YouTube, Facebook and Twitter have all had a lasting impact on broadcast television and all three platforms continue to make waves (check out our latest blog series to see what I’m talking about).
Our newest Live Production Look-Back installment revisits PBS' "Peace Through Music" - a classical music concert that we produced at DAR Constitution Hall in Washington, DC in the spring of 2014. We shot with 12 cameras and produced a live-to-tape concert in front of dignitaries and world leaders. Enjoy.
In episode 1 of our latest blog series – which explores the biggest threats to broadcast TV – we looked at how Facebook is positioning themselves to steal “traditional” television audiences. We talked about the Facebook Live platform, Facebook’s partnership with E!
NAB is the exception to Vegas’ “what happens here, stays here” motto.
If you follow Broadcast Management Group on social media or read our blog (its really good, I promise!), you’ll know that we’ve been following the changing landscape of broadcast television very closely. We do so for a few reasons. First, because it continues to be a fascinating journey. Seeing the dynamics of broadcast television change before our eyes – in a relatively short amount of time – has been fun to watch. Second, as a live video production company, we’ve seen this transition have an impact on our business. We’ve seen an increased demand for producing content live to the web – not live to network television. Instead of booking satellite trucks, we’re working to secure dedicated internet drops and bringing in web encoders. As the industry changes, we’ve had to adapt and change with it. But the industry isn’t done changing. This is evident by Twitter's recent acquisition of the streaming rights for 'Thursday Night Football.' (more…)
If I can be completely frank, Times Square is probably my least favorite place in New York City. Maybe it’s the endless sea of selfie sticks or the weird, knock-off Buzz Lightyear, but there are so many other areas of NYC that I’d much rather explore. But despite my desire to not find any redeeming qualities about the place, there’s one thing that’s hard to deny, and that’s the almost physical energy it possesses. There’s something slightly intoxicating about standing in the middle of Times Square. The lights. The sounds.
Broadcast television is edging forever closer to the endangered species list. “Cord cutting” is not a fad, but a growing trend that continues to impact both cable providers and broadcast networks. People are cutting ties with Time Warner and Comcast in favor of Hulu and Netflix. They’re trading in their DirecTV dishes for Apple TV and ChromeCast. And they’re doing so because content is available everywhere. On our smart phones. On our laptops. On our SmarTVs. You no longer need a cable subscription to watch your favorite shows.
You may have heard that it’s election season here in the U-S-of-A. We figured what better way to kick off our Live Production Look-Back series than re-visiting our work with Hillary Clinton and the US State Department back in 2013. Enjoy.
Every live production is different. That’s something we say and tell our clients repeatedly. There is no magic formula and no one-size-fits-all solution. But to be honest, that’s part of what makes live production so exciting. Every project makes you think. You have to develop a custom approach and figure out what resources will deliver your client – and their audience – the best possible outcome. It’s like putting together a puzzle. A really stressful puzzle.
Music fans are a high-maintenance bunch. They have certain expectations when it comes to live music festivals. And who can blame them? With an average ticket price running several hundred bucks – on top of food, lodging, merchandise and transportation – they expect to get their monies worth. Event companies have their work cut out for them.