WO2000014961A1

WO2000014961A1 - Remote virtual concert system and method

Info

Publication number: WO2000014961A1
Application number: PCT/US1999/020284
Authority: WO
Inventors: D. Parrish Craig
Original assignee: Creative Artists Agency Llc
Priority date: 1998-09-04
Filing date: 1999-09-03
Publication date: 2000-03-16
Also published as: AU5808099A

Abstract

A two-way performance transmission system and method for transmitting a performance from a live venue (100) to one to more remote venues (300).

Description

REMOTE VIRTUAL CONCERT SYSTEM AND METHOD

COPYRIGHT NOTICE A portion of the disclosure of this patent document contains material which is

subject to copyright protection. The copyright owner has no objection to the facsimile

reproduction by anyone of the patent document or of the patent disclosure as it appears in the

Patent and Trademark Office patent files or records, but otherwise reserves all copyright rights

whatsoever.

BACKGROUND OF THE INVENTION The present invention relates to digital audiovisual transmission systems for live

events. More particularly, the present invention relates to a system and method for capturing a live performance and transmitting and presenting a virtual performance at one or more remote concert venues.

Live concert performances provide spectators with an experience which far

exceeds the enjoyment of listening to audio recordings or watching music videos or even the

concerts themselves on television. Live sporting events and other live performances have similar advantages which live concert performances have over recorded sporting events and

performances. Artists, performers or athletes impart a high energy level to their audience and the excitement and response of the audience in turn boosts their performance levels. This interaction

between live participants and audience makes for a unique and highly desirable experience.

With respect to musicians, live concert performances are important, not only as a

source of revenue but also to promote sales of their recordings and merchandise. Thus, after a

new recording is released, promoters try to have the artists performance in as many live concert

venues as possible. However, to produce the greatest number of high quality live performances in

multiple venues, artists have heretofore been required to tour from venue to venue. Aside from

the artists themselves, each concert performance at each venue requires the participation of many

professionals, including producers, sound engineers, technical and pyrotechnic personnel and

road crew. Further, each change of venue for the concert performance requires movement of a

large number of instruments, amplifiers, monitors, stage props, concert set ornamentation,

pyrotechnics, light and laser light show equipment, and audio production and presentation

equipment.

Due to the extensive equipment movement, travel time, and set construction time

required to move between live concert venues, traditional multiple city concert touring has proven to be expensive for promoters and taxing on the performers and crew involved. What's more, artists usually tour only after an album is released, which may be only every three years or so on average. Consequently, the number of top acts available to tour each year is highly

uncertain. Moreover, fans in some cities often must wait for months, or even years, for the

performers to appear after the latest release of an album. Some cities are never reached because

the record company and performers are forced to make practical decisions and limit

performances to the most important cities for a particular tour. The fans in those venues would

be forced to travel long distances to the nearest venue; alternatively, the fans for those skipped

venues would wait for a lower quality video release sometimes produced after the concert tour to

be viewed in a standard movie theater or on a television screen providing a limited concert

experience, with no interaction between the performers and the viewing audience. In a live concert performance, the experience created by the production and sound

engineers is crucial for audience enjoyment. Although attempts have been made to present a live

concert at a remote location using satellite feeds of audio and video signals captured at the live

concert, the resulting experience of the remote audience is not substantially better than simply

watching the concert on television. Also, satellite transponder time is scarce and very expensive

for these types of satellite feeds. Further, concert performers have heretofore not been able to

experience audience reactions from the remote venue, which, as explained above, is important to

the presentation of an effective concert experience.

There is thus a need for a system which provides the full experience of a live

performance to remote locations.

BRIEF SUMMARY OF THE INVENTION Accordingly, it is an object of this invention to solve the problems with existing

systems described above.

It is another object of this invention to provide a system and method for two-way

transmission and presentation of a live concert, sporting event or other performance.

It is another object of this invention to alleviate the need for musical performance

artists to travel to every venue to perform and promote their music.

It is another object of this invention to reduce the expense and delays associated

with artists performing in multiple venues.

