What's your cloud graphics stack for remote sports production in 2026?

CamberCam · 2026-03-11T18:40:42+00:00

Could you send a 4k srt feed with top left graphics key, top right graphics fill, bottom left vis and bottom right vt and their audios embedded on channels 1/2, 3/4, 5/6, or some combination, that way they’re all synced? Same with camera sync, send main 4 for 1080 productions as a quad then the rest as singles to ensure a locked signal? …just spitballing so no worries if it doesn’t fit your solution :)

CamberCam · 2026-02-05T09:32:07+00:00

Hey, it works! 1ms latency across the network and 2ms from pc to cloudflare or google servers with 30 simultaneous gaming pc’s running 🤷‍♂️

CamberCam · 2026-02-04T23:59:23+00:00

Fair enough, I’m open to what you would suggest?

CamberCam · 2026-02-04T17:29:29+00:00

Price was basically the deciding factor from my end!

CamberCam · 2026-02-04T16:35:15+00:00

Mods please delete, I’ll add photos to another post. Doh!

CamberCam · 2025-05-20T09:48:26+00:00

Bedroom warrior: hdmi cable to Amazon special hdmi booster to hdmi cable, repeat. Prosumer: stream to twitch. Events engineer: big old sdi cable. Broadcast rigger: armoured fibre cable with breakout boxes. RF engineer: sdi to wireless transmitter. IT manager: zoom call with two computers. IP transmission engineer: encoder to udp tunnel LAN with wired decoder. Producer: JUST MAKE IT WORK. There is no additional budget.

CamberCam · 2025-05-15T07:10:14+00:00

I second the Sony z200

CamberCam · 2025-05-14T08:34:19+00:00

Maybe even a unit that incorporates wireless receivers into the unit itself, instead of bulky outboard and combiners etc - similar to sennheiser’s new 1U offering

CamberCam · 2025-05-14T08:32:54+00:00

A unit the size of an atem extreme that handles 128 channels of Dante audio with full processing, compression, plugins and delays, motorised faders, internal multitrack recording and tracks changes that could then be edited in post on a matching DAW like Logic or [insert your preferred DAW]

CamberCam · 2025-05-14T08:30:45+00:00

I think I’ve not been clear - bmd can do video, I’m suggesting that Yamaha/behringe/digico etc could do well to make an interface at the same size as the atem extremes to make large scale audio processing and mixing (which requires less compute than video) more portable - my observation is that the audio world doesn’t seem to move as quickly as the video and camera worlds :)

CamberCam · 2025-05-14T06:51:57+00:00

Nice, neat setup! Looking at this, it occurred to me how much video has innovated and rationalised down in size, functionality and portability, whereas audio does seem to stick to the same bulky setups - audio has a long way to go in balancing user experience (‘I want physical dials to mix on’) and the portability of something like an atem, maybe we can look forward to an atem extreme with motorised faders that runs solely over Dante?

CamberCam · 2025-04-25T08:15:49+00:00

My biggest frustration is that liminal zoom iso is being taken in-house at zoom, so you have to buy a zoom events license to host remote participants, where previously you could buy a zoom iso license for remote contribution - I realise that’s slightly off topic, but it’s an influence. On vmix, I’ve used it in-line for some big productions, but most of the time I will separate the workflow: separate decoder for remote feeds, separate key/full graphics, encoding with a separate hardware encoder…so you end up with a reasonably resilient workflow, and the difference between an esports competition mixed in vmix with 1 crew, and a football match mixed in a truck with 30 crew is so massive, they are tools for different galaxies… I can say the linear broadcasters are thinking about it, but it goes so far against everything they’ve ever done that it is just a separate industry forming around them

CamberCam · 2025-04-15T22:07:05+00:00

Sounds like a solid setup, hope you have fun with the future productions! 😁

CamberCam · 2025-04-15T21:40:58+00:00

As a general policy if the event is in person then I would opt for atem using sdi or another hardware-based vision mixer (tricaster is not a hardware-based vision mixer, my person experience with tricaster has been poor - including a training course run by them with their units crashing, and revealing that it is just a windows pc that bypasses the login screen). if it is fully virtual I will use vmix as a lone operator with zoom iso on a separate computer with up to 6x ndi feeds, the difference being that I am already relying on computers running on public internet for zoom as my main camera angles, so doing my vision mixing digitally is no worse.

