Live & On-Site Deployments.
Every live production starts the same way for us: a television control room that fits in a case. Multiple camera inputs, full graphics, live audio mixing, and multi-platform streaming — portable enough to show up anywhere the event does, and configurable to whatever it needs.
What used to require a truck, a rack room, and a full television crew now travels in a case. At the center of it is a Blackmagic ATEM-series switcher — 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. Inputs, outputs, and configuration scale to whatever the show needs.
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.
Cameras
As many independent video sources as the production calls for — cameras, PTZs, media players, or graphics systems.
Switcher
A Blackmagic ATEM-series switcher, sized to the production — 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.
Multiple independent video inputs — SDI, NDI, HDMI, 4K, IP, or web — mean as many professional cameras, PTZs, media players, computers, or graphics systems as the show calls for, all 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 a multi-camera 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 — ensures your first line of defense operates at its strongest.
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.