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6. e start all our live streams with a minute pre recorded preshow. During the preshow, we run tips on how to ma imi e audience participation humorous sayings, sponsor messages and anything else that seems appropriate. This allows audience members to verify they are in the right place for the right presentation and that their system is working properly. . You must use a content distribution network to distribute your program on the web. We use Wirecast to digitize our content and send it from the Wirecast computer to the web. From there, the ront a takes over and sends our signal to the world. . Unlike downloads, live streaming takes bandwidth. o bandwidth. ou e pect a lot o people to watch, be sure you budget enough money to cover bandwidth costs. Also, truthfully, if you are doing a large event, hire a company to handle the technical details o the live stream at least the first time. here is a to configure and even more that can go wrong. If this is a high-visibility event, get help. . If the size of your audience varies, or tends to be on the smaller side, consider using a streaming provider that charges for “on-demand bandwidth.” We use, which does just that. We pay for a base amount of bandwidth and we are able to purchase more if we need it. 10. 11. recommend streaming a p image. es larger image sizes look great, but not everyone in your audience has the bandwidth to support the larger image. orse moving rom a p image to a p image will almost double our bandwidth costs. find that we get great images and results webcasting p. . he more comple our program the aster computer you need for digitizing. In our case, we switch cameras, add graphics, and other video elements using a Blackmagic Design ATEM switcher. Then, the audio and video signals go to a Mac Mini computer running Wirecast for digitizing and uploading to the web. e upload at mbps. we were switching cameras, adding graphics and digitizing on the same s stem d swap the ac ini or an core ac ro with o R . ive webcasting gives me the same un and e citement today as I did creating live television all those years ago. However, it isn’t the same; issues of latency, bandwidth, computer horsepower and technical comple it make webcasting challenging. In fact, during all our live productions, I have at least one web person online full-time handling tech support issues, which are separate from questions about content. However, once you have your system properly setup and your staff trained, presenting a live production is just about the most fun you can have in production. The old days have returned to life. ne o the best tips got when first started creating my podcast was to build a “Show Bed.” his is a ull timed uick ime file containing the open, close, segment times and all music. Because the show bed is already built and timed, I don’t need to worry about rolling in lots of different elements, I just need to worry about the content and ending segments on time. If you have a very limited crew, creating a show bed can reduce errors and stress. As your crew, facilities and skills increase, you can move away from a show bed into a more fle ible ormat. KITPLUS - THE TV-BAY MAGAZINE: ISSUE 105 SEPTEMBER 2015 | 53