Screens Producing & Media Operations
Advanced Practice for Media Server and Video Content Preparation
ABOUT THIS SITE
In order to keep up with the ever changing landscape of creative video production, this site is a living document that will be updated to point to current resources and new developments. A reference site on the web relieves the inherent challenges of using printed words to talk about moving imagery.
This site is a companion to the textbook and is not intended to inform on its own. The textbook informs and this website expands on that information.
Readers are able to contribute to this catalogue of resources by submitting reference material. Please get in touch! Check out the Contact link to contribute.
ABOUT THE BOOK
Video screens used in scenery sit at the center of a rapidly evolving ecosystem of technologies in live entertainment. LED products, projection systems, media servers, and content creation tools continually advance in resolution, processing capability, and creative potential. Since the publication of the first edition, entire categories of media servers have emerged and disappeared, new codecs have redefined efficiency, and real-time content creation has reshaped production practices across live events, broadcast, architectural installations, and virtual production.
Amid this constant change, one reality remains: the teams responsible for bringing video to the stage are under ongoing pressure to learn new skills, adapt to shifting client expectations, and translate complex technology into practical solutions under tight budgets and timelines. Despite the sophistication of the work, there is still no widely adopted vocabulary or standard practice for communicating what screens professionals actually do.
This textbook establishes a structured practice that supports anyone involved in screens for live production—students, early-career practitioners, and experienced professionals alike. It is not an introductory text; readers are expected to have foundational experience in screen-based media, whether through content design, media server programming, or engineering. Familiarity with the challenges of show site work will make the workflows and tools described here more immediately useful.
The chapters outline an evolving methodology for screens production, built around clear communication and a shared technical and creative framework. The Content Delivery Workflow—first introduced in the original edition—remains central. It provides a flexible foundation that can be adapted to productions of any scale, from a single display to complex multi-screen environments combining LED, projection, real-time systems, broadcast routing, and interactive technologies.
Every show is different. Screen sizes change, pixel densities vary, engineering approaches diverge, and creative intent shapes how content must be delivered. A single, universal workflow for all productions is neither possible nor desirable. What is possible—and what this book provides—is a common language, a set of tools, and a clear process that empowers teams to define their own best approach. By focusing on communication, documentation, and repeatable practices, the text supports both creative exploration and operational reliability.
This second edition reflects the significant technological and cultural shifts of the past five years, expanding its guidance to include real-time graphics pipelines, virtual production, camera tracking, IP-based signal delivery, and emerging roles in modern media operations. It aims to help readers navigate a field that is advancing quickly, while grounding the work in practices that will remain relevant no matter how the tools evolve.