In August, gospel singer Nathaniel Bassey participated in The Sound of Revival x Hallelujah Challenge, a live gospel event that presented a unique production challenge. Bassey was not physically present at the event venue, but his performance had to be incorporated into the live program seamlessly. Nigerian filmmaker and live production director Akhabue Evans, popularly known as Dir. En’Man, was behind part of the technical execution, working with the Koinonia production team in the United States to integrate Bassey’s remote participation into the event’s live production.
The production required coordination between En’Man and the team handling the event in the United States. The result showcased how internet-based production technologies are changing what is possible for African filmmakers, broadcasters, and event producers. This technology allows for the connection of different locations, enabling teams to build workflows that connect performers, speakers, or production specialists in various locations. The Sound of Revival x Hallelujah Challenge presented En’Man with an opportunity to apply this approach to a live gospel event.
Remote contribution is not new to production professionals, as television broadcasters have connected correspondents, guests, and studios across countries for decades. However, the range of technology now available to independent production teams and the quality of audiovisual material that can be transmitted between locations have expanded possibilities for concerts, conferences, religious gatherings, and other live events. This development enables teams to connect different locations, making it possible for Nigerian production professionals to participate in projects beyond the country’s borders.
The technical challenge of the production extends beyond establishing a connection. Technology becomes useful to an audience only when it serves what is happening on screen. In a live event, poorly timed transitions, inconsistent sound, or visual differences between feeds can distract viewers from the performance itself. This places greater responsibility on production teams to coordinate the technical and creative sides of an event.
For En’Man, whose work spans filmmaking and live production, the Sound of Revival project demonstrated how technology can be incorporated into the storytelling process rather than treated merely as production infrastructure. The project came before the maiden Media Experience & Advancement (MEXA) convention in Lagos, where En’Man shared aspects of production knowledge with filmmakers, cinematographers, musicians, and content creators.
The three-day MEXA convention incorporated practical demonstrations, including a music video production exercise that involved participants in different stages of the filmmaking process. The projects point towards an area of African creative production that is becoming increasingly important: the ability to combine traditional filmmaking skills with emerging production technologies. This development extends beyond acquiring newer cameras or equipment.
The significance of this development lies in understanding how technology can solve creative problems, connect people in different locations, and expand the scale of projects that can be delivered. The Sound of Revival provided one such test, where Nathaniel Bassey’s remote participation was seamlessly integrated into the live event. For En’Man and the teams involved, achieving this required filmmaking to operate beyond the boundaries of a single location.
Key points
- The Sound of Revival x Hallelujah Challenge showcased the use of internet-based production technologies in live gospel events.
- The production required coordination between En’Man and the team handling the event in the United States.
- The project demonstrated how technology can be incorporated into the storytelling process in filmmaking and live production.
