Theatre Design & Technology - Summer 2020 - 34

WebEx
* Skype
* Google Hangouts
* GoTo Meeting
* Facebook Messenger Rooms
* Numerous other options, paid and free
Audio Software
While audio can be captured with the
streaming software, control, mixing, and
playback may not be ideal. Consider
methods for getting audio into the mixing software that allow for balancing
and manipulation.
* Soundflower
* Blackhole
* Virtual Audio Cable
* Qlab (for sound playback)
* Show Cue System
* Go Button
* SFX
Mixing & Video Processing Software
While it is possible to stream directly
to an audience from software such as
Zoom or WebEx, there will be severely
limited production value with this direct
link approach. Mixing and video processing software can enable better control of the stream that audiences see.
These programs capture the videoconferencing space and allow users to add
title slides and overlays that can be triggered to run like cues. This software can
mix all of the various incoming feeds
and media and send unified content to a
streaming platform.
* OBS (live video mixing)
* Streamlabs
* vMix (live video mixing)
* NDI (video over IP protocol)
* Isadora (live video processing)
* iMovie (video processing)
* Adobe Premiere (video processing)
Streaming Platforms
A streaming platform is required to
broadcast an event that is not being
delivered to audiences in the same
software that the participants are using
to create content (such as a Zoom webinar). The options here are numerous,
including free and fairly ubiquitous options like YouTube and Facebook Live.
Some platforms, such as Restream, can
receive a streaming feed from a mixer
and distribute it to multiple platforms.
Others, such as Vimeo, permit connec-

34 | THEATRE DESIGN & TECHNOLOGY | SUMMER 2020

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tivity with ticketing programs or other
fee-based access. Consider production
needs, as well as audience location,
technology, and comfort.
* Castr.io (or other re-streaming service)
* Twitch
* Restream
* Facebook Live
* YouTube
* Vimeo
* IBM
In-Room Equipment for Performers
When performers are working from different venues, the equipment likely will
not be uniform and the environmental
elements will be highly varied. Consider
what elements can be adjusted using
mixing and processing software and
which elements are easier to control in
the space. Modern smartphones can
run programs (like Larix) that can run
AV signal directly into vision mixing
software using the SRT protocol, but the
setup can get complicated. Consider
the cost of acquiring and mailing equipment, as well. Think, too, about how
much time there is to train performers
to troubleshoot their equipment and
consider guides and communications
channels simply for this process. Also,
consider streaming bandwidth and the
number of users in each performance
space and on the system in that space.
* Green screens
* Lighting sources
* Costumes, props,
* Cameras (computer, phone, standalone, etc.)

* Audio recording devices (Bluetooth
headsets, mics, etc.)
Communications Software
Off-stream communications is important, as is having redundancies when
producing a show with team members
scattered across a city or the globe. If a
university is open but streaming shows
is out, then traditional closed circuit
headsets may suffice, but in many production scenarios, a crew member cannot run backstage or the booth in case
of comms failure. Numerous text or chat
programs are available, and phone numbers should also be distributed just in
case. Comms should be separate from
the streaming or recording software
to avoid noise contamination while still
maintaining two-way audio or text communication within the production team.
Consider what will run on the equipment
that everyone owns.
* Discord (for off-stream communication)
* Teams
* Texting
* Chat software
* Telephones

http://www.Castr.io

Theatre Design & Technology - Summer 2020

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