Case studyFestival
Reggae Land, Milton Keynes National Bowl
Four consecutive years of live streaming and screen production at one of the UK’s largest outdoor venues. In 2026 the production ran 18 cameras across the site and reached 1.2 million viewers worldwide over a single weekend.
- Client
- UK Events Group
- Event
- Reggae Land
- Venue
- National Bowl, Milton Keynes
- Sector
- Festival
- Years
- 2023, 2024, 2025, 2026
- Services
- Live streaming, IMAG and screens, multi-camera production
- Scale
- 50,000 on site daily. 1.2 million viewers worldwide (2026)
The brief
Reggae Land fills the National Bowl at Milton Keynes, one of the largest outdoor venues in the country, with 50,000 people on site each day. The audience watching from home is considerably larger again.
dwmedia has covered the event every year since 2023, working alongside the promoter’s production teams. The job is a live stream that carries the scale of the venue, and in earlier years the screen feeds for the audience standing in it.
What made it challenging
The challenge at a venue like the Bowl is not the streaming. It is making the stream look like the Bowl.
A festival stream shot entirely from front of house flattens the site. The camera sees a stage and a crowd, and the viewer at home has no sense that there are 50,000 people in a natural amphitheatre. The scale is the reason people watch, and a wide shot from a tripod does not convey it.
That is a coverage problem rather than a technical one, and it is solved with position and movement. The 24ft jib gives elevation and travel across the front of the stage, so a shot can lift and reveal the crowd behind the barrier rather than cutting to a static wide. The drone gives the establishing shot that no ground position can, showing the full bowl of the venue with the stage at the bottom of it.
The second challenge is people rather than kit. A site this size runs multiple production teams working to the same schedule, and a streaming crew that arrives with its own plan and expects everyone else to work round it causes problems all day. Over four years the working relationships on this site have become the reason the coverage works.
2025
IMAG and live streaming for UK Events Group. 700,000 online views. 20 crew on site. 15 or more cameras. Two OB vans. Blackmagic throughout for cameras, switching and control. A live camera mix ran on the second stage alongside the main stage broadcast.
2026
For 2026 only, the main stage livestream was delivered in partnership with oXyFire Media as a production partner, reaching 1.2 million viewers worldwide across the weekend. The earlier years were delivered by dwmedia alone.
The biggest broadcast setup dwmedia has run:
- 18 cameras in the mix, dwmedia’s own plus shared camera feeds from another supplier on site, with tally shared across both systems so every operator could see what was live
- A 24ft jib, drone and DJI Ronin for the moving shots
- dwmedia’s own broadcast audio mix on a DiGiCo Quantum 326, taking feeds from the audio supplier on site and mixing in-house
- Cut live from OB trailers backstage
- 18 crew across both days
The result
700,000 online views in 2025. 1.2 million worldwide in 2026. Alongside 50,000 people on site each day.
dwmedia has been rebooked every year since 2023. Four consecutive editions at the same venue with the same promoter is a better measure of a production than any single weekend’s figures.
Photo credit: allwrite_photography.
Festival streaming from a site with no permanent infrastructure is a planning problem, not a technical one. We bring our own connectivity, our own crew and our own kit, and we work to your production schedule.