Places of worship · Temples
Temple live streaming and utsavam coverage
Festival production, seasonal darshan feeds and screens on the grounds — planned around the temple's own protocol, and around the fact that a pooram will not wait for your crew.
The short version
Two very different temple jobs
The first is the festival. Utsavam, pooram, vela, Brahmotsavam — a defined window, enormous crowds, elephants and percussion and fireworks, and an audience of devotees who could not travel. It is a live production job in the fullest sense: multiple cameras, sound reinforcement across open ground, LED screens so people at the back can see anything at all, and a stream that has to hold up while a few thousand phones on the same ground fight for the same towers. It is also the single least forgiving scheduling environment we work in, because the muhurtam does not move for a cable fault.
The second is the ongoing darshan or aarti feed — a fixed camera or two, running to a schedule, week after week. That is an installation problem rather than a production one: the right question is not what it looks like on day one but what it looks like in month eight when nobody has touched it.
Between those two sits the part worth being honest about. The very largest institutions do not buy this the way a mid-size temple does. The big devasthanams run their own broadcast operations or award the work through formal tenders with pre-qualification criteria, and a Kerala temple under a Devaswom board sits inside a procurement process rather than a phone call. If you are a board, we will respond to a tender. If you are a trust secretary or a festival committee wondering whether this is worth doing at all, that is the conversation we are actually built for.
Protocol is a design input and it varies more between temples than any other tradition we work with. What may be filmed and from where, whether a camera may be in a given space at all, who may operate it, and which parts of a ritual are simply not recorded — none of that is guessable and all of it gets established before we quote, not on the day. A crew that has to be told to move mid-ritual has already failed.
What we do
The parts that make up the job.
Utsavam and festival coverage
Multi-camera production across the festival ground and the procession route, with crew rotation for multi-day events and a plan for the hours when everything happens at once.
Seasonal darshan and aarti feeds
A fixed, scheduled stream that runs without a crew present — installed once, designed to be started by temple staff, and built to still work months later.
LED screens on the grounds
So the people who cannot get near the sanctum can still see it. Screen sizing and placement worked out for daylight and for the actual sightlines of the ground.
Sound reinforcement outdoors
Open ground, percussion and crowd noise are a different problem from a hall. Coverage planned so speech carries without the system fighting the melam.
Recorded highlights
A cut of the festival worth publishing afterwards — for the temple's own channel, for the committee's record, and for next year's fundraising.
Tender responses
Where a trust or board procures formally, we will put together a proper technical response rather than a brochure.
What we cover
What we get asked for
Ordered roughly by how often, not by how large.
Annual utsavam
The temple's own festival — several days, a procession, and the largest crowd of its year.
Pooram and vela
Kerala's Medam season. Elephants, melam, fireworks, and a schedule set by tradition rather than convenience.
Brahmotsavam
Multi-day, ritual-dense, with distinct events each day that each need their own coverage plan.
Daily or weekly aarti
A scheduled feed rather than an event. Installed and left running.
Kalyanotsavam and special poojas
Sponsored rituals that a family abroad has paid for and wants to watch.
Consecration and kumbhabhishekam
Once in decades. The one where nothing may be missed.
How it runs
How a temple booking runs
- 01
Protocol before technology
We meet whoever decides what may be filmed, and establish the restrictions in full — spaces, rituals, people, timings. Everything after this is designed inside those limits.
- 02
Walk the ground
Power, cable routes across ground the crowd will occupy, camera positions that survive a procession, and where a screen can actually be seen from.
- 03
Plan for the crowd, not the empty ground
Positions and cable runs are chosen for how the ground looks at peak, which is nothing like how it looks the week before.
- 04
Run it and clear out
Crew through the festival, then derig without leaving anything behind for the temple to deal with.
Why Gloworks
One crew, one roof, start to finish.
We ask before we point a camera
Restrictions are established with the temple in advance and briefed to every crew member. Nobody has to be corrected mid-ritual.
Built for open ground
Outdoor power, distance, dust and crowds are the normal conditions here, not the difficult version of an indoor job.
A schedule that cannot slip
Ritual timings are fixed. We rig to be ready early, because there is no version of this where the event waits.
Honest about tenders
If your board procures formally, we will tell you that plainly and respond properly, rather than pretending a quote is what you need.
Where we work
Where we cover temples
Bengaluru and Karnataka, Kerala's Medam festival circuit, Tamil Nadu, coastal Karnataka, Telangana and Goa. Festival work is worth travelling for and we plan multi-day bookings around it; a single pooja a long way from Bengaluru rarely justifies the travel, and we will say so rather than quote it.
- Bengaluru
- Kochi
- Kottayam
- Thrissur
- Thiruvananthapuram
- Chennai
- Coimbatore
- Hyderabad
- Mangaluru
- Goa
Frequently asked
The questions we get every week.
Can you set up a live darshan feed that runs without a crew?
Yes. That is an installation rather than a production — fixed cameras, a stable encoder, and a start-up process temple staff can follow. The design question is not what it looks like on the first day but whether it still works in month eight, so we specify for reliability and keep the operating steps as few as possible.
Our temple has restrictions on what can be filmed. Is that a problem?
No, it is a normal design input. We establish exactly what may be filmed, from where, and by whom before we quote, and brief every crew member on it. Most restrictions are solvable with a longer lens or a remote camera rather than an exception.
We are under a Devaswom board. How does this work?
Through the board's procurement process rather than a direct booking. We will respond to a tender with a proper technical submission. If you are a trust or a festival committee that procures independently, we can quote you directly — worth checking which one applies to you before either of us spends time.
How many cameras does a festival need?
Fewer than people expect for the sanctum and more than they expect for the procession. A typical utsavam runs three to four positions plus a mobile camera for the procession; a pooram with a large ground and melam needs more, mostly for coverage of areas a fixed position cannot reach.
Can you supply LED screens as well as the stream?
Yes, and on a festival ground they are often the more valuable half — most of the crowd will never get near the sanctum. Screen size and placement depend on daylight and sightlines, so it is worked out on the ground rather than from a catalogue.
When should we book for the Medam season?
Months, not weeks. Kerala's festival season concentrates an enormous amount of work into a few weeks and crew, LED and sound are all committed early. If your utsavam is in April or May, the conversation should start by January.
Keep reading
Tell us when the utsavam is.
Festival dates are fixed years ahead and crews are not. The earlier we know, the better the plan and the better the price.