Atlanta Music Pros provides IMAG — image magnification — for corporate events throughout Metro Atlanta. IMAG means live cameras capture the presenter and their image is projected onto large screens or an LED wall so attendees seated far from the stage can still see faces and expression. It applies to general sessions, conferences, annual meetings, awards ceremonies, galas and large corporate meetings, and the same camera feed can be switched with presentation slides, recorded, and sent to a live stream.
Past about the tenth row, a presenter stops being a person and becomes a shape in a suit. Everything that makes a speaker persuasive — eye contact, timing, the small expression before a punchline — is lost to distance. IMAG puts that back.
It is also the cheapest way to make a large room feel produced. One operated camera, one screen and a switcher change the experience of the back half of the audience more than any other single addition to a general session.
IMAG gets used loosely in AV quotes. Here is what the terms actually mean, so you can tell what you are being quoted.
Framed for a screen, not for a wide record.
Deciding what the room sees, live.
Where the magnified image lands.
Context on screen.
The part that decides how IMAG looks.
People operating it.
IMAG is straightforward to specify and easy to get wrong. Nearly all of the failure comes down to these three choices.
If a session is slide-heavy and there is only one screen, IMAG becomes an interruption: every cut to the presenter takes the content away. The answers are a second screen, a side-by-side layout, or deciding in advance that this particular session is a slide session with camera used sparingly. Any of those is fine. Not deciding is not.
Cameras need more light than audiences do, and from the front rather than overhead. A presenter lit only from above reads as shadowed eye sockets on a twelve-foot screen, which is worse than not magnifying them at all. Front key light is usually the cheapest meaningful upgrade to an IMAG setup — see corporate stage lighting.
If the bottom of the screen sits at seated head height, the back of the room loses the lower portion of everything. Screen height, stage height and the seating plan get decided together — which is why staging and projection are part of the same conversation rather than separate line items.
| Room / audience | IMAG value | Usual approach |
|---|---|---|
| Under about 100, shallow room | Low — everyone can already see the presenter | Screen for slides only |
| 100–200, standard ballroom | Situational — worth it if the room is long or the stage is low | Single screen with switching between camera and slides |
| 200–500 ballroom | High — the back half of the room is too far to read a face | One or two cameras, dual screens or side-by-side layout |
| 500+, convention hall | Essential | Multi-camera, large projection or LED, graphics and a technical director |
| Awards or gala programs | High at any size | Camera on the recipient as well as the presenter, plus nominee graphics |
An illustrative configuration for the most common IMAG request we get. An example rather than a past project or a price.
Adding a second camera for panels and audience reaction, and a third for awards moments, is the usual next step — see multi-camera live production.
We do not publish camera models, screen inventories or LED specifications. The IMAG design is worked out from your room dimensions, seating plan, guest count, ambient light and run of show, then written into the scope before you commit.
Atlanta Music Pros provides some of this work directly and coordinates the rest through production partners we have vetted. Which parts fall where depends on the scale of the room, the date and what the venue allows, so the honest answer is that we build or coordinate a package around your venue, guest count and production requirements rather than publishing a fixed equipment list.
Atlanta Music Pros is an Atlanta-based company covering Metro Atlanta and North Georgia. We travel to the venue rather than operating suburban offices.
IMAG stands for image magnification. Live cameras capture the presenter on stage and the image is displayed on large screens or an LED wall inside the same room, so attendees seated far back can see faces, expression and detail. It is what makes a large general session feel like a show rather than a distant announcement. The same camera feed can be switched with slides, recorded, and sent to a live stream at the same time.
Yes, that is exactly what IMAG is. An operated camera on the presenter feeds a switcher, and the switched output goes to the projection screens or LED in the room alongside the presentation source. Because it is one program feed, it can simultaneously drive the room screens, a local recording and a live stream, which is usually far more economical than commissioning those as separate jobs.
Commonly around 200 guests, but room depth matters more than headcount. A long narrow room of 150 can need IMAG more than a wide room of 250, because the last rows are simply too far from the stage to read a face. Stage height is a factor too: a low stage in a flat room means anyone behind row eight is looking at the back of other people’s heads.
IMAG serves the people in the room; streaming serves people who are not there. They usually share the same cameras and the same switcher, so if you are already doing one, adding the other is a marginal cost rather than a second production. The difference in design is mostly framing and audio routing: a stream needs its own encoding, monitoring and program audio path.
They do not, and if the session is slide-heavy they probably should not. With one screen, every cut to the presenter takes content away from the audience. The common solutions are a second screen, a side-by-side layout with the presenter beside the slide, or deciding in advance that this session is slide-led with camera used only at key moments. Any of those works; the failure is leaving it undecided.
Because a camera needs more light than an audience does, and from a different direction. Overhead-only lighting puts the presenter’s eyes in shadow, which is barely noticeable in person and looks unmistakably bad magnified onto a large screen. Adding front key light on the presenter area is usually the single cheapest way to improve how IMAG looks, and it improves the recording and any stream at the same time.
Yes, and awards benefit from it disproportionately because the moments that matter are close-up: the recipient’s face, the handshake, the reaction at the table. That typically means a camera on the presenter at the podium, a second finding recipients as they come up, and nominee and recipient graphics driven from a cue list. Our awards gala production page covers how that fits into the whole evening.
The variables are camera count, whether cameras are operated, whether the display is projection or LED, how many screens, whether graphics are scripted, crew, and load-in and rehearsal hours. Single-camera IMAG onto an existing session screen is a modest addition; multi-camera IMAG with LED, graphics and a rehearsal day is a production. The corporate AV pricing page explains each factor.
Tell us the room dimensions, the guest count and whether the session is slide-led or speaker-led. Those three answers decide screen count, camera count and whether you need side-by-side layouts.