It is another object of this invention to alleviate the need for fans from relatively

remote areas to travel long distances to experience concert performances because artists and

concert promoters do not find it economical or practical to set concert dates in those remote

areas. It is another object of this invention to transmit and present a live audio and video

concert presentation at venues remote from the live performance with simulated live concert

audio, visual, and special effects so that audiences at remote venues will have a concert

experience similar to that presented at the live venue. It is another object of this invention to provide a system for collaboration between

audio and video capture of a live performance, and production, transmission, and presentation of

the performance at a remote venue.

It is another object of this invention to provide a quality presentation of a concert experience at remote venues.

It is another object of this invention to provide performing artists with interaction and instantaneous audio and visual feed back from audiences from remote venues.

It is another object of this invention to provide satellite or terrestrial broad-band alternative transmission mediums for transmission of a live performance.

The above and other objects are achieved by a system and related method

comprising capturing a live performance and transmitting and presenting a virtual performance at one or more virtual venues. The system includes a subsystem for capture and transmission of

high-quality audio, video and production signals from a live performance to one or more remote

venues for simulated presentation. The live venue where the artists or performers perform is

interconnected to a high-bandwidth two-way transmission system which distributes the signals to

the remote venues. The remote venues have high quality projectors, speakers and concert audio

and visual effect implements to enhance the virtual experience for the remote audiences.

For example, with respect to musical concerts, artists perform their musical works

on stage in front of a live audience or in a studio. Production personnel, stage crew and sound engineers control lighting, laser light show effects, amplifier volumes, stage props, and audio

mixing for distributed speakers located in the live venue if the performance is in front of a live

audience. Pyrotechnic personnel may control fireworks and special explosive effects at the live

venue. The inputs used to control the audio, video and special effects are digitized, if not already

in digital format, and captured by the system. Alternatively, if the live performance is not in

front of a live audience, the system merely captures the inputs from the personnel at the live

venue for transmission to the remote venues.

High definition television (HDTV) video cameras capture video signals of the live performing artists at the live venue. HDTV video tape recorders (VTR) are attached to the system to archive the video signals from the HDTV cameras. Video production personnel

control the video mix of signals captured from the video cameras to be taped or transmitted to remote venues.

Audio signals from the artists' microphones and instruments are mixed by sound engineers or production personnel to create the concert's bowl audio effect for concert audiences.

The mixed audio signals are captured by the system.

The captured audio, video and production signals are multiplexed together for

transmission. The system then routes the multiplexed transmission signal to a two-way large

bandwidth digital transmission system to carry the signal to the remote venues. The transmission

system comprises a two-way long or short haul transmission system and may comprise either a

fiber optic, terrestrial microwave satellite connection or a combination thereof.

At each remote venue, transmitted signals are de-multiplexed back to their

separate components. The video signals are routed to HDTV video projectors for projection of

the video onto a large screen so as to simulate the actual live performers. The audio signals are routed to various speakers so as to recreate the live venue's concert bowl audio effect for remote

audiences. Production data is processed and routed to machines wired to the system to control

concert effects similar to those at the live venue, such as lighting, laser light show effects, stage

props, and pyrotechnic effects. Production personnel and crew at the live venue may

communicate with personnel and crew at the remote venues who are aiding in simulating the

concert environment through talk back channels provided by the system.

Microphones and video cameras at the remote venue capture audio and video

signals of the remote audiences. The audio and video signals are routed through the transmission

system back to the live venue. At the live venue, the audio and video signals from remote venues are routed to audio and video monitors on stage to be presented to the performing artists.

Consequently, the artists performing at the live venue can see and hear real-time reaction to their performance from audiences at the remote venues and interact with them live.

Throughout the system, redundant hardened television production broadcast

components are used. Spare units for all critical path components are included at the live venue

and the remote venues. For example, spare cameras are used for capturing video signals at the live venue. Also, in case there is a loss of transmission between the live and a remote venue,

each remote venue has an HDTV master video of one of the previous recent performances of

artists which can be presented to audiences at the remote venue. Further, projectors at the remote

venues have cumulative presentation. The brightness of the normal image projected onto the

screen is the product two of HDTV projectors. If one of the cumulative HDTV projectors fails,

the second cumulative projector would already be calibrated in place projecting the show so that

the only change in the concert video experience is that the image becomes less bright. BRIEF DESCRIPTION OF THE DRAWINGS The invention is illustrated in the figures of the accompanying drawings which are

meant to be exemplary and not limiting, in which like references refer to like corresponding

parts, and in which: Fig. 1 contains a block diagram showing primary components of a system of the

present invention with a live venue, a transmission system, and remote venues;

Fig. 2 contains a block diagram showing the system of Fig. 1 in greater detail;

Fig. 3 contains a flowchart representing the signal flow of the system of Figs. 1

and 2; and Fig. 4 contains a block diagram showing components of a virtual ad insertion system.

DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENTS

With reference to Fig. 1, one preferred embodiment of the invention includes live venue 100, wherein artists 128 perform live in concert, with or without a live audience, and

includes one or more two-way transmission systems 200 for transmitting audio and video signals

from the live venue to one or more remote venues 300 where remote audiences may view the live

concert remotely. In accordance with the present invention, a live concert performance is

performed, produced and mixed by video and sound engineers, and producers use production

equipment located at the live venue 100. Audio, video and production signals are then routed

through transmission system 200 to one or more remote venues 300 for presentation to remote

audience 320. Production personnel and sound engineers can provide the proper audio mix and

video presentation to closely simulate the live concert experience to remote audience 320

through use of the system of the present invention, as described below. At live venue 100 artists 128 perform their musical works on a stage 110, which

may be accessorized with advertising sinage 338, in view of a live audience 104 or in a studio.

At live venue 100, production personnel, stage crew and sound engineers control lighting, laser

light show effects, amplifier volumes, stage props, and audio mixing for distributed speakers 106

located in the live venue. Pyrotechnic personnel may also be needed to control fireworks and

special explosive effects at the live venue.

With reference to Fig. 2, four high definition television (HDTV) video cameras 112 are used at live venue 100 for capturing video signals of the live performance. One of the

HDTV cameras 112 is used as a primary HDTV camera for establishing the basic center stage view of the live performance. Other HDTV cameras 1 12 are mounted on dollies, booms and in point of view areas to capture a full video experience. The video signals from the cameras are routed to an HDTV console/switch 114. Three standard D5 HDTV video tape recorders (VTR)

116 are attached to the video console/switch 114 for capturing simultaneously an archive copy of the video signals from three of the HDTV cameras 1 12. Video production personnel control the

video mix of signals captured from video cameras 112 to be taped or transmitted to remote venue

300.

In a concert performance, the artists sing into microphones 130 and perform on

electric instruments with pick-ups which produce audio signals. The system of the present

invention captures the signals which are mixed into 24 to 64 audio channels using a primary

audio mixing board 118. Sound engineers or production personnel mix the audio signals to

create the concert's bowl or surround sound audio effect for concert audiences with primary

audio mixing board 118. The mixed audio signals are routed to a multi-channel audio mixing

board 120 connected in slave relationship to primary audio mixing board 118. In multi-channel audio mixing board 120, the 24 to 64 channels fed from primary mixing board 118 are mixed

down to either six multi-channel plus 2 stereo outputs, or 8 multi-channel close to stereo outputs,

or 10 multi-channel plus two stereo audio outputs.

An HDTV audio and video transmitter/receiver 122 is linked to a two-way large

bandwidth digital transmission system 200 comprising either a fiber optic carrier 202, terrestrial

microwave carrier 204, or a satellite transmission system 306. Transmitter/receiver 122 may also comprise a digital compressor-decompressor (codec) for compressing outgoing signals, and

decompressing incoming signals. The transmitter/receiver 122 digitizes any analog signals

routed to transmitter/receiver 122, and converts some incoming signals to analog as required by some of the system's components. The audio and video signals are multiplexed together for transmission.

RS 422 data and talk back channels, and other assorted data channels are multiplexed in with the audio and video signals. All of the inputs from sound engineers, light show production crew, laser light production crew, pyrotechnic crew, and other production

personnel used to control lighting, laser light show effects, amplifier volumes, stage props, audio

mixing, video control commands, and pyrotechnic effects are captured from the respective

production equipment. An RS 422 talk back channel may be dedicated to provide for

communications between production personnel at remote venue 300 and live venue 100. The

production data and RS 422 talk back channels are combined into one digital signal by

transmitter/receiver 122, which multiplexes the signals in with the audio and video signals to

form one 270 Mb serial digital interface (SDI) signal to be routed through two-way transmission

system 200. Two-way transmission system 200 is typically digital, and is either long or short

haul, and uses multiplexing or statistical multiplexing to maximize bandwidth. The system is

flexible to allow the audio and video signals to be passed over multiple wide area network

topologies. In many cases, the live venue 100 and a remote venue 300 are located in the same

metropolitan area. For those instances, dark fiber 202 is employed to create a point-to-point fiber

connection between the two venues. In other cases, where the distances are greater, such as from city to city, the transmission system comprises a public fiber network 202 such as a Sonet

standard point-to-point fiber network provided by Metromedia Fiber Network, ICG Telecom

