Which performance
Filming every night of a run costs several times filming one, and rarely produces a better result. Pick the performance where the cast is settled and the house is full, and rig properly for that one.
What the rights allow
Performing rights and streaming rights are separate permissions, and the second is the thing that stops these projects. Worth checking with the rights holder before you get as far as a quote.
Who is watching, and from where
A schools audience, a ticketed public stream and an archive for the funder are three different jobs. Deciding which one it is changes the camera count more than the size of the venue does.
What it takes on the night.
Questions we get asked.
Should we film one performance or the whole run?
One, almost always. Pick the night the cast has settled and rig properly for it. Filming a whole run multiplies the cost and rarely improves the result.
Do we need separate rights to stream it?
Yes. Streaming is a different permission from performing, and it is the most common reason a project stops. Check with the rights holder before you commission anything.
Will cameras be visible to the audience?
As little as possible. Positions are agreed with your director, operators stay still, and if a position means somebody is watching a camera instead of the stage it does not happen.
What does it cost?
It depends on camera count, whether it is one performance or several, and what you need afterwards. The estimator gives you a range in about a minute.
When is one camera enough?
For an internal archive or a rehearsal record that nobody outside the building will watch, a single locked-off camera is the honest answer and we will say so.
Worth a conversation?
Thirty minutes and you will know what it takes, what it costs, and whether we are the right people for it. There is more detail at theatrestreaming.co.uk.