What a stream actually needs
A stream lives or dies on the connection, not the camera. I run a wired line wherever the venue allows it and check the upload speed before doors open, because venue wifi is the single most common point of failure I see. A function room near Kensington High Street once dropped from 40 Mbps to nothing the second a drinks reception started next door.
Alongside the wired line I run a bonded connection as backup, plus a local recording as insurance. Audio comes from the desk or the PA feed rather than a camera mic, and one person, usually me on a second screen, watches the actual output rather than the room.
More on the logistics is in live streaming an event in London. If the brief is closer to filming the whole event than pushing it live, event video from £500 covers that instead.
Prices
A single-camera stream for a half day starts at £600: one operated camera, a wired connection, mixed audio and a moderated chat. Multi-camera streams with a switcher and a producer run £1,200 to £2,000, depending on camera count and day length. See full pricing across every service.
| Service | Price |
|---|---|
| Single camera, half day | From £600 |
| Multi-camera with switcher | £1,200–£2,000 |
| Additional producer | From £250 |
| Bonded connection (backup) | From £150 |
| Platform setup (YouTube, LinkedIn, Zoom) | From £80 |
| Recording and edit afterwards | From £200 |
| Multi-day streaming | Quoted per day |
A single speaker at a lectern rarely needs a producer; a panel or an awards evening usually does.
Single camera or multi-camera
One locked-off camera is genuinely enough for a single speaker at a fixed lectern, a static panel, or a product launch with one presenter and a screen share. Add care with framing and a decent lens, and nobody watching at home notices the difference.
It stops being enough once more than one thing is happening: roaming mics, a stage with entrances and exits, an award winner walking up from the audience. A single wide camera for ninety minutes of that is unwatchable, and I’d rather turn a booking away than deliver it. Two cameras and a switcher fixes most of it.
I’ve shot enough panels in venues across London, a co-working space in Shoreditch, a conference room off Chancery Lane, to know the threshold is about movement, not room size. Some of that work is in the event work from London venues gallery.
Platforms and where people actually watch
YouTube handles scale well and is easiest for a public audience to find, though its chat gets messy without moderation. LinkedIn Live suits a corporate audience and gets a calmer thread. Zoom Webinar is the least polished of the three but the most reliable for controlled Q&A and registration.
A custom embed on your own site looks the most polished, but needs delivery infrastructure behind it, which adds cost and a point of failure. For most corporate video from £600 clients I’d steer away from it unless there’s a real reason.
Most corporate streams get watched on replay, not live. Build the stream to hold up on rewatch: clear audio, a slide capture, chapters, rather than chasing the live chat count.
Hybrid events
Hybrid is the hardest format I run. A room full of people has its own sound; a remote audience needs something closer and cleaner, and serving both from one setup is where most hybrid events go wrong.
Two things break most often: remote questions get ignored because nobody in the room is watching the chat, and the floor mic that’s fine for the room is inaudible online over the air conditioning. Fixing both means a dedicated person on questions and audio from a proper feed.
If a hybrid day involves conference photography alongside the stream, tell me at the enquiry stage; it changes where I stand and when.
When you should just record it
If most of your audience will watch the replay rather than tune in live, streaming adds cost and risk for little return. You’re paying for a wired connection, a backup line and someone watching the output live, to serve an audience that’s mostly watching the edit on Monday anyway.
My honest advice, against what a lot of production companies tell you: record it properly, cut a clean edit, and publish it the next day. You lose the “live” badge and gain a better video with none of the connection risk. Streaming earns its cost only when the moment genuinely needs to be live.
Tell me the venue and whether there’s a wired connection, and I’ll come back with a camera count and a price. I reply within one working day, every day of the week.