Blog Posts Keyword Search Results

Self-proclaimed “Satellite Guy” Rob McWilliams of McWilliams Productions shares tales from producing multiple live shows at CES, including how he was able to live stream through a massive blackout!

Recently I was asked to circle back around and take another look at the LiveU Solo. Based on my last experience with the LiveU Solo, I was more than happy to revisit, and was not disappointed at all. Getting back together with the LiveU Solo was like a visit from a good friend—solid, reliable, and there when you need them. LiveU Solos are being used everywhere, including college athletic departments, traditional broadcasters, and production units that need to put out a high quality live image without taking out a second mortgage.

Live event production takes numerous forms with diverse approaches to spectator immersion. Sports production emphasizes the fan experience. Whether taking in the game from inside the venue or on the couch at home, a compelling sports production will expertly follow and capture game action in ways that makes fans feel as though they are part of the experience, with a healthy dose of dramatic flair that creates a deeper connection.

Every year I marvel at how much time and effort goes into the production, engineering, and genuine enthusiasm that makes the NFL Super Bowl (and halftime show) one of the premier sporting events shown around the world. This year the game is being produced by and broadcast on CBS.(Image 1) There is so much production technology involved it is mind boggling. On top of that, add in the hard work and dedication of the thousands of production and engineering professionals from CBS and other companies like NEP that make the technology work for the estimated millions of viewers at home. I want to add in one more thing for your consideration before we pull back the curtain.

Lantern Creek Productions has wrapped up our final season producing “MO Guard TV”. Over the past two years, we produced 24 episodes that covered the events, training, missions, and lives of Missouri National Guardsmen and their families.

You know sometimes we make such a big deal out of cinematic production that it has been said we forget about the importance of audio. I don’t think that is true at all. If anything, we should spend a lot more time thinking these days about how the audio plays such a big part in the whole production process. Which mics are we going to use? What sound fx? Who is doing the music? Is it an original score? All those questions must be answered because audio matters.

Welcome to 2019! Now is the time to crank it up and get after that big project on the agenda. What are you waiting for? Maybe it’s time for you to go find that fresh perspective. Maybe it’s time to go get some of that gear that you have seen out there and that you have been looking and thinking about for a while. Yes, that gear, that will put you over the top. Let’s take a look at some production tools that are sure to help you take it to the next level.

Terry Watson is one of the production designers behind the highly acclaimed War Pony, which premiered July 28 after a successful festival run over the past year that included winning the Camera D’Or in Cannes 2022. War Pony follows the interlocking stories of two young Oglala Lakota men growing up on the Pine Ridge Reservation. The film marks both Riley Keough’s and Gina Gammell’s feature directorial debut. As an additional production designer on the film, Terry was responsible for identifying a design style for the sets, locations, graphics, and props while working closely with the directors, director of photography, and producers. In her designs, she prioritized the rustic color palette of South Dakota, where the film takes place, utilizing the colors Native Americans used in blankets and other items while also highlighting the scenic landscapes of the reservations and farms the film was shot on.

Virtual Reality has made a lot of progress working into the production cycle. The ultimate goal is to then get the show or product to the end user. Setting up for the production of a VR program, whether being live-streamed or recorded, takes on some challenges that are different than traditional production.

Let’s face it, our audiences are wanting more than ever. Higher production values in all productions have never been more important. I think we all get that, right? What about the technical specifications of those challenges? Will the gear you choose be able to deliver not only that engaging content, but do it seamlessly and not fall down on the job? Today’s creative content creators and streamers have so many challenges to not only create compelling content, but to do it in less time, with tighter budgets and more agile production staff. They also may have the new additional challenges of live streaming which can present another whole set of technical parameters that need to be addressed in order to get that fabulous content to the house.