Event videography, IMAG and live streaming across Ireland
Cameras on the room, faces on the big screen, the stream going out clean, and the highlight reel back with you inside a week.
Video at a corporate event does three jobs at once, and they are usually bought as three separate things. Cameras put the speaker's face on the screen so the back row can see them. The same cameras feed a stream for the people who could not travel. And the same footage becomes the highlight reel that sells next year's event.
We do all three with one crew, because we are already running your sound, your lighting and your screens. The camera feed goes straight to the LED wall without a hand-off. The audio on your stream is the desk feed rather than a camera microphone. And nobody is standing in front of anybody else.
What we supply
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Mirrorless Sony cameras and Panasonic broadcast camcorders, positioned for a wide of the stage, a close-up of the presenter, and a roaming camera for audience, reaction and detail. Recorded clean for the edit, and switched live where the event needs a live output.
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IMAG stands for image magnification: putting the live camera feed onto the LED wall or projection screen so the person on stage is visible to a room of 400 people rather than just the front five rows. We vision-mix it live on Roland V8 HD or PixelHue P10 switchers, cutting between camera and presentation so the screen always shows whichever one matters at that moment.
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Streaming to YouTube, Vimeo, LinkedIn Live, Teams, Zoom or your own platform, with the audio taken from the sound desk rather than a camera. Remote presenters brought into the room and onto the screen. Recorded locally at the same time, so you have a clean master whatever the internet does.
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Highlight reels for marketing and next year's promotion, full session recordings for delegates who want to rewatch, individual speaker cuts for sponsors and presenters, and short vertical cutdowns for social.
The thing that goes wrong with event video is almost never the camera
Corporate event video fails in predictable ways, and almost none of them are about picture quality.
The sound. This is the big one. A camera microphone at the back of a ballroom records the room, not the speaker. Echo, air conditioning, cutlery, the table near the door. The footage looks fine and is unusable. The fix is trivial if you control the sound desk: take the feed directly from the mixer, so the recording hears exactly what the PA hears. We control the desk, so we take the feed. A separate video company usually cannot, and has to ask.
The lighting. A stage lit for the audience's eyes is often too dim, too contrasty or too warm for a camera. Faces go orange, or into shadow, or the LED wall behind the speaker blows out to white. Getting this right means the lighting designer and the camera operator agreeing in advance, which is easy when they work for the same company and hard when they do not.
The hand-off. On events with a separate video supplier, someone has to get a camera signal from the video company's world into the AV company's screen, and someone has to get audio back the other way. It usually works. It is also the single most common cause of the ten-minute delay at the start of a hybrid event, while two crews debug a cable in front of an audience.
The afterwards. Footage gets shot and then sits on a card for six weeks, by which point the moment has gone and the marketing team has moved on. We agree the edit and the deadline before the event, not after it.
Streaming that does not feel like an afterthought
A hybrid event is two audiences with different needs. The people in the room have the atmosphere, the coffee and the networking. The people watching remotely have a laptop and a low tolerance for a static wide shot of a distant stage.
Treating the stream as a proper production, cutting between camera and slides, showing the speaker's face at a readable size, using desk audio, and having someone actually watching the output, is the difference between a remote audience that stays and one that drifts away at the fifteen-minute mark.
On venue internet. This is the most common cause of streaming problems and the easiest to solve early. We ask the venue for a wired connection with a tested upload speed rather than relying on guest wifi, and we have that conversation with the venue on your behalf well before the day. Where a venue cannot provide a reliable hardline, or where the stream is high enough stakes to want a second path, we can supply a bonded 4G/5G connection as a backup. Ask for it at quote stage and we will include it.
Deliverables and turnaround
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3 to 5 working days from the event. Faster delivery can be arranged.
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Delivered as straight cuts with desk audio, alongside the highlight reel.
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For sponsors, presenters and internal comms, on request.
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Available on any deliverable, and worth having. Most social video is watched with the sound off, and captions make your content accessible to delegates who are deaf or hard of hearing.
Both, from one team
Most conferences and awards nights want both. Photographs go out the next morning. Video comes later and does the longer job. Booking them together means one brief, one shot list, one running order and one supplier. Practically, it also means the photographer and the camera operator are not competing for the same spot at the front of the stage, which is a real and slightly awkward problem when they work for different companies.
Watch what we've made
Over 300 events a year. 5.0 from 80+ Google reviews. Clients include NI Chamber of Commerce, Deloitte, BBC, A&L Goodbody, Fujitsu and Visit Belfast.
Frequently asked Questions
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IMAG means image magnification: putting a live camera feed of your speaker onto the main screen so the whole room can see their face and expression, not just a distant figure on a stage. As a rule of thumb, you need it once the back row is more than about 15 metres from the stage, or any time the room is over roughly 150 people. Below that, the audience can see the speaker directly and the screen is better used for their slides.
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Yes, to any of those, to Vimeo, or to a private platform of your own. We can also stream to more than one destination at once, which is common where an event goes out publicly on LinkedIn and privately to staff on Teams at the same time. We record locally throughout regardless, so you have a clean master file even if a platform has a bad day.
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Yes, always, and it is the single biggest quality difference between event video that is usable and event video that is not. Because we are running the PA, the video recording and the stream take a direct feed from the mixing desk: the same clean, mixed audio the room is hearing, with no room echo, no air conditioning and no cutlery. A video supplier without access to the desk is usually recording a camera microphone at the back of the room.
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Two is the usual answer for a conference: a locked-off wide of the stage and a close-up on the presenter. Three adds a roaming camera for audience reaction, arrivals and detail, which makes a much better highlight reel. Awards nights generally want three, because you need the winner walking up, the trophy moment and the room all at once.
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The highlight reel comes back within 3 to 5 working days of the event, and full session recordings are delivered alongside it. We agree the deliverables and the deadline before the event rather than after it, which is the only reliable way to hit a turnaround like that. Social cutdowns and individual speaker cuts are quoted separately and scheduled at the same time.
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Yes. Vertical 9:16 cutdowns for Instagram, TikTok and LinkedIn, plus square and landscape versions, cut from the same footage as the main edit. These are a paid add-on rather than part of the standard package, so tell us at quote stage and we will price them in. Captions can be added to any of them, which is worth doing since most social video is watched with the sound off.
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A wired connection, not guest wifi. We ask venues for a dedicated hardline with a tested upload speed well in advance. It is the sort of thing that takes five minutes to arrange if you ask six weeks out and is impossible on the day, and we will handle that conversation with the venue for you. For events where a backup matters, we can supply a bonded 4G/5G connection on request.
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Yes, and they are a distinct discipline. Awards need the nominee reel played back on cue, the winner captured walking on, the trophy handover and the acceptance speech, often across twenty categories in ninety minutes. Because we are usually calling the show as well as filming it, the camera operator knows what is coming next rather than reacting to it.
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Yes. We take film-only and stream-only bookings where your AV is coming from elsewhere, and we white-label for agencies and production companies. It works best when we can speak to whoever is running the sound desk in advance, so we will ask for that contact.
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Yes. We film and stream events in Dublin and across the Republic regularly, at venues including the Gibson Hotel and City North Hotel. Cross-border delivery is a normal part of how we operate.
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