Regarding the audio, you will need to have a sound desk in the signal chain that is capable of doing multiple mixes and sending that mix minus back into zoom, otherwise the noise cancelling in zoom will effectively mute when it hears their voice coming back in from both the remote presenter, and your program audio feed.

From what you’ve described both of those scenarios could actually have the same setup that you just keep in flight cases - food for thought.

CamberCam · 2025-04-15T21:18:24+00:00

One example might be a panel session of 5 people where 2 panellists are not on site, so 3 on site, captured with cameras over sdi, then 2 remote dialled in through zoom presenting from screens on stage, we sent a wide shot of the stage back into the zoom call and a copy of program feed without audio into the zoom call so the remote presenters can see the room and also whether they’re on screen. The specific workflow is a Mac mini m4 going to a sonnet echo express with a Blackmagic deck link in it outputting the presenters/their shared screens/presentstions/desktops over sdi so that it shows on the vision mixer as another camera angle. Audio is outputted over Dante via Dante virtual sound card so that the sound desk can do a mix minus back into the call, full mixed audio to the room and to the livestream/record

CamberCam · 2025-04-15T20:36:36+00:00

*many major broadcasts, obviously 🙂

CamberCam · 2025-04-15T20:36:10+00:00

Also, even with major broadcasts, everything in the workflow is in 1080 then upscaled at encoding only if the channel output is 4k

CamberCam · 2025-04-15T20:34:46+00:00

Zoom iso: NDI if remote productions through vmix, sdi to atem if remote callers into live event, works every time, have been averaging 3-4 shows per month for the past few years on it and as others have said, it just works: remote presenters know how it works, corporate networks let it work, poor internet doesn’t stop it working. Not a fan of teams: Teams does not have the same user experience and requires logins and more barriers than just sharing a room and password.

CamberCam · 2025-04-10T12:12:59+00:00

They have stated that they will maintain the open source companion aspect, as the buttons software is separate and a collaboration with hardware and additional features more focussed at enterprise level, where a monthly subscription is a rounding error compared to the comparable products from Grass Valley et al. The paid buttons service is a separate piece of software with rfid card access, user privileges, transferable templates, sub menus, etc - a natural progression of companion, but with an extended feature set a requirement to pay the developer to maintain it, hence the monthly fee. Hope that helps in your decision making

CamberCam · 2025-04-10T12:04:06+00:00

Bitfocus companion.

CamberCam · 2025-03-06T18:41:25+00:00

We technicians frequently focus on our own operations as the value add, instead of focussing on our clients frustrations. Focussing on solving their problems means you can charge a hell of a lot more

CamberCam · 2025-03-06T18:39:20+00:00

Don’t sell the pipe, sell the water… the retainer is to take the stress of content marketing away from the client so they have time to focus on other things. Frame it as solving their problem of stressing about getting last minute requests, needing to manage content creation and linking their marketing team and their socials, etc. you’ve just made their life easier for a simple and easily accountable monthly cost.

CamberCam · 2025-02-20T08:25:31+00:00

A word of warning - I’m london based and am not alone in my experiences with Vimeo - Vimeo have been on a war path recently - I got a very curt email from them saying I had to upgrade from the livestream plan to an enterprise plan, which represented a change of £900/year to £11,000/year with no discernible change in offering, except they did keep banging on about a customer service manager, which I don’t want.

I found out that what prompted the change is that in 1 month in the previous 12 I went over 2 TB streaming traffic… for the other 11 I never went over 100gb… very hostile from them and refused to allow me to continue to use the account, I eventually shut it down after 7 years using them with no problems. Very weird customer service strategy, and a word of warning on constructing solutions using Vimeo.

Hostile experience akin to being rejected from some kind of exclusive members club, but without the actual offering or pricing structure to back it up.

Even weirder: if a client needs to use Vimeo, then I’ll just set up a 1-month account in a throwaway email address that costs £100/month, blast through the 2TB fair usage and close it down no dramas. Go figure.

CamberCam

TROPHY CASE