Requests for live streaming are subject to availability. Not all requests can be accommodated. When considering or planning a live stream of your performance, please be aware of the following policy guidelines:

1. All streaming of School of Music events is managed by the School of Music facilities team. Performers are not allowed to stream from personal devices to personal channels.

2. Live streaming requests should be made by the start of each semester using the intake form (large ensembles will indicate prior to start of semester on their Google sheets). Streaming requests should not be made by email, phone, or personal request. Please do not submit the intake form twice. If it is necessary to change event details after the form is submitted, email facilities@music.wisc.edu. Requests made within the 3 weeks preceding a performance will not be considered.

3. For ensembles and faculty events, requests for streaming will be handled in a prioritized manner similar to concert scheduling - major ensembles, faculty ensembles, small ensembles (jazz & percussion), guest artists and faculty recitals. The same prioritization applies to the tiers of service.

4. SoM ensembles may select one performance per semester to stream at a service level higher than tier 2 (see below). Not all requests can be accommodated.

5. Faculty should submit requests for a specific level of video service (see details below) at the time of the streaming requests to allow proper planning. All decisions pertaining to the video production are at the sole determination and discretion of the crew. An event can be streamed without a dress rehearsal if the video is a simple front camera static view (tier one). If a dress rehearsal is requested, it must be arranged at a time suitable for video crew availability. Performers must arrive one hour before performance time to do a sound check for any live streamed event.

6. Approval of video service is at the sole discretion of the Facilities department, based on schedule availability. Denial of live streaming does not allow the performer to live stream their event on personal systems. Approvals will be confirmed by email in order on an ongoing basis according to the priority level and date of submission, but not less than two weeks prior to an event. For a tier 4 video, production staff will need to meet with the person responsible for the event to plan and prepare for the production two to three weeks prior to the event.

7. Student recitals will be streamed by the student crew. Student recitals will be tier one video service. DMA lecture recitals may be tier two. Students must arrive at least one hour prior to their scheduled recital for sound & video check with all of their performance elements present.

A video recording is considered the same as live streaming due to similar staff requirements and processes, therefore video recording requests will be treated the same as a streaming request. All processes listed above apply equally to video recording and live streaming of events.

Steps to Request a Live Stream

Step 1: Book the space in EMS. 
https://music.ems.wisc.edu/

Step 2: If the event is a student recital, a live streaming fee is required.
https://apps.music.wisc.edu/facilities/Default.aspx

Step 3: Complete the performance intake form. Select the live stream option on this form. 
https://go.wisc.edu/2034qz

Important Licensing Information Regarding Streaming

For licensing purposes, the School of Music is only able to stream repertoire found in the ASCAP, BMI, and/or SESAC catalogues, as well as works in the public domain. Please verify that your repertoire meets the licensing requirements before proceeding with the live stream registration process. If your repertoire is not covered by the major PROs or in the public domain, the School of Music may not be able to stream your recital. For reasons of copyright compliance, recordings of live streams are removed from the School of Music YouTube channel shortly after the stream concludes. Please email ebmurtaugh@.wisc.edu if you have questions about licensing and streaming your repertoire.

The scope of video services are organized in tiers as described below.

Tier 1
Our simplest level of video production entails using only the installed robot cameras (front, side, and back), but primarily the front camera in a static wide shot. A switcher operator will use their artistic and technical judgment to produce the recording or livestream.

Tier 2
Uses the three installed robot cameras (front, side and back) and one remote camera, if necessary and available, in a static shot. The remote camera is set up either in the back of the hall or on the side, depending on which angle is more appropriate for the performance. Setting up the remote camera in the back of the hall in a static, wide “home” shot makes the front robotic camera available for a variety of close-up shots. A switcher operator will use their artistic and technical judgment on shot selection and cutting, though we welcome and appreciate the input of the performer. This is typically used for faculty and guest recitals, small ensembles, choirs, and concert band.

Tier 3
For larger ensembles, we use the three installed robot cameras (front, side, and back) and two remote cameras, if necessary and available. If appropriate we can put a live operator on one remote. The other remote camera is generally set up in a static “home” wide shot, which frees up the front robot camera to get a wider array of shots, including closeups. The shot selection and camera operation are coordinated by the switcher operator using their own artistic and technical judgment, though we welcome and appreciate the input of the performer or conductor. This requires a dress rehearsal (in show order). Titles (not movements) can be displayed on the lower–third at the beginning of each piece, if title information is provided to the production crew at least a week prior to dress rehearsal.

Tier 4
This is a dynamic production aesthetic, and a shot caller with a marked-up score is required so shot selection and cutting can better reflect the performance. The shot caller is a conducting graduate student that has worked in conjunction with the conductor/performer to decide what shots are desired and where they should be used, and this is notated in a score. All three robot cameras are used, one remote camera in a static front shot, and one with a live operator. Details of camera shots, cue list, run of show, and titles should be provided to the technical director no less than 2 weeks prior to the rehearsal. A rehearsal for technical setup and an dress rehearsal (in show order) is required.