Video broadcast of live events at Tate Modern gallery in London.


Livestream Producer


Working across Boris Charmatz's Musée de la danse takeover of Tate Modern and the Performance Room series in 2015, I operated as a livestream producer alongside Siren Productions and ProCam to broadcast these events.

Prior to the events, I picked up from Kirstie Beaven in commissioning a bespoke events video player designed by Psycle. This tool enabled Tate to remotely switch out embedded videos on a single player iframe embed, saving both their website editors and also those of press coverage sites from having to switch from trailer to livestream to enhanced archive video, particularly important for events which take place out of usual office working hours. It also provided a countdown, pre-filled social media CTAs, and a player carousel. 

Musée de la danse was a large-scale public event which we covered via a wireless multi-cam set-up fed into a vision mixer under the Turbine Hall bridge. Nick Walters from Siren directed the operators using talkback. It began with a public dance warm up in the Turbine Hall, where Charmatz instructed participants to get close, no closer, closer, come on English people, close! while the camera operators and vision mixer worked to best cover this unpredictable happening without interrupting those involved. It ended almost 10 hours later, with no pause to the broadcast, with live content from across the gallery linked by short prerecorded clips of other works by Charmatz.


The Performance Room events were only available to the public via the livestream and took place in a gallery space at Tate Modern adapted, to some extent, into a studio. Again unpredictable to some extent, these events were mixed and broadcast live from an adjacent room. The slight delay in broadcast giving us time to effectively mediate the performances and, more importantly, the audience Q&A via channels such as Twitter, YouTube, and Facebook.

Lead image (previous page and this page): Boris Charmatz If Tate Modern was Musée de la danse (2015) © Hugo Glendinning 2015