Why must three separate systems operate as one production?

Audio, lighting, and video have different technical tasks, but together they create one result for the viewer. The participant does not perceive the FOH mix, LED wall, and lighting separately. They see and hear one event.

Therefore, the three systems must be coordinated at the level of scenario, cue, space, power, technical routes, and rehearsal schedule.

At the same time, they should not be artificially combined into one system.

The sound system should maintain its own routing, consoles, DSP and audio network. The lighting has its own console, control protocols, and infrastructure. Video may have separate switching, LED processors, playback, direction, and control networks.

Integration means that each system knows:

• what is happening at that moment,
• what the next point of the program is,
• what its cue depends on,
• who gives the signal to act,
• what will happen in the other sectors.

Joint production does not mean a shared cable. It means shared logic of operation. 

Start with a common event scenario.

 The basic document integrating the technology should be a common scenario, rundown, or show flow.

An agenda like this is not enough:

10:00 – start

 10:15 – presentation

 11:00 – panel.

For the technology, such a record is too general.

A much more useful outline includes specific actions:

• the entrance of the host,
• the start of the microphone,
• light on the host's position,
• change of the LED wall,
• the start of the film,
• muting the microphones,
• playing the audio track,
• returning to the live camera,
• the entrance of the panel participants,
• change of the lighting look.

If one event triggers several branches, it should be described unambiguously.

For example, "START OF THE MOVIE" can mean at the same time:

video triggers the material,

 audio switches to playback,

 lighting fades the front and changes the scene to a film look.

This allows all operators to work on the same structure.

In a more complex event, such a scenario should be one of the basic elements of comprehensive technical support for the event..

How is responsibility divided among the operators?

Each operator should be responsible for their own system, and the person coordinating the production for the flow of information between them.

A typical division may look as follows:

• the operator audio is responsible for FOH, microphones, audio playback, routing and levels,
• the operator lighting is responsible for lighting cues and the appearance of the stage,
• the operator video is responsible for switching, playback, PGM, LED wall and cameras,
• the stage manager or show caller coordinates the program flow.

It's not about one person controlling everything.

On the contrary: attempting to centralize too many systems in the hands of one operator can increase the risk of error.

The most important thing is a clear boundary of responsibility.

If the film contains sound, it must be established in advance who triggers the playback. If the video cue is to simultaneously trigger the light, it should be determined whether this happens manually, by command, or from the timecode.

The lack of such a division leads to a situation where each producer assumes that "someone else" will activate the appropriate element.

How does lighting interact with the LED screen?

Lighting and the LED wall should be treated as two layers of one scene image.

The LED screen can be one of the brightest elements of the entire space. If the content is very bright, the stage light may visually disappear. However, if the screen is too dark, it may stop fulfilling its function for the audience.

The most important thing is to find the right proportions.

Lighting should take into account:

• brightness of the LED wall,
• color of the content,
• position of the speakers,
• scenography,
• reflections,
• cameras.

For example, a bright, white presentation may require a different front level than a dark branding animation.

Colors also matter.

If the LED wall is intensely blue, and the entire stage lighting is also working in a similar shade, silhouettes may blend into the background. Adding another direction or contrasting backlight can improve separation.

Therefore the lighting design of the corporate event and multimedia design should be consulted with each other before programming the show.

How does light affect cameras?

Cameras do not perceive light the same way the human eye does. Therefore, a design that looks impressive from the audience may generate problems in video production.

The most significant factors are:

• level of light on faces,
• contrast,
• color,
• direction,
• flickering sources,
• relation with the LED screen.

A camera set to the correct exposure of a very bright LED wall can show an underexposed speaker as significantly darker than how the audience sees them.

Very contrasting concert looks can also be a problem.

For the viewer, the stage may look great due to strong backlighting and a very limited front. A side camera may then capture a face almost completely in shadow.

Therefore, the presence of cameras must be known to the lighting designer or the lighting operator.

When realizing a multi-camera event lighting must be assessed not only from the FOH position but also from the angles of individual cameras.

How do multimedia affect the exposure of the stage?

Multimedia affect exposure because LED walls and other screens become active light sources.

Content is extremely important here.

A white presentation board can emit significantly more light than a dark film or graphic. This means that conditions on stage change even when the lighting remains exactly the same.

Video should therefore take into account not only the aesthetics of the content, but also its brightness.

In corporate presentations, sudden transitions can be a problem:

dark intro → very bright slide → video → white board → live camera.

If all these materials have extremely different levels of brightness, the camera and lighting must react to very changing conditions.

A good solution is to preview key materials on the appropriate screen and coordinate the levels.

The multimedia project should therefore be part of the technical planning of the event, not the last file delivered a few minutes before starting the presentation.

How to synchronize light with music and playback?

Light can be synchronized with music manually, through cue or automatically using timecode. The choice depends on the type of event and the required precision.

For a simple host entrance, a message is enough:

“music GO”

 “lighting GO”.

Operators then perform the prepared actions on command.

For a more complex show, such as the opening of an event with music, LED animation, and precisely programmed lighting, manually triggering several quick changes may be less practical.

Then timecode can be used.

Audio or playback can provide a common time information, based on which the lighting console and video system trigger previously prepared sequences.

However, this does not mean that every part of the event should be automated.

A panel discussion or the CEO's speech usually requires flexible response, as the length of the speech is not precisely predictable.

