250+
Live events delivered since 2014
12
Years covering live events
UK
Glasgow to Cornwall, kit included
What we do
The site has no line, no signal and one power drop.
Festival streaming fails for boring reasons. The mast that worked at the site visit is carrying fifteen thousand phones by nine o'clock. The camera platform is somewhere different to the plan. The power drop is shared with the bars. None of that is a production problem until it is, at which point it is the only problem.
So we arrive self-sufficient and we plan for the site as it will be on the day rather than as it was in March. Cameras positioned around the actual rigging and sightlines, our own uplink that nothing else competes for, and a crew that works to the production manager and stays out of everyone else's way.
Screens and stream come off one production. That matters commercially as much as technically: you are not paying two suppliers to shoot the same band, and the IMAG cut and the broadcast cut are the same standard.
- Multi-camera main stage coverage cut live
- 24ft motorised jib for movement that reads
- IMAG to site LED from the same production
- Broadcast audio mixed from front of house
- Pit ambience so the stream has a crowd in it
- Our own bonded 4G, 5G and Starlink uplink
- Concurrent streams across several stages
- Free, ticketed or both at the same time
- ISO recording per camera for artist content
- Insurance and RAMS sent with the quote
What we cover
One stage or the whole site.
How it works
Settled before the build starts.
Site visit and the power conversation
Camera positions against the real rigging plan, cable runs, where the uplink lives, and what our draw is on your distro.
Riders and run of show
Artist restrictions on filming, who can be in the pit, changeover times and which sets are cleared for the stream.
Get-in and prove it
Rigged and tested to your schedule, uplink proven under load, screens and stream both running before doors.
Show days
We run it and monitor it, in the weather, for as many days as the event runs, without needing managing between sets.
Connectivity either way
Most festival sites have nothing usable, so we bring it. Where there is a dedicated, tested line we will use it and keep ours as failover. Public or crew WiFi never carries the broadcast.
Where it goes
Social, ticketed and the screens.
Pricing
A fixed price, before you commit anything.
Cost is driven by camera count, stages, crew days including the build, how much connectivity the site needs from us, and what you want cut afterwards. Not by resolution, and not by whose badge is on the kit. You get an itemised quote, and it does not move unless the event does.
Included as standard
Crewed operators, our own bonded connectivity and Starlink, redundant encoding, separate recording paths, a site visit, and insurance and RAMS with the quote.
Quoted separately
Travel and accommodation, LED supply, edited highlights and artist deliverables, additional stages, and extra crew above a certain scale.
No fixed packages
Packages mean paying for cameras you do not need, or finding out at the get-in that something you assumed was included is not.
Questions production managers ask first.
Can you stream from a field with nothing on it?
Yes, and it is a large part of what we do. Bonded 4G and 5G across multiple carriers plus Starlink travel with us to every job, so a greenfield site with no line and no usable mast is a normal deployment rather than a special case. If a site does have a dedicated, tested line we will happily use it and keep ours as failover. What we will not do is put a broadcast on the public or crew WiFi.
How many cameras does a main stage need?
Three to five covers most main stages: a wide that holds the whole stage, a long lens from front of house for the artist, a second angle, and a roving camera for pit and crowd. A 24ft motorised jib adds the movement that makes a stream look like a broadcast rather than a recording.
Can you cover more than one stage?
Yes. Each stage gets its own cameras, mix and uplink, and you can have separate streams per stage or one switched channel that cuts between them across the day. Second and third stages are usually a lighter rig than the main, which is how the budget stays sensible.
Do you do the screens as well as the stream?
Yes. IMAG to the site LED and the outgoing stream come off the same production, so the field and the online audience see the same cut and you are not paying two crews to shoot the same band. Delay screens and a separate feed for the artist's own content are both straightforward.
What about audio?
We take a clean feed from front of house and mix it for broadcast, with ambient microphones in the pit so the stream has a crowd in it rather than sounding like a desk recording. To be clear, this is broadcast audio. We do not supply the PA, the monitors or the stage sound.
How far ahead should we book?
Three to six months for a main stage or multi-stage build, mostly so there is time for a site visit, the power conversation and the artist riders. A single stage at a smaller outdoor event can be done in four to eight weeks. Summer weekends go early, so the date matters more than the notice.
When are we the wrong choice?
If you want a phone on a gimbal in the pit for social clips, or a single camera on a free feed for a small stage nobody is buying a ticket to watch, a crewed multi-camera broadcast is more than the job needs. We will say so on the call rather than quote for it.
Tell us about the site.
Thirty minutes with the dates, the stages and what the field actually has on it, and you will know what we would bring, what it costs, and whether we are the right people for it.
Or email hello@thedwmedia.co.uk
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