Where once a hard line stood dividing film from television and broadcast from cinema, the rapid advancement of filmmaking technology over the last few decades has caused that line to blur. These days, many of the biggest live events employ techniques and visual language that have traditionally been more associated with scripted, narrative filmmaking, pushing these broadcasts to become more cinematic in style and aesthetic. But even as these lines have blurred, the actual work that goes into shooting these events remains distinct from the world of narrative film and television as the images being captured often don’t come with the benefit of a second take.
On Monday, April 15, the NAB Show in Las Vegas, Nevada, hosted the Focus on Cine+Live conversation featuring a panel of professionals who have worked on some of the biggest live events of the last several years including the Super Bowl Halftime Show; Taylor Swift: The Eras Tour concert film; Billie Eilish’s performance at the 2024 GRAMMYs; the Crunchyroll Anime Awards; The Weeknd: Live at SoFi Stadium; Amazon Music Live; and Apple Music Live.
Making up the panel were James Coker, a a co-founder and head of technical development at Funicular Goats; Aaron Cooke, executive producer and CEO of Digital Cinema Collective as well as partner at Funicular Goats; Morgan Kellum, co-founder of Digital Cinema Collective and COO of Funicular Goats; camera operators Toré Livia and Jofre Rosero; and director of photography Chase Smith. The conversation was moderated by Gabriel Mays, Director of Rental at AbelCine.
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David Daut 