An Evening with Sylvester Stallone: Eight Camera Event Production
SVS Multimedia commissioned oXyFire to produce an eight camera live event system for An Evening with Sylvester Stallone at Sheffield City Hall.
Putting a 90 minute live show on a 42 foot screen
SVS Multimedia led live cameras and visuals for An Evening with Sylvester Stallone at Sheffield City Hall on 25 January 2015 and commissioned us for the eight camera production system. Jay Rozanski served as Producer for us across the live workflow.
The 90 minute programme joined a film montage, a live backstage entrance, a 41 minute interview, a 25 minute audience question and answer session and an on stage presentation. Cameras, screen output, playback, stage monitoring and recording all needed to follow the same cue structure.
Eight wired cameras, one ATEM mix and two record paths
We hard wired eight cameras over high grade HDSDI BNC cable into an ATEM 1 M/E vision mixer. The eight camera plan included a micro camera at the base of the 42 foot LED wall, with Preview and TX monitors supporting the speakers on stage.
An Atomos Ninja2 supplied programme playback. A Blackmagic HyperDeck Studio recorded the master TX to SSD and a separate H.264 USB capture fed a MacBook Pro as the backup recorder. The planned run through aligned every department, and post event feedback praised the team’s professionalism, patience and delivery.
In numbers
A 90 minute live programme at Sheffield City Hall
An Evening with Sylvester Stallone took place at Sheffield City Hall on 25 January 2015. The event brought Stallone to Sheffield for an on stage interview and audience questions, presented through a tightly timed 90 minute programme.
SVS Multimedia led live cameras and visuals for the event and commissioned us for the eight camera production system. Jay Rozanski served as Producer for us, connecting the camera plan, vision mix, playback, stage monitoring and programme recording.
Live cues carried the audience from montage to interview
The running order began with a public announcement and an introduction from Mike Read. A film montage then led into Stallone’s entrance, with a live backstage camera following his walk to the stage as the Rocky theme played in the room.
The main interview occupied 41 minutes, followed by a 25 minute audience question and answer session and an on stage presentation before the scheduled 9pm finish. The supplied programme created a sequence of live, recorded and music led moments; we translated those cues into camera, playback and recording actions throughout the show.
Eight cameras fed one ATEM live mix
We hard wired eight cameras over high grade HDSDI BNC cable into an ATEM 1 M/E vision mixer. The wired design gave the production a stable path from every position to the central mix and supported sustained coverage across the entrance, interview, audience questions and presentation.
The eight camera plan included a micro camera positioned at the base of the LED wall. Its low, close angle expanded the visual range available to the director alongside the wider room, stage and speaker coverage. Every angle arrived inside one multi camera live event production workflow.
A 42 foot LED wall shaped the room
A 42 foot modular LED screen formed the visual centre of the venue. The live mix supplied close views of the speakers for the audience in Sheffield City Hall, giving the interview the visual scale expected of a major entertainment event and keeping a direct relationship between guest and audience.
Preview and TX monitors were also placed on stage for the guest speakers. This gave the stage team a clear view of the production output and connected the interview area with the screen presentation taking place across the room.
Playback and recording followed independent routes
An Atomos Ninja2 supplied broadcast quality audio and video playback for the prepared programme material. The playback route supported the opening montage and the other screen content called from the running order, keeping those elements available to the vision workflow at the required moments.
The master TX was recorded to SSD on a Blackmagic HyperDeck Studio. A separate H.264 USB capture fed a MacBook Pro as the backup TX recorder, giving the programme two independent recording paths. The production could preserve a high quality master and a separate file through distinct devices.
Rehearsal aligned cameras, stage and playback
The production itinerary scheduled a 4pm soundcheck and full run through, with the introduction rehearsed three times. A heads of department meeting followed at 5pm, ahead of doors at 6pm and the 7.30pm programme start.
That shared rehearsal window allowed camera moves, the live backstage entrance, music, montage playback, stage positions and screen output to be checked as one sequence. By the time the audience entered, each department had the same cue structure and a clear route through the programme.
Professional delivery earned strong feedback
Post event feedback passed to us through SVS praised the team’s “good humour and patience” and said everyone “pulled together and produced a very professional service”. The client praised the delivery, said the event looked and sounded great and shared a large amount of positive feedback.
SVS continued commissioning us for live event work in the following weeks. The Stallone production remains a strong example of the team bringing camera coverage, a large format screen, precise live cues and resilient recording together for live events and entertainment.
For practical planning advice, read our guide to preparing for a live broadcast. Explore our Eliot Kennedy concert screen production for related production work.
Frequently asked questions
What did you provide for An Evening with Sylvester Stallone?
SVS Multimedia led live cameras and visuals for the event and commissioned us for the eight camera production system. Jay Rozanski served as Producer for us, covering camera routing, vision mixing, playback, stage monitoring and dual recording paths.
How was the eight camera system connected?
All eight cameras were hard wired over high grade HDSDI BNC cable into an ATEM 1 M/E vision mixer. The eight camera plan included a micro camera at the base of the LED wall for a close, low perspective.
How was the live programme recorded?
A Blackmagic HyperDeck Studio recorded the master TX to SSD. A separate H.264 USB capture fed a MacBook Pro as the backup TX recorder, creating two independent recording paths.
How did live video support the venue audience?
The mixed camera output supplied close views for the 42 foot modular LED screen. The coverage followed the backstage entrance, on stage interview, audience questions and presentation, with Preview and TX monitors supporting the speakers on stage.
