A tour reaches the towns it visits. A stream reaches the rest.
A touring production plays to whoever can get to the building on the night. Everybody else, including the people who bought tickets for a date that got cancelled, the ones who cannot travel, and the audience in a country you are not visiting, get nothing.
Streaming one performance changes that arithmetic. It is a separate revenue line from a run you are already paying for, and unlike a merchandise stall it keeps earning after the tour ends.
The catch is that an online audience is paying to watch a screen, so it has to be worth watching on one. Wide-shot-from-the-desk does not sell tickets twice. Which performance you film, and how it is covered, matters more than how many venues you cover.
Why film a tour
Made for a screen, sold like a ticket.
Questions we get asked.
Should we stream every night or just one?
Almost always one. Pick the venue with the best sightlines and rig properly for that performance, rather than spreading a compromised setup across the whole run. It costs less and the result is better.
Can we charge for the stream?
Yes. We deliver to ticketed platforms with access control, so the online audience buys a ticket like anyone else. A free feed can run alongside it if you want to build an audience for the next tour.
Does it cannibalise ticket sales?
Not in our experience, because the audience is largely different people. Someone in another country was never going to be in the room, and a stream reaches the person whose local date sold out.
How long can we sell the recording for?
That is a rights question rather than a technical one, and it needs settling with your producer and any rights holders before the shoot. We deliver a programme record as standard, and separate recording paths where the archive has to be independent of the stream.
What about music and audio rights?
Your producer needs to clear them for streaming specifically, which is a different permission from performing live. Worth checking early because it is the most common reason these projects stall.
Can you cover it if the venue is difficult?
Usually. We agree positions with the venue and the production in advance, and bonded 4G and 5G plus Starlink travel with us so a building with no usable line is not the obstacle.
When is filming it not worth doing?
If the show depends on being in the room, or there is no audience beyond the towns you are visiting, the money is better spent on the tour. We will say so rather than quote for it.
Want it seen wider?
Tell us the show, the dates and whether the rights allow a stream. We will tell you which performance to film and what it takes.