Cue, timecode, and communication – three different tools

Cue, timecode, and communication solve different problems and should not be treated as substitutes.

Cue is a specific prepared action or state of the system. It can mean a change of light, starting a film, or switching the video source.

Timecode provides information about the position in time and allows for automatically triggering previously programmed actions.

Communication allows people to coordinate actions live.

Example:

the show caller says "Standby video 4, lighting 12, audio sting."

After a moment, "GO" is called.

Each department triggers the prepared cue.

Otherwise, a precisely synchronized opening is played. The show caller starts playback, and further lighting and video run automatically from the timecode.

These two methods can operate within a single event.

The most important thing is to choose the right tool for the type of segment of the program.

What does communication look like between FOH, lighting, and video?

Communication should be quick, unambiguous, and based on a previously established method of calling cues.

At larger events, technicians may work on intercoms. This allows the show caller, stage manager, audio, lighting, and video to have direct communication without the need to use phones or approach individual stations.

Commands should be short and clear.

Instead of:

"we're probably starting the movie soon, so you can prepare the lights"

better:

"Standby Video 7, Lighting 24, Audio playback 3."

Then:

"GO."

This approach limits the number of interpretations.

FOH, lighting, and video do not need to be physically next to each other, but should have a common communication channel.

For smaller events, a more simplified workflow is sufficient, but the principle remains the same: everyone must know,who gives the signal and what exactly the command means..

How to plan networks without creating a random LAN?

Audio, lighting, and video do not need to use a single common network. It is often better to maintain a logical or physical separation of infrastructure and connect systems only where necessary.

Audio can use a network dedicated to transport and audio control. Lighting can have its own network for nodes and control. Video may need a separate infrastructure for device control, streaming, or transmitting other data.

The problem arises when everything is connected to one random switch because "Ethernet is Ethernet."

Different systems may have different requirements regarding:

• addressing,
• multicast,
• traffic priorities,
• bandwidth,
• redundancy,
• switch configuration.

Therefore, integration should not involve connecting all RJ45 ports into one network.

If systems need to exchange data, it is necessary to specify exactly what information is being transmitted and where the boundary lies between networks.

This approach is particularly important in a complex technical implementation of the event, where many network devices operate simultaneously.

How to ensure redundancy for critical systems?

Redundancy should cover those elements whose failure would halt the event or cause the loss of a key function.

This does not mean doubling every device.

First, it is necessary to determine what is critical.

In audio, this can be playback, console, main signal path, or power for key devices.

In video, this may refer to PGM, playback, LED processor, or presentation source.

In lighting, the console, control network, or the ability to take over basic functions in case of a problem may be significant.

Redundancy should also be tested.

The second laptop in the case is not a real backup if switching to it during the show takes several minutes.

A good question is:

what exactly happens after the first system fails and how long does it take to get back to operation?

This allows us to distinguish actual redundancy from merely having backup equipment.

How to conduct a joint technical rehearsal?

The joint rehearsal should cover the entire course of the event from the perspective of dependencies between audio, lighting, and video.

It's not just about checking separately:

audio works,

 lights work,

 LED works.

That's just testing individual systems.

The joint rehearsal should check:

• inputs of the hosts,
• transitions between program points,
• video materials,
• playback,
• cue lights,
• lighting for cameras,
• return from video to live presentation,
• scene changes,
• emergency procedures.

Transitions are particularly important.

Individual fragments may look good separately, but the problem reveals itself at the moment of change.

For example, the film ends with a black frame, the video returns to the camera, but the lighting needs a few seconds to reopen the front. For a moment, the host appears on screen as a dark figure.

Such problems only emerge during a full rehearsal.

That’s why a joint technical rehearsal of the event should be a part of the schedule, not an optional addition after the editing is completed.

Typical conflicts between audio, lighting, and video

The most common conflicts arise not from equipment failures, but from the fact that individual systems were prepared independently.

Typical problems include:

• LED wall is too bright compared to the light on the speakers,
• lighting shines directly on the screen and lowers its contrast,
• video operator does not know the lighting cues,
• playback video contains sound, but audio did not receive the proper signal,
• presentation has different formats than the prepared video system,
• camera is in a location blocked by FOH or a set piece,
• fixtures shine directly into the lens,
• networks of several industries are accidentally connected,
• cues do not have a single owner,
• timecode is implemented without a prepared manual takeover plan,
• the rehearsal of each industry takes place separately, but there is no common transition of the whole show.

Competition for space can also be a problem.

Lighting, sound and video use the same:

• trusses,
• cable routes,
• FOH positions,
• power points,
• backstage space,
• setup time.

Therefore, integration should start even before setup.

That is when it can be determined which elements are common, which must remain independent and where the actual points of contact between the systems are.

Summary

The connection of lighting, multimedia and sound during the event is not about building one large technical system. The most important thing is to create one production logic for several independent industries.

The basis is a common scenario, a clear division of responsibilities, proper communication and defining synchronization points. The LED wall must be coordinated with the lights and cameras, playback with audio, and cue with the actual flow of the event.

Timecode and automation can increase precision, but do not replace the show caller, rehearsals, and contingency plans. Similarly, a common Ethernet should not mean randomly connecting all networks.

With comprehensive technical execution of the event the greatest value comes not from simply having audio, light and video, but from their coordination from the project stage to the joint rehearsal.

Frequently asked questions