All-hands broadcast production in San Francisco — global town halls, quarterly executive updates, hybrid all-company meetings. Multi-camera switching, redundant streaming, broadcast-grade audio + lighting + IFB. Built for the room and the camera at the same time.
Designed, programmed, rehearsed, and broadcast by one crew, across in-room and stream, on the same cue stack.
Every desk tunes in. Because the broadcast was built for the laptop speaker.
Multi-camera switching on a Ross Carbonite or Blackmagic ATEM, with redundant ISO recording on every camera. Sony FX9 or Panasonic Varicam on talent, Sony FX6 on wide and audience reaction, plus a robotic PTZ on auto for cutaways. Lower thirds and chyrons routed from a dedicated graphics computer. Backup vision mixer hot-standby.
So the broadcast feels live. Not just streamed.
Two separate mixes from the same Yamaha Rivage PM7 or DiGiCo Quantum 338 console. The house mix is tuned to the room. The broadcast mix is mastered for headphones and a 5-inch phone speaker, with separate compression, separate EQ, and a different gain stage on the talent. The two mixes are never the same fader.
So the global team hears the same warmth on a phone speaker that the in-room crowd hears in the K2 rig.
Robe Forte, Ayrton Domino, ETC Source Four LED key on the talent. Programmed on grandMA3 with a backup running tracking. Color temperature matched to the broadcast camera package — Sony FX9, Sony Venice, or Panasonic Varicam, depending on the deliverable.
So the keynote feels alive in the room, and it cuts on the recap.
QLab on a dedicated playback server feeds video + audio playback to both the room and the stream. Ross Carbonite or ATEM switches the broadcast cut. Lower thirds + chyrons sync to the same timecode. The cue stack is mirrored to a redundant ops position — same fire button, hot-failover if the primary deck dies mid-show.
So the CEO hits the line, and the global team hears it the same second.
A quarterly global all-hands for an SF tech company from a Salesforce Tower deck — 400 in-room, 22,000 on the stream, 4-camera cut + Q&A from international offices.
400 in-room · 22k streamA leadership town hall for a SoMa fintech from their office studio — 12 international offices on Zoom, talent in-studio, broadcast cut + IFB.
studio · 12 offices · IFBA monthly CEO broadcast for a developer-tools company recurring from a fixed Mission Bay studio — same crew, same rig, same drive every month.
recurring · 150 cap · 8k streamAn investor day broadcast from Yerba Buena Theater during JPMorgan Healthcare week — embargo lift, multi-camera, broadcast cut.
350 in-room · global streamA leadership company-wide kickoff at Moscone West, with simultaneous regional viewing parties broadcast-fed to 5 international offices.
900 in-room · 5 regionsThe same crew that runs a 50-person executive briefing in a Resorts World suite runs a 5,000-person general session at MGM Grand Garden Arena. The variables change. The discipline does not.
Every brief starts with the same questions — what is the speaker trying to land, who is in the room, what does the recap need to look like, and what is the hardest moment in the run-of-show. The rig is sized backward from those answers.
For a 50-person executive briefing, that might be three Source Fours, a discrete L-Acoustics 5XT system, a 75-inch reference monitor on a rolling stand, and a single op at a Mac mini running QLab. For a 5,000-person general session at MGM Grand Garden Arena or the Las Vegas Convention Center, it is a flown line array, a 30-meter LED ribbon, eight broadcast cameras, a switcher truck, and a comms backbone that touches every department in the building.
Same brief intake. Same rehearsal philosophy. Same person calling the show.
SF broadcast production has its own constraints. Many of the best-fitted broadcast spaces are inside corporate towers with restrictive freight access and tight elevator scheduling. We carry bonded cellular as primary uplink (Peplink + LiveU) — corporate IT teams often can't open required ports the morning of a show. SF venues run with stagehand locals that we coordinate with on every call.
The advantage of Vegas is 24/7 access. The cost is that the rig has to be designed for a load-in window that starts at 11pm and ends at 7am — and the cue stack has to be finished before the C-suite walks in the next morning.
Convention dates anchor the calendar. CES in January at the Las Vegas Convention Center. NAB Show in April, also at LVCC. ConExpo, World of Concrete, Money 20/20, AWS re:Invent, Adobe Summit, Black Hat — each one bends the available venue pool around it for the week before and the week after.
We plan against the show calendar, not against the room calendar. The room calendar follows.
For a recurring quarterly all-hands broadcast from a fixed SF studio or office space (Salesforce Tower, SoMa office, Mission Bay broadcast venue), we install a day-of-week pattern: pre-tech the morning of, light test, audio test, camera check, executive walk-through 60 minutes before doors, broadcast goes live on time. For a one-off all-hands at a venue (Moscone, Yerba Buena, Bill Graham Civic), plan a one-day load-in, half-day program, tech rehearsal, dress, broadcast. We work to your executive calendar, not ours.
Yes. The house mix is tuned for the room — natural energy, room acoustics respected. The broadcast mix is mastered for headphones and a 5-inch phone speaker, with separate compression, separate EQ, and a different gain stage on the talent. Same FOH desk, different output buses, separate fader rides. Two engineers split the show or one engineer with hands on both sides — that depends on the audience size.
Both. We deliver a content spec sheet — pixel map, frame rate, color space, codec, safe areas — to whichever team is building the deck or sizzle. We also run a content QC pass on the wall during program day, so the agency sees their work on the actual hardware before the speaker does.
Strip and Downtown. Caesars Forum, MGM Grand Conference Center and Garden Arena, Mandalay Bay Convention Center, Aria Convention Center, Wynn Encore Theater, Resorts World Las Vegas, the Las Vegas Convention Center for CES and NAB Show, Allegiant Stadium for the largest brand activations, and Downtown venues for smaller off-Strip work. The rig scales to the room. Vegas venues each have their own stagehand local, and we coordinate with the house on every call.
Email hello@anydaylive.com with a date window, venue or city, headcount estimate, and a one-paragraph brief. We come back inside one business day with a structured response, questions, a draft scope, and the names of the people who will actually be in the room.
Send the brief. We'll send back the broadcast.
Start a brief →