Group, or other local regional bell operating companies (RBOC). Long-haul fiber carriers, such as QWest and Williams CommunicationsNyvx can provide fiber service for longer distances where, for example, a remote venue 300 is located in a different country than live venue 100. Where fiber installations are not available, a terrestrial microwave carrier 204 is used between venues to reach the closest available fiber head ends. In other cases, especially where the concert

is transmitted concurrently to multiple remote venues, transponder time slots will be rented and local uplink and downlink trucks will connect directly to HDTV audio and video

transmitter/receivers 122 and 310 to implement satellite transmission system 206.

At each remote venue 300, HDTV audio and video transmitter/receiver 310 is

coupled to two-way transmission system 200. The signal is de-multiplexed into audio, video

production signals, and RS 422 data and talk back channels. The video signals are routed to an

HDTV video console/switch 312. Video console/switch 312 routs the video signals to a line

quadrupler/video de-interlacer 334 which enhances the quality of the picture signal The signals

are then routed to native resolution HDTV projectors 304 for presentation of the live video

signals onto a large screen 314 so as to simulate the actual size of the performers. Preferably, projectors 304 are capable of native HDTV resolutions to project images of at least 480 by 1920

lines (480P), 720 by 1920 lines (7202P) progressively scanned, or 1080 by 1920 lines interlaced

(1080i). The video signals remain in a standard digital format until they reach the HDTV

projectors, where they are converted to a red-green-blue (RGB) signal for the projectors.

At each remote venue 300, the de-multiplexed audio signals and any sound

production signals from the RS 422 channels or data channels are routed from

transmitter/receiver 310 to a multi-channel audio mixing board 316. The de-multiplexed audio

signals comprise a minimum of eight digital audio channels. In audio mixing board 316, the

sound production control signals are processed in order to steer the audio signals to various speakers 318 so as to create the concert's bowl or surround sound audio effect for concert audience 320 at remote venue 300 similar to the effect created for audience 104 at live venue 100. Before being routed to the final power amplifiers, sophisticated digital signal processors, such as OMNIDRIVE processors by BSS, are used to process the audio signals to provide a

synchronized and consistent audio experience for every member of remote venue audience 320.

A sub-woofer 332. may also provide base tone enhancement for remote venue audience 320.

State-of-the-art speaker systems such as those available from MYERS Sound Laboratories, EASTERN Acoustic Works, and JBL are used to create a premium audio experience for remote

venue audience 320. State-of-the-art surround sound systems such as systems offered by DOLBY Laboratories may also provide surround sound effects at remote venue 300.

At remote venue 300. data from the de-multiplexed RS 422 channel and other data

channels are processed and routed to machines wired to the system to control concert effects

similar to those at live venue 100 such as lighting, laser light show effects, stage props, and

pyrotechnic effects. The RS 422 channels or data channels may also comprise communication channels used so that production personnel and crew at live venue 100 may communicate with

personnel and crew helping stage the concert effects and production at remote venue 300 through

the RS 422 talk back channels. The outgoing signals for the talk back channels are digitized in

transmitter/receiver 310 and multiplexed for transmission. Signals received through the talk-

back channels are de-multiplexed and de-digitized in transmitter/receiver 310.

The inputs from the light production crew may also include signals for

synchronizing lights at each remote venue 300 with lights and effects at live venue 100. Personal computer (PC) controllers for controlling movable onstage background, spotlight and arena

lights at live venue 100 are linked through the RS 422 data channels to PC controllers at remote venue 300 for controlling movable arena lights at live venue 300. The software and firmware of the PC controllers at live venue 100 and each remote venue 300 synchronize movement of lights at live venue 100 with lights at each remote venue 300, while preventing lights at each remote

venue 300 from conflicting with projection by HDTV projectors 304.

