Brandon Lake
ToursKing of Hearts Tour — six-camera cinema capture with live color, every ISO recorded nightly.
Services · Cinematic Capture & Live Broadcast
Cinematic capture & live broadcast.
Multicam cinema camera systems for concerts, tours, worship nights, live recordings, broadcasts and brand moments — the reliability of broadcast with the visual language of cinema.
Start a projectMulticam cinema camera systems for concerts, tours, worship nights, live recordings, broadcasts and brand moments — the reliability of broadcast with the visual language of cinema.
What this is
The live capture is the product.
Most camera systems at a live show exist to fill the side screens. Ours exist to make the film — and the side screens come with it. We design coverage, movement, lensing and color for what the night has to become after it ends: a live recording, a broadcast, a social cut, an archive worth keeping.
That means cinema bodies and glass on a broadcast backbone, a live grade the room and the record both see, and a network of directors and operators who can shoot clean coverage or handheld at the lip of the stage — whichever the show calls for.
What we bring
Named, not implied.
- Cinema camera packages — RED Komodo-X and Komodo, ARRI Alexa 35, Canon C400
- Canon Cine-Servo long glass — 50-1000, 25-250, 15-120 — plus anamorphic sets
- Camera movement — Easyrig handheld, Steadicam, AGITO and DEFY dollies, jib, drone, Canon PTZ
- Broadcast switching and engineering — Blackmagic ATEM 8K Constellation flypacks, 80×80 12G routing, fiber
- Live color — Cyanview and LiveGrade shading, with a colorist setting the look at rehearsals so it holds for the run
- IMAG cut to the room's screens
- Multicam recording — 10× Hyperdeck Pro, every ISO and program, ingested nightly
- Streaming — Boxcast and Resi encoders, redundant paths
- Broadcast camera chains — Sony HDC-5500 with CCU paint — and EVS instant replay
- Delivery — live albums, TV specials, social cuts, archive masters
- A network of directors and camera operators for every style
In the room · on the screen
Where this has run.
The backbone
What holds it up.
Redundancy, comms, signal path, record formats and delivery specs — for the TD and the PM.
- Flypacks
- 8K Production Flypack — ATEM 8K Constellation, 4 M/E panel, Videohub 80×80 12G, IFB, GPI tally · 4K Flypack D for smaller rooms
- Fiber
- TAC-12 trunks to 500′ · 40×40 fiber rack · AJA Fido converters · Teradek Ranger wireless
- Record
- Up to 10× Hyperdeck Pro 12G 4K · in-camera R3D on CFexpress · Tentacle timecode
- Color
- Cyanview RIO RCP shading · LiveGrade · 2160p LOG with LUT · colorist on set and in post
- Comms
- Riedel Bolero — 10 to 30 beltpacks · NSA-002A 4-wire tie to house comms
- Crew roles
- Live video director · EIC · video engineer · camera ops · 1st/2nd AC · DIT · colorist · comms tech
6 line items · redundancy, comms, distribution, record, delivery, crew roles
Who this is for
The rooms it was built for.
Questions we actually get
Before the first call.
Yes — that is the whole idea. One camera system feeds the side screens live and records every ISO for the release. The live grade goes to both, so the room sees the same picture the cut will.
Both. We draw on a network of directors and operators for every style, from clean broadcast coverage to handheld cinematic, and we staff the system we design.
Yes. We run an online streaming backbone and satellite uplink to televised stations, with redundant encode paths.
Regularly. We advance with the house, coordinate labor calls and work inside venue rules — it is part of the plan, not a surprise.
Every ISO and the program, ingested and checksummed nightly, plus whatever the release needs: a graded multicam master, broadcast deliverables, social cuts. Minimal — often no — extra post.