Skateboarding does not slow down for anyone, so when we joined the World Rookie Tour as production partner, the standard camera package was not going to cut it. The answer was a fisheye rig, mounted low and close to the action, built to capture skaters the way skate videos have always been shot: right in the middle of the trick.

Over the past year we have livestreamed several panel discussions built around public health topics: "Bridging the Gap in Care," a conversation on access to treatment, and "When the Body Warns of Blood Cancer," an awareness event bringing together patients, doctors and advocates. Both were filmed and streamed the same way we would cover a corporate conference, with one difference: the stakes of getting it right felt a little higher.

Every April, dancers from across Europe travel to Dobrova pri Ljubljani for the Primoz Bizilj Memorial, a WRRC Rock'n'Roll World Cup event held in honor of one of Slovenian dancesport's most respected names. This year marked the 24th edition, and we were behind the cameras once again to bring it to viewers who could not be in the hall.

Hala Tivoli filled up fast for the 2025 World Hip Hop and Popping Championships, and while the dancers owned the stage, our crew was tucked into the control room keeping the show on air. Multi-camera live production for a dance competition is its own kind of challenge: the energy shifts in seconds, and the broadcast has to shift with it.

Not every livestream happens in a conference hall. For a recent series of interviews, we brought two guests together on a warm-lit sofa set, complete with a low table, fresh flowers and soft background tones, and ran it exactly like a broadcast talk show: multiple cameras, a live switch, and a relaxed but polished on-air feel.

When Marko Baloh, one of Slovenia's best-known ultra-endurance athletes, took to a stationary bike at BTC City for a full day of charity cycling, our job was simple to describe and hard to execute: stay live for twelve straight hours without a single dropped frame.

There's a moment in every job that matters more than people realize: the moment we confirm we're taking it on. For us, that confirmation isn't just a line in a calendar. It's the point where a client's event stops being a booking and starts being something we take personally.

Cankarjev dom is Slovenia's largest cultural and congress centre, and the events held there — performances, concerts, conferences — call for a different kind of production than a corporate briefing or a sports match.

Sports broadcasts sit at the opposite end of the spectrum from a formal panel discussion. Working with FIBA, the international basketball federation, means producing live coverage where the action moves fast, the crowd is loud, and viewers expect the kind of multi-angle, replay-driven coverage they see on TV.

Among the more demanding productions vzivo takes on are events for the European Parliament and the European Commission. EU-level events often mean formal proceedings, an international audience, and a level of institutional scrutiny that leaves no margin for a broadcast to look anything less than professional.

Two of vzivo's longtime clients, STA (the Slovenian Press Agency) and SDH (Slovenski državni holding), sit at the intersection of public communication and institutional trust. Both regularly need press briefings, announcements, and public events streamed in a way that journalists and the public can rely on.

Among the organizations vzivo works with are two of Slovenia's major banks, NLB and UniCredit. Banking clients bring a specific kind of pressure to a live production: the content is often financial or regulatory in nature, the audience includes journalists and shareholders, and there is very little tolerance for a technical glitch on screen.

A hybrid conference — part in-person, part streamed to a remote audience — creates more moving parts than either format on its own. Here's what we ask clients to think about before we bring in the cameras.

The equipment behind a livestream matters less than the story it tells, but it's still worth pulling back the curtain on what's actually in the bag.

Anyone with a phone can go live. Not everyone can guarantee that the stream stays up when it matters, that the audio doesn't cut out mid-speech, or that a panel discussion looks as sharp as the room it's filmed in.

Vzivo started in 2012 with a simple goal: bring broadcast-quality live production to events in Slovenia that couldn't justify a full TV crew, but deserved one.

Live production for a major conference or sports event doesn't start when the cameras go live — it starts weeks earlier, with a site survey, a signal plan, and a crew list.

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