The WiredArts电影节: High Culture Meets Live Online Video

今年早些时候住了12晚, audiences in New York City and all around the world took part in an unusual arts festival. 被称为 WiredArts电影节从2月6日开始. 19 to March 2 and live streamed a variety of acts. An international audience that ranged from a few hundred to as many as 15,000 saw ballet from 12号出口舞蹈团, a troop founded by an ex-Marine; dance from the New York-based 舞蹈新阿姆斯特丹; and an improvised comedy called Die: Roll to Proceed by 关注艺术娱乐. 一家法国公司演出了让-保罗·萨特的作品 没有退出 (or 回族秘密地)，附有英文字幕, while a Turkish performer did a play in English with Turkish subtitles so that her audience in Istanbul could enjoy it. 一次互动游戏, 叫做抽象裸体, followed the progress of a painting through five different groups of people. The interactive element was that the audience got to decide who kept the painting. 音乐节总共提供了20种不同的表演.

While it took many people to make this first live streamed arts festival a success, the driving force behind it was New York City-based actress 凯瑟琳·维尔维尔·琼斯他对科技并不陌生. Besides the standard challenges of producing an arts festival, 琼斯面临许多技术上的困难. For example, the Queens theater she chose couldn’t be wired with a high-speed internet connection. 相反，琼斯依赖于 LiveU cellular multiplexing, streaming with two LiveU backpacks. 视频制作是由一个 NewTek TriCaster 855, which NewTek donated for the production. 直播视频被上传到 Ustream 账户.

“From day one to day twelve, it was a never-ending challenge,琼斯说. 偶尔溪水会流下去, and when that happened Jones and company needed to check everything at LiveU and then check everything at Ustream. “When you’re streaming live, anything can happen.”

Even ticket sales are an extra challenge with a live streamed event. Jones wanted to mimic the experience of reserving seats, but she couldn’t find a pay-per-view ticket sales system that handled reservations. Creating a system took most of Jones’ Christmas break, as she tweaked WordPress plug-ins until she got what she needed. Building her own system also let her company keep all the proceeds. Jones was determined to keep ticket prices low ($2.50), and she didn’t want to use a ticket system from Ustream or 转播画面 那将拿走一半的利润.

Jones also discovered that many of the companies in the festival had no experience performing in front of cameras, 所以需要额外的技术排练.

“为了一个平常的节日, if you are a company that’s performing in a festival, whether you’re a dance company or a theater company, 通常你会有一天的技术时间, which is the day that you’re in the theater with your lights, 用你的套装, 穿着你的服装, 你有几个小时在空间里工作,琼斯说. “We actually doubled that for all of our companies. We had both a regular tech and we also had a camera tech for all of our companies, because that was just a way to help them understand where the cameras were going to be and especially in the terms of scripted pieces how to play to the camera. That is something that a lot of theater-centric performers are not used to doing, which is always making sure you’re clear for your camera.”

尽管障碍重重, Jones and her team successfully hosted the first live streamed arts festival. It helped that Jones was already well-versed 在网络视频中 technology.

创建在线视频路径

“I’ve been a professional actor in New York for more than 20 years, 但那真的是, really hard life where you’re basically waiting for other people to make things happen for you,琼斯说. “十多年前, 我开始创作自己的作品, 是什么让你最终进入了在线视频行业.“通过她的在线视频工作, 琼斯参与了社交媒体活动, 包括播客, 从一开始.

Watching some of the first live online video productions in April 2007 showed Jones the path to which she would dedicate her career.

“It’s so funny how the world’s changed so much,琼斯说. “I knew immediately watching those live shows that all my work in theater, 在网络视频中, and social media were kind of culminating in the platform I was watching in front of me. And seven months later, I produced the first ever live streamed web series.”

To make that production happen, Jones knew she needed to produce a multicamera event. While she wasn’t sure how to do that, the answer came from -- naturally -- a 流媒体会议.

“I happened to go to 流媒体 East that year, 就像我几乎每年都做的那样, 一个朋友对我说, “你听说过TriCaster吗??’我说不, 他把我带进了一个房间, 他给我看了TriCaster, 从那以后我就一直用这个,琼斯说.

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