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250+
Live events delivered since 2014
12
Years covering live events
UK
Glasgow to Cornwall, kit included
What we do
A static wide shot from the back of the stalls is not theatre streaming.
Theatre is harder to stream than most live work. The lighting changes every few minutes, the audio is a carefully built mix rather than a single source, and the performance is the thing you are there to serve.
Get any of that wrong and the stream looks like a security recording of a play. So we plan it as a production. Cameras go where they capture the performance and nowhere that spoils a sightline.
Audio comes off your desk, so the online audience hears what the room hears. And the crew works to your stage management, not around it.
We work with producing theatres, touring companies, arts centres and drama schools. Streaming reaches the people who cannot get to the building: audiences with mobility needs, people outside your region, and anyone following a tour that is nowhere near them.
On every job
- Multi-camera coverage from agreed positions
- Broadcast audio mixed from your FOH desk
- Ambient microphone rigged as backup
- Lighting states walked through in pre-production
- Ticketed, password protected or free delivery
- Live captions and in-vision BSL when needed
- Separate recording paths for archive and press
- Consistent camera language across a tour
- Viewing figures you can report to a funder
- Insurance and RAMS sent with the quote
What we stream
Studio theatre to opera house.
How it works
Planned with your team, not at them.
Production meeting
We sit down with your director and technical team: staging, lighting states, sound design, and the moments a camera must not be near.
Positions agreed in writing
Camera positions, cable routes, sightlines and get-in times go out before the day, along with insurance and RAMS.
Rig and test before the house opens
Desk feed patched, cameras balanced against your lighting, stream proven end to end while the auditorium is still empty.
Show, then archive
We run the performance quietly, and separate recording paths mean you get clean masters afterwards whatever the stream did.
Connectivity either way
A dedicated, tested venue line gets used where there is one. Guest WiFi never carries a broadcast, and bonded 4G, 5G and Starlink travel with us either way.
Where it goes
Sold, gated or open to everyone.
Pricing
A fixed price, before you commit anything.
Cost is driven by camera count, crew days, the length of the run and what you want afterwards. Not by resolution, and not by whose badge is on the kit. After a proper conversation you get an itemised quote, and it does not move unless the production does.
Included as standard
Crewed operators, our own bonded connectivity as failover, separate recording paths, the full programme recording, and insurance and RAMS with the quote.
Quoted separately
Travel and accommodation, edited highlights, caption and BSL specialists, and extra crew above a certain scale. Listed as lines you can cut.
No fixed packages
Packages mean paying for cameras you do not need, or finding out on the day that something you assumed was included is not.
Questions producers ask first.
Will the cameras get in the way of the production?
Not if it is planned properly. Camera positions are agreed with your director and technical team before we arrive, in the same conversation where you tell us which moments are camera sensitive. If a position compromises a sightline or a piece of staging, it does not happen.
How do you deal with stage lighting?
Lighting is the single biggest variable in theatre streaming. A state that looks beautiful in the room can be a silhouette on camera. We go through the lighting states with your LX team in pre-production, and we bring cameras that hold up in low light, but we will tell you honestly if a state needs a small lift for the stream to work.
Can you take audio from our sound desk?
Yes, and that is almost always the right answer. We take a clean feed from the front of house desk and mix it for the stream, so the online audience hears your sound design rather than a room microphone. We rig an ambient microphone as a backup either way. To be clear, we handle broadcast audio, not PA or sound reinforcement.
Can we sell tickets for the stream?
Yes. We deliver to ticketed platforms, password protected pages and free public streams, and we can output to more than one at once.
Do you work with arts council funded venues?
Regularly. We understand the reporting that comes with NPO status and digital engagement targets, and the recording and viewing figures you get afterwards are usable as evidence.
Can you follow a production on tour?
Yes, and it is one of the more useful things we do. Every venue argues with the last one, so touring streams usually end up looking different every night. Working to one plan across the run means the same camera language and the same standard at every stop.
When is a cheaper supplier the right call?
If you need a single locked-off camera for an internal archive, or a rehearsal recording nobody outside the building will watch, a crewed multi-camera stream is more than the job needs. We will say so on the call rather than quote you for it.
Tell us about the production.
Thirty minutes with the venue, the dates and the run, 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