Live & On-Site Deployments.
Every live production starts the same way for us: a television control room that fits in a case. Eight camera inputs, full graphics, live audio mixing, and multi-platform streaming — portable enough to show up anywhere the event does.
Cameras
Up to 8 independent 3G-SDI sources — cameras, PTZs, media players, or graphics systems.
Switcher
Blackmagic ATEM Mini Extreme ISO SDI — color, keying, DVE, and every cut, live.
Graphics & Audio
Lower thirds, roll-ins, and overlays layered in real time over a Fairlight-mixed program.
Output
Streamed to any platform and recorded — program, every ISO angle, every audio track — simultaneously.
What used to require a truck, a rack room, and a full television crew now travels in a case. At the center of it, in this example, is Blackmagic's ATEM Mini Extreme ISO SDI — full control-room capability, camera switching, graphics, audio, streaming, and recording, in a system small enough to set up in an office, a ballroom, or a convention hall in a few hours, not a few days.
The switcher itself is just the example, not the requirement — from an ATEM Mini to a Constellation, a Television Studio, a 4 M/E, or a Grass Valley Kayak, Blackmagic or not, we do it all.
We've run this setup for conferences, town halls, product launches, webinars, panels, worship services, award shows, and everything between — live, live-to-tape, or hybrid, with remote presenters dialed in from anywhere. Wherever it lands, it runs on two 55″ OLED displays: one dedicated to multiview, one to program out.
Eight independent 3G-SDI inputs mean eight professional cameras, PTZs, media players, computers, or graphics systems live on the board at once — each one individually color corrected, frame synced, and ready for keying, picture-in-picture, chroma key, or full DVE treatment. Switching a cut is one button. Building a broadcast-quality look around it is what the rest of the system is for.
The built-in Fairlight mixer handles every embedded SDI audio channel alongside external mics, with independent EQ, compression, limiting, and audio-follow-video — so nothing sounds like an afterthought next to eight cameras' worth of picture.
The system records the final switched program, every individual camera feed, and separate audio tracks simultaneously — then hands it all back as a live DaVinci Resolve project, cuts and all. An editor can reopen the exact production, swap a shot, tighten the pacing, or build an entirely new edit without reconstructing anything from scratch.
No racks, no all-day load-in. This setup moves into offices, conference centers, hotels, classrooms, houses of worship, theaters, or remote sites in hours, and it's simple enough that one experienced operator can run a production that used to need a full control room crew. Every event is a live one — there's no second take — so the system is built to be dependable first, flexible second.
One gigabit connection, one power circuit — running today.
A second dedicated gigabit line and dedicated power, so the system can hot-swap sources without a visible drop.
An identical, fully redundant rig — the difference between reliable and bulletproof. On the roadmap.