Julian Assange Campaign — Remote Livestream & 48-Hour Telethon Production
Across a series of events surrounding Julian Assange’s High Court proceedings in 2024, I provided remote livestream production for broadcasts supporting the campaign against his extradition.
The project began with The Fight to Free Julian Assange, combining coverage from a public event at Conway Hall with pre-recorded interviews, campaign messages and contributions from the UK and internationally. I produced the programme remotely through vMix, bringing together incoming camera feeds, recorded material, graphics, lower thirds and location identifiers into a single broadcast.
This developed into a much larger production for Assange’s two-day High Court hearing in February: a 48-hour continuous telethon broadcast through the Stella Assange and Assange Defence channels. During court hours, live feeds from outside the Royal Courts of Justice were combined with presenters, interviews, speeches and updates from the demonstration. Between live segments, the programme continued with pre-recorded interviews, panel discussions, performances and campaign material. The production schedule covered both days of the hearing and continued overnight.
Because events outside the court could happen while another item was already on air, I built a workflow that allowed incoming live feeds to be delayed and replayed, meaning important speeches or interviews could still be included rather than being lost while a pre-recorded segment was playing.
Later broadcasts expanded the setup further, incorporating professional live camera feeds, remote interviews and multi-person panels. I mixed contributors joining remotely through Zoom alongside the live coverage and produced clean programme feeds for onward distribution. The workflow also included live clipping, allowing complete speeches and other important segments to be extracted from the incoming feeds and delivered to the social media team while the event was still taking place.
Across the project, the production combined live cameras in London, remote contributors, pre-recorded programming, graphics, social media content and multiple distribution channels. It demonstrated how a complex rolling news-style broadcast could be produced remotely, while camera crews and presenters concentrated on covering rapidly developing events on location.
