten singers recording in remote locations to a master audio track. 

Grand Finale Video.

As with any broadcast show, OOTLV Live! is a living creature. There will always be aspects of any show that can be improved. Future iterations of the broadcast will include alert overlays, support for multiple hosts, and more audience interaction pieces. 

In upcoming installments, we will dig into more programming and technical considerations. Stay tuned to the SK Backstage Blog for more insights on live streaming, design, media, and more! 

But fear not. While the best solution is always a professional video crew, most of us possess a very functional video capture device - that's right, your cellphone. Mobile sensors have come a long way over the years, with most devices capable of 4K resolution. While the video will be more compressed than a professional video camera, content is better than no content. 

The challenge in capturing useable video content from your mobile device is all in the details. Here are some pointers from our latest StudioKurcan Best Practices guide: Shooting Video on Your Phone: 

• Stability: Keep your phone as still as possible. If you can, use a tripod or monopod. 

• Framing: Shoot horizontally - never vertically! Your editor will thank you, and your content will match the aspect of any project. 

• Lighting: Use natural light if possible. Always face the brightest light in your scene. 

• Sound: Find a quiet place to record. If possible, use an external mic. RØDE and Sennheiser have fantastic mobile-specific options. You can also ask your preferred production company to send a standalone recorder to your subject, such as the Zoom F1. 

Following these tips will ensure that your performance looks planned and polished. If you ever need additional guidance or production assistance, StudioKurcan is here to help. Please download SK Best Practices: Shooting Video on Your Phone PDF here. Send it to anyone that you need to capture remotely, and Make Your Ideas Happen! 

DOWNLOAD SK BEST PRACTICES: Shooting Video on Your Phone.