The advertising signage 338 at live venue 100 may display a different sponsor

than the sponsor for one or more remote venues 300. The signage at live venue 100 is inevitably captured into the live venue video signals which are transmitted to each remote venue 100. The

sponsor for a remote venue 300 may wish to have their own signage 342 displayed at remote

venue 300 instead of the signage 338 captured into the live venue video signals. With reference

to Fig. 4, a virtual ad insertion system 402 located at live venue 100 can electronically replace

the captured images of the live venue sponsorship signage 338 with a remote venue sponsor^'s

signage 342, or seamlessly insert synthesized messages or logos onto the speaker grills or other

empty spaces on screen. Virtual ad insertion systems 402, such as CYBERSET O offered by ORAD Hi- Tec Systems of New York, New York, are available to insert advertising signage into video

signals. For systems which operate with National Television System Committee (NTSC) standard video signals, the live venue HDTV video signals captured at live venue 100 by HDTV

video cameras 1 12 are down-converted to NTSC by an HDTV to NTSC down-converter 404 for

ad insertion by virtual add insertion system 402. The live venue video signals are then up- converted back to HDTV by an NTSC to HDTV up-converter 406. The live venue video signals

are then routed through transmission system 200 to each remote venue 300 for projection by HDTV projectors 304 (Fig. 2) on to screen 314. The ad insertion system works similarly with systems which operate with Phase Alteration by Line (PAL) standard video signals. For ad

insertion systems which are HDTV compliant, the systems are not converted, and ad insertion is performed directly on the live venue HDTV video signals.

At each remote venue 300, a DI video camera 322 captures a video signal from

audience 320. The video signal from video camera 322 is routed through video console/switch

312. and then routed to audio and video transmitter/receiver 310. A microphone 324 at remote

venue 300 captures audio signals from audience 320. The audio signal from microphone 324 is routed to a mixer 326 to process the audio signal. The audio signal is then routed to

transmitter/receiver 310. The video signal from video camera 322 and the audio signal from

microphone 324 are then multiplexed and routed through transmission system 200 back to live

venue 100. At live venue 100, the audio and video signals from remote venue 300 are de¬

multiplexed. The video signal is routed to an on-stage video monitor 124 so that artists 128

performing at live venue 100 can see reaction to their performance from audience 320. The

audio signal is routed to an on-stage audio monitor 126 so that artists 128 can hear reaction to their performance from audience 320. If multiple remote locations are involved, separate audio

and video monitors are provided, or a single set of audio and video monitors is shared by

displaying the remote venue video signals in frames and switching between the various audio

signals.

Throughout the system television production broadcast components are used

which are hardened, or designed to be fault tolerant to the best commercial practice standards of

the television broadcast industry. In addition, redundancy in components is used at the live and remote venues. Spare units for all critical path components are included. For instance, spare

cameras 112 are used for capturing video signals at live venue 100. Another redundant feature of the system comprises providing a remote D5 master

HDTV video 330 recorder at each remote venue. In the event of transmission loss between the two sites, a high-definition D5 master HDTV video recorder 330 of one of the previous recent performances of artists 128 can be shown to audience 320 at remote venue 300 despite a catastrophic failure in transmission system 200. While the live performance is being presented at

remote venue 300, personnel at remote venue 300 track the live performance against the previous

performance video which contains the same order of songs in the artists' live musical set. As

soon as the transmission loss is detected, input into projectors 304 is provided from HDTV video 330. The audience merely notices a short pause in the video presentation on screen 314 while the

system is switched over to accept signals from HDTV video 330 instead transmission system

200.

Another redundant feature of the system comprises providing projectors 304 at

remote venue 300 with a fail safe mode. In some cases, the HDTV projectors have cumulative

presentation brightness of the normal image projected onto screen 314. Thus the image on screen 314 is the product of two HDTV projectors 304. If one of the cumulative HDTV projectors 304 fails, the second cumulative projector would already be calibrated in place

projecting the show so that the only change in the concert video experience presented on screen

314 is that the image becomes less bright. With reference to Fig. 3, a flow chart provides an illustration of the flow of audio,

video and production data through the system. The system captures live venue audio signals of a live performance at live venue 100, step 500, and allows the audio signals to be mixed, step 502.

