Atlanta Music Pros provides multi-camera live event production throughout Metro Atlanta for general sessions, conferences, awards shows, product launches and streamed corporate events. A multi-camera production can include two to four camera angles, live video switching, technical directing, camera operation, name and title graphics, presentation integration, IMAG feeds to in-room screens, a monitored live stream and a recorded program feed.
Multi-camera production is what turns an event recording into something that holds attention. One angle is a document. Three angles, cut on purpose, is a show — and the same switched feed can drive the screens in the room, the live stream and the archive at once.
The skill is not owning cameras. It is deciding, live, which angle serves the moment: the wide when the room applauds, the close-up when a presenter makes their point, the slide when the number on it matters, the panel when somebody interrupts.
This is how a four-camera corporate general session is commonly laid out. Smaller productions use the first two or three positions; the logic stays the same.
The home position. A locked or lightly operated wide covering the full stage, used for openings, applause, walk-ons and as the safe shot to cut back to. If the switcher has nowhere to go, it goes here.
An operated angle framed tight enough to read expression, following the presenter as they move. This is the shot that carries a keynote and the one the stream spends most of its time on.
Covers the room and the conversation: panelists responding, an audience question being asked, applause, a reaction worth cutting to. It is what makes a recording feel like an event rather than a lecture.
A purpose angle: a product on a reveal table, a tight shot of an award being handed over, a handheld working the room at a launch, or a rear-of-house angle over the audience toward the stage.
Cutting live between cameras, the presentation source, playback video and graphics to build a single program feed. Every cut is a decision made in real time against what is happening on stage.
Someone watching all sources and deciding where the program goes next, in communication with the camera operators and the show caller. On a scripted show, cuts are planned against the cue sheet.
Operators on the angles that need to follow movement, on intercom, framing to a brief rather than improvising. A locked-off camera cannot follow a presenter who walks downstage.
Lower-third name and title cards, session and segment titles, award nominee cards, holding slates and closing cards, applied live and driven from a cue list.
The presenter’s slides as a first-class switcher source at full resolution, so the program can cut to a slide full-frame or place it alongside the speaker. See projection and displays.
The same program feed sent to the screens or LED in the room so the audience sees the presenter magnified. See IMAG production.
One program feed encoded to your streaming destination and recorded locally at the same time. See live streaming services.
Camera operators, the switcher, the audio engineer and the show caller on one communications system. Multi-camera without intercom is several people guessing.
Multi-camera production makes demands on the room that single-camera work does not, and they are much cheaper to solve on a floor plan than on show day.
Each camera needs a position with a clear view that does not block the audience. A rear platform for the wide, a side position for the presenter angle, and space for a roaming operator are the usual answers. Riser height for the rear camera is worth confirming, because a camera at seated head height sees the back of people’s heads.
Cameras need more light than an audience does, and light from the front rather than overhead. A presenter under a single downlight reads as eye sockets and a shadow on camera. Front key light is one of the most cost-effective improvements available to a multi-camera production — see corporate stage lighting.
Camera runs have to get from each position back to the switcher without crossing a walkway unprotected. That gets planned against the room layout, and power gets confirmed against the venue’s available circuits.
A scripted show — awards, a launch, a tight general session — wants a rehearsal where cuts, graphics and playback are run against the cue sheet. It is the difference between a show that looks directed and one that looks like it is being discovered live.
| Cameras | Angles | Typically used for | Adds |
|---|---|---|---|
| Two | Wide master, presenter close-up | General sessions, streamed keynotes, IMAG | A cuttable program instead of a static record |
| Three | Plus audience / panel angle | Panels, Q&A sessions, awards, reusable content | Reaction and conversation coverage |
| Four | Plus specialty or roaming angle | Product launches, galas, high-production sessions | Reveal shots, detail shots, room energy |
An illustrative configuration showing how a switched general session is assembled. An example, not a past project or a price.
Camera positions and riser heights get agreed with the venue and the planner in pre-production, because the best camera position is sometimes a table somebody has bought.
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.
We do not publish camera models, switcher specifications or a claimed crew roster. What goes in your scope is the number of angles, who is operating them, what the program feed drives and what you receive afterwards.
Atlanta Music Pros is an Atlanta-based company covering Metro Atlanta and North Georgia. We travel to the venue rather than operating suburban offices.
It is covering a live event with several camera angles and cutting between them in real time, along with the presenter’s slides, playback video and graphics, to build a single finished program feed. That feed can drive the screens in the room, go out as a live stream and be recorded simultaneously. The work is as much editorial as technical: someone is deciding, live, which angle serves the moment.
Two is the practical minimum for a switched production — a wide master plus an operated presenter close-up. Three adds an audience or panel angle, which is worth it for Q&A-heavy sessions and anything being reused as content. Four adds a specialty or roaming angle for launches, galas and reveal moments. Adding the presentation as a clean digital source usually improves the result more than adding another camera.
Yes, that is IMAG — image magnification. The switched program feed goes to the projection screens or LED wall in the room so the audience can see the presenter’s face rather than a distant figure on a stage. It is standard from roughly 200 guests upward, and the same feed can serve the room, the stream and the recording at once. Our IMAG page covers it in more detail.
Both, chosen per angle. A wide master is often locked or lightly operated because its job is to be reliable. Presenter, panel and roaming angles are usually operated, because a presenter who walks downstage leaves a locked-off frame entirely. Operators work on intercom to a brief from the technical director rather than improvising individually.
Yes. Lower-third name and title cards, session and segment titles, award nominee cards, holding slates and closing cards can all be applied live from a cue list, which means the recording and the stream already carry them rather than needing them added afterwards. For scripted shows we build the graphics list from your run of show and rehearse it.
Camera positions with clear sightlines that do not block the audience, riser height for a rear camera, cable paths back to the switcher that do not cross walkways unprotected, and confirmed power. Front light on the presenter matters more than most planners expect: cameras need more light than an audience does, and from the front rather than overhead. All of it is far easier to solve on a floor plan than on show day.
For a scripted show — awards, a product launch, a tightly timed general session — yes. A rehearsal is where cuts, graphics, playback and walk-on music get run against the cue sheet, and where you find out that the video the CEO wants to open with has no audio. For a straightforward two-camera keynote capture, a technical check and a presenter walk-through is usually enough.
It is driven by the number of angles, how many are operated, whether graphics and playback are scripted, whether the feed is also being streamed, the crew required, and the load-in and rehearsal hours. A two-camera switched keynote and a four-camera awards show with graphics and rehearsal are very different jobs. The corporate AV pricing page sets out the variables that move the number.
Tell us the room, the guest count, the run of show and where the program feed needs to go — in-room screens, a live stream, a recording, or all three. If you have a floor plan, send it; camera positions are the first thing we look at.