Places of worship · Festivals
Festivals and feast days, across all the days
Perunnal, utsavam, pooram, Ramadan nights. Multi-day production with the cameras, sound and screens the ground needs — and enough crew that day four looks like day one.
The short version
The job is the fourth day
A single service is a production. A festival is an operation. The technical requirements on day one of a perunnal or an utsavam are not the difficult part — most competent crews can deliver a good opening day. The difficulty is that there are five more, that the biggest one is usually last, and that by then everyone has been working sixteen-hour days on a dusty ground in April.
So festival work is scoped around crew rotation, spare equipment and shift handovers rather than around the shot list. If a plan does not say who is running camera two on the final evening, it is not a plan. We would rather quote you more people and deliver a consistent five days than quote fewer and hand you a tired crew on the day that mattered most.
The procession is the other thing that separates festival work from everything else. It leaves the building, it does not travel at a predictable speed, and it goes places a cable cannot follow. That means a mobile camera on a radio link, someone who knows the route, and a switcher operator who can hold a wide shot while the mobile camera repositions. Getting the procession right is often the whole reason the diaspora is watching.
Outdoors changes the fundamentals too. Power comes from wherever the committee can give it and needs conditioning. Sound has to reach across open ground competing with melam, fireworks and a crowd. Screens have to be readable in daylight, which is a different specification from screens in a hall. And every cable run crosses ground that a few thousand people will be standing on within hours.
What we do
The parts that make up the job.
Multi-day coverage
Planned as a run, not as separate bookings — with crew rotation so the final day gets people who are not exhausted.
Procession coverage
A mobile camera on a radio link that can follow the route, with someone who has walked it beforehand.
Sound across open ground
Reinforcement designed for distance, crowd noise and percussion, so speech carries without fighting the melam.
LED screens on site
So the people who will never get near the front can still see it. Sized and placed for daylight and for the real sightlines of the ground.
Live streaming throughout
To the church or temple's own channels, with our own bonded connectivity — a festival ground is the worst possible place to trust local internet.
A highlights film afterwards
The cut that gets used all year: for the committee's record, the institution's channel, and next year's fundraising.
What we cover
What we cover
Different traditions, largely the same operational problem.
Church perunnal
Parish feast days across Kerala — several days, a procession, and the largest congregation of the year.
Temple utsavam
The annual festival, with distinct rituals on each day that each need their own coverage plan.
Pooram and vela
Kerala's Medam season. Elephants, melam and fireworks, on a schedule tradition sets.
Ramadan nights
Thirty consecutive nights of Taraweeh — a month-long run rather than an event.
Navratri and Durga Puja
Pandal and temple work, heavy on screens and sound.
Christmas and Easter programmes
Carol services, Holy Week — four productions in eight days, not one.
The day
How a multi-day booking is planned
The parts that are decided weeks before anyone loads a van.
- 8+ weeks out
Lock the dates
Festival seasons collide. Crew, LED and sound all get committed early, and the good ones go first.
- 4 weeks out
Walk the ground and the route
Power, cable runs, camera positions, screen placement, and the procession route on foot.
- 2 weeks out
Build the rotation
Who is on which position on which day, and who relieves them. Named people, not headcounts.
- Day before
Rig and test
Everything in place and a full test stream the day before, not on the morning.
- Each day
Run and hand over
Shift changes happen between events, never during one, with a written handover for each position.
- After
Derig and cut
Off the ground cleanly, then the highlights film and the clips the institution will use through the year.
How it runs
How we work festivals
- 01
Scope the whole run
All days quoted together, because the crew, the kit and the logistics are one decision rather than several.
- 02
Plan for the crowd
Positions and cable routes chosen for the ground at peak, which looks nothing like the empty ground we survey.
- 03
Rotate the crew
Named relief for every position. The last day is usually the biggest and it should not be the worst covered.
- 04
Deliver the film that lasts
The stream serves the days themselves; the highlights cut is what the committee actually uses for the next twelve months.
Why Gloworks
One crew, one roof, start to finish.
We quote enough people
Under-crewing a five-day festival is the commonest way these go wrong, and it always shows on the largest day.
Built for outdoors
Power conditioning, dust, distance and daylight-readable screens are the normal conditions here, not the hard version of an indoor job.
The procession is planned, not improvised
Route walked in advance, radio link tested on it, and a switcher operator who knows what is coming.
One team for cameras, sound and screens
So nobody is standing between three vendors at eleven at night trying to work out whose problem the silence is.
Where we work
Where we work festivals
Across South India, with Kerala's Medam pooram season and the Christian feast calendar the regular runs. Multi-day festival work is exactly the kind of booking that justifies travel from Bengaluru, so distance matters much less here than it does for a single service.
- Bengaluru
- Kochi
- Kottayam
- Thrissur
- Thiruvananthapuram
- Chennai
- Coimbatore
- Hyderabad
- Mangaluru
- Goa
Frequently asked
The questions we get every week.
How far ahead should we book a festival?
Six to eight weeks minimum, and for the Medam season or Christmas, months. Festivals concentrate an enormous amount of work into a few weeks — crew, LED and sound all get committed early, and late bookings pay more for less.
Can you cover the procession as well as the ground?
Yes, and it is often the part the people watching from abroad care most about. It needs a mobile camera on a radio link and someone who has walked the route beforehand, so it is scoped as its own piece of coverage.
Do you supply LED screens and sound, or only cameras?
All of it, from one team. On a festival ground the screens are frequently the more valuable half, because most of the crowd will never get close to the front — and having one crew responsible for cameras, sound and screens means there is one person to call when something stops.
What happens if it rains?
Covers and weather protection on every position are part of the rig, not an afterthought, and the equipment we use outdoors is chosen for it. A festival does not stop for rain and neither does the coverage.
Can you handle a festival where events run in more than one place at once?
Yes, but they need their own crew and cameras rather than one team stretched across two locations. We will tell you honestly what a second location costs rather than pretending it can be absorbed.
Do we get something to use afterwards?
A highlights film, plus short clips for social. In practice this is what the committee uses all year, and it is worth agreeing what it should contain before the festival rather than after.
Keep reading
When is it, and how many days?
Those two answers are most of the quote. The earlier we have them, the better crew you get.