Live venue video signals of a live performance at live venue 100 are also captured, step 504. The live venue audio and video signals are stored at live venue 100 for later presentation of the live performance, step 506. The system accepts further production and special effects signals, step 508, at live venue 100.

The live venue audio, video, and extra production and special effects signals are then multiplexed, as incoming signals from remote locations are de-multiplexed, step 510. The

multiplexed live venue audio, video, and extra production and special effects signals are

transmitted to remote venue 300, step 512. The live venue audio, video, and extra production

and special effects signals are de-multiplexed at remote venue 300, step 514.

At remote venue 300, the live venue audio signals are processed, step 516. The

processed live venue audio signals are then presented to remote audience 320, step 518. The

special effects signals are processed, step 520, and the special effects are presented, step 522, at

remote venue 300. The live venue video signals are presented, step 524, at remote venue 300.

At remote venue 300, remote venue audio and video signals of audience 320 are

captured, step 526. The remote venue audio and video signals are multiplexed, as incoming

signals (from the live location) are de-multiplexed, step 514. The remote venue audio and video signals are transmitted from remote venue 300 to the live venue 100 as signals from live venue

100 are transmitted to remote venue 300. step 512. The remote venue audio and video signals

are de-multiplexed as live venue signals are multiplexed, step 510. The remote venue audio and video signals are presented to the artists performing live at remote venue 100, step 528.

As a result, use of the system described above provides a near realistic, interactive

concert experience for audience and performer alike. The audience receives a complete concert experience that almost precisely duplicates the high quality sound presented to the live venue

audience and the various visual and audio effects which enhance the concert. The audience and performers interact on a real time basis, and the performer receives the benefit of the audience reaction. The performers also need not travel to as many remote locations to provide multiple

concerts.

The above example describes the system of the present invention in relation to transmitting a live concert performance. However, one skilled in the art would recognize that the

system could be applied to transmit other types of performances such as live sporting events or

plays.

While the invention has been described and illustrated in connection with

preferred embodiments, many variations and modifications as will be evident to those skilled in

this art may be made without departing from the spirit and scope of the invention, and the

invention is thus not to be limited to the precise details of methodology or construction set forth

above as such variations and modification are intended to be included within the scope of the

invention.

Claims

WHAT IS CLAIMED IS: 1. A two-way performance transmission system connected between a live venue

at which a live performance is performed, and one or more remote venues each having a live

audience, the system comprising: a live venue video camera located at a live venue for capturing a live venue

video signal of the live performance;

a live venue multi-channel audio mixing board located at the live venue for

mixing a plurality of live venue audio signals captured from the live performance into at least a first mixed audio signal and a second mixed audio signal; a remote venue video camera located at the remote venue for capturing a

remote venue video signal; a remote venue microphone located at the remote venue for capturing a remote

venue audio signal; a two-way transmission system for transmitting the live venue video signal

and the first and second mixed audio signals from the live venue to the remote venue and for transmitting the remote venue audio and video signals from the remote venue to the live venue;

a remote venue multi-channel audio mixing board located at the remote venue

for selectively routing the first mixed audio signal to at least a first remote venue speaker and the

second mixed audio signal to at least a second remote venue speaker;

a remote venue video display located at the remote venue for presenting the

live venue video signal; a live venue video display located at the live venue for presenting the remote

venue video signal; and a live venue speaker located at the live venue for presenting the remote venue

audio signal.

2. The system of claim 1, wherein the live venue video camera comprises a high

definition television video camera for capturing live venue high definition television signals.

3. The system of claim 2, wherein the two-way transmission system comprises a transmission system for transmitting the live venue high definition television signals from the

live venue to the remote venue.

4. The system of claim 3, wherein the remote venue video display comprises a

high definition television resolution projector.

5. The system of claim 4, comprising a plurality of live venue video cameras for capturing a plurality of live venue video signals of the live performance.

6. The system of claim 5, wherein the two-way transmission system comprises a transmission system for transmitting the plurality of live venue video signals from the live venue to the remote venue.

7. The system of claim 6. comprising at least a first high definition television resolution projector and a second high definition television projector located at the remote venue

for presenting the live venue video signals.

