How to Get Started with 360 Live Event Production and Streaming

Learn more about VR and AR live streaming at Streaming Media's next event.

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Jay Nemeth: When we do the music festivals, we have a lot of--there's the relations with the artists, and some people don't want the equipment up on the stage. And you try to explain to them, "This is what we're trying to achieve, and it requires us being kinda up-close and intimate, and some artists, they want all the cameras out there where they're used to seeing them, and that is kind of counterproductive. That first concert we did with Empire of the Sun, those guys got it right away, and the cameras were right next to people. We had one right on the drum riser, and I was so happy. That was our first foray into producing a big VR project. I thought, "Wow, if they're all like this, this is gonna be amazing." And they weren't all like that. The Macy's Parade--which we've done two years now-- it's a neat use of the technology that you can choose what you look at and you can look up and see the floats. But really, the one camera that stands out is the wireless camera that's on the Tom the Turkey float, and you're on the float, moving down the street, and to me that's one of those really cool things that you just can't experience any other way.

Scott Gillies: Yeah, most of the productions, I think probably all of them have been simultaneous live 2D and 3D, or 360 productions, so we've done them in parallel. We try to pick the projects like musical festivals, like a parade, or a live sporting event, and try to use the 360 in a position that would drive the most interest. I think in sports you can think of many different examples-- the goal-line camera, over the basket in basketball. I think you try to pick the spot that is significant for the event that you're working on. Horse racing--if you had had something at the Kentucky Derby this weekend, it would've been a great spot to pick up on what was happening. I think it takes really clever producers, and that interaction between the editorial team and the technical team to execute something, and to get ahead of the storytelling, because again, it is driven by the knowledge that you have of the sport or the event to get yourself the best experience for the consumers.