Broadcast
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6 min read
Designing a stage for the camera and the room at once
Remote viewers see a frame, not a room. How we draw stages that work for both.
A hybrid show has two audiences: the people in the room and the people watching a 16 by 9 frame. A stage that only works for one of them is half a stage.
Frame the speaker, not the set
We design the upstage wall so that a medium shot of a speaker still shows texture and light behind them, not a black gap between two screens.
Light for the lens
Cameras need more light on faces than eyes do. We add front light that the room barely notices and the stream depends on.
More from the shop floor
How we draw a ground plan for 1,400 seats
Sightlines, aisles, camera risers and the fire marshal: what goes on the first drawing and why.
What a line-item production budget should include
Eleven lines, one total and no surprises: how to read a production estimate before you sign it.
Eight weeks to a 1,400-seat kickoff: the schedule we used
A venue change in January, doors on March 9. The week-by-week plan that got Northwind Labs there.
A 30-minute call with a producer. You leave with a budget range for your room size and a straight answer on the timeline.
Show production for company conferences, launches and dinners, built in our own shop in Nashville.
Pavilion