8. The system of claim 7, wherein the first high definition television resolution

projector is calibrated to overlap an image presented by the second high definition television

resolution projector.

9. The system of claim 1 , comprising a live venue video tape recorder for

recording the live performance.

10. The system of claim 9. comprising a remote venue tape player for presenting a

recorded live performance at the remote venue.

11. The system of claim 1 , comprising a remote venue tape recorder for recording

remote venue audio and video signals.

12. The system of claim 12, comprising a live venue tape player for presenting

remote venue recorded audio and video signals at the live venue.

13. The system of claim 1, wherein the two-way transmission system comprises a fiber carrier.

14. The system of claim 1, wherein the two-way transmission system comprises a

satellite transmission system.

15. The system of claim 1, comprising an ad insertion system for inserting signage into the live venue video signals for transmitting and presenting the signage on the remote venue

video display.

16. The system of claim 1, comprising a plurality of movable lights at the live venue for enhancing the live performance, a controller for producing lighting control signals for

controlling the movable lights at the live performance, a plurality of movable lights at the remote

venue for enhancing presentation of the remote venue video signal, wherein the two-way

transmission system is capable of transmitting the lighting control signals to the remote venue for

synchronizingly controlling the movable lights at the remote venue.

17. A two-way performance transmission system comprising:

a live venue video camera located at a live venue for capturing a video signal

of a live performance; a live venue multi-channel audio mixing board located at the live venue for

mixing a plurality of live venue audio signals captured from the live performance into a plurality

of surround sound audio signals; a remote venue video camera located at the remote venue for capturing a

remote venue video signal;

a remote venue microphone located at the remote venue for capturing a remote venue audio signal;

a two-way transmission system for substantially simultaneously transmitting the live venue video signal and the plurality of surround sound audio signals to the remote venue and the remote venue audio and video signals from the remote venue to the live venue; a remote venue multi-channel audio mixing board located at the remote venue for selectively routing the plurality of surround sound audio signals to a plurality of surround sound capable speakers for presenting a surround sound experience at the remote venue; a remote venue video display located at the remote venue for presenting the

audio signal.

18. A method of simulating a performance at one or more remote venues for a live audience, the method comprising:

capturing a video signal of a live performance at a live venue;

capturing a plurality of live venue audio signals from the live performance; mixing the plurality of live venue audio signals into at least a first mixed audio signal and a second mixed audio signal;

transmitting the live venue video signal and the first and second mixed audio signals from the live venue to a remote venue; selectively routing the first mixed audio signal to at least a first remote venue speaker and the second mixed audio signal to at least a second remote venue speaker; presenting the live venue video signal at the remote venue; capturing a remote venue video signal at the remote venue; capturing a remote venue audio signal at the remote venue; transmitting the remote venue audio and video signals from the remote venue

to the live venue; presenting the remote venue video signal at the live venue; and

presenting the remote venue audio signal at the live venue.

19. The method of claim 18, comprising capturing a plurality of live venue high

definition television video signals of the live performance at the live venue and transmitting the

plurality of live venue high definition television video signals from the live venue to the remote

venue.

20. The method of claim 19, comprising presenting the live venue high definition television signals using at least a first high definition television resolution projector and a second

high definition television projector located at the remote venue.

21. The method of claim 20, comprising calibrating the first high definition television resolution projector to overlap an image presented by the second high definition

television resolution projector.

22. The method of claim 18. comprising recording the live performance.

23. The method of claim 22, comprising presenting a recorded live performance at the remote venue.

24. A transmission system connected between a live venue at which a live performance is performed, and one or more remote venues each having a live audience, the

system comprising: a live venue video camera located at a live venue for capturing a video signal

of the live performance; a live venue multi-channel audio mixing board located at the live venue for

mixing a plurality of live venue audio signals captured from the live performance into at least a first mixed audio signal and a second mixed audio signal;

an effects production device for producing visual or audio effects during the

live performance based upon effects production data; a transmission system for transmitting the live venue video signal, the first

and second mixed audio signals, and the effects production data from the live venue to the

remote venue; and a remote venue multi-channel audio mixing board located at the remote venue for selectively routing the live venue video signal to a remote venue video display, the first mixed audio signal to at least a first remote venue speaker and the second mixed audio signal to

at least a second remote venue speaker, and the effects production data to a remote venue effects production device.