As our industry continues to evolve and tackle increasingly intricate webcast events, we are always fine-tuning our engineering setups and workflows. Some approaches look fantastic on paper until you're in the middle of a show saying, "If only I could..."! While we are overall thrilled with our remote capabilities, there is always room to improve.

*Onsite with Vegas City Opera. TD Go Juice provided by client.*

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.

The classical performing arts community is facing a pivotal moment. COVID-19 has placed unprecedented restrictions on public gatherings, with seemingly no relief in sight. This new reality challenges the traditional live approach that relies on patrons physically attending performances in a venue. Shuttered doors = lost revenue.

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.

live-red-glowing-warning-signboard-record-or-broad-PUVSQTN.jpg — No longer playing to a captive audience, our content must be able to compete with a range of other media and distractions.

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.

*I. Break Graphic Assembly & Composite.*

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.

*Baked-in overlays during performance videos.*

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!

SK Backstage: The StudioKurcan Blog

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