Live Streaming & Webcast Production

Live streaming for events that only get one take

Multi-camera streaming and webcast production for launches, conferences, festivals and tournaments. Planned properly, run calmly, and delivered anywhere from a Brussels show floor to a venue in Manresa or Mumbai.

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What we actually do

A live stream is not a camera pointed at a stage. It's a small broadcast: several cameras cut live, graphics and titles arriving on cue, audio that holds up when the room gets loud, a reliable path out to whichever platform your audience is watching on, and someone experienced sitting at the vision mixer making it all look effortless.

That's the job we do. We build the production around your event, whether that's a compact three-camera setup or something considerably larger, a single stream or several running side by side, and we run it on the day so you can concentrate on the event itself rather than on whether the stream is still up.

We work with event organisers, agencies, brands and broadcasters. Some of our work is esports and gaming, some of it is a car launch on a motor show floor, some of it is a religious community in Spain making sure the members who can't travel can still take part. The technical spine is the same. What changes is how it's wrapped.

Two ways to work with us

End to end. We scope the production, spec the kit, book the crew, run the show and hand you the recordings afterwards. One point of contact, one set of decisions to make.

Alongside your team. Plenty of our work is slotting into a production that already exists. For Boiler Room we did exactly that: their cameras, their people, our vision mixing backbone, built into a compact fly-pack around vMix so it could move between venues across Europe and as far as India without a freight bill attached to every show.

If you already have half a production and a specific hole in it, that's a normal conversation to have with us, not an awkward one.

Planning for the things that go wrong

Live events go wrong. Anyone who tells you otherwise has either been lucky or isn't telling you everything.

What we can do is make sure nothing goes wrong that we didn't already think about. Redundancy is a dial, not a switch, and every notch costs money. A second, independent internet path over bonded cellular or satellite is cheap insurance and we'd usually recommend it. Duplicating every camera, every encoder and bringing in backup power is a different conversation entirely, and for most events it isn't the right spend.

So we tell you where the dial sits. Before the job, in plain language, we'll walk you through where the single points of failure are, what each one would cost to eliminate, and what we'd do if it failed anyway. Then you decide with your eyes open. We would much rather have an uncomfortable conversation in pre-production than a comfortable silence followed by a surprise on show day.

We also prefer to record locally rather than rely on the platform's copy. What gets recorded is agreed when we quote: the programme output as cut, and where you want an edit afterwards, isolated camera feeds alongside it. Isolated recording is a separate item rather than an assumption, so it is worth raising early. It is the difference between your editor having a single locked mix and having something they can actually work with.

The right kit for the job, not the kit on our shelf

We spec equipment around what your event needs, not around what happens to be sitting in our warehouse. That sounds like a small distinction. It isn't. Advice from a company whose income depends on its own inventory going out of the door is never quite neutral, and you deserve neutral.

In practice, our productions are usually built around vMix and Blackmagic Design, with an ATEM Constellation 8K as the switching core, Blackmagic Web Presenters for delivery and Green-GO for comms. Cameras, lenses, lighting and audio are specified per job and brought in from partners we've worked with for years. For the Zeekr 7GT launch at the Brussels Motor Show, delivered with Sassy+, we ran a mix of fixed cameras and a wireless DJI Ronin 4D, worked alongside the client's presentation team, provided all the encoding on the ground and interfaced with the satellite truck handling the press uplink afterwards. When it turned out a hidden light was needed inside the car, we solved that on the show floor, because that's what the day asks for.

With a Constellation 8K at the centre of the rig, we switch and record in UHD where a project calls for it, and deliver the live stream in 1080p, which is what the overwhelming majority of platforms and audiences actually consume. If you need the live delivery itself in 4K, say so early. It changes the bandwidth, storage and budget conversation rather than just the picture, and we'll spec the encoding path around it.

Sometimes the whole system has to be light enough to carry on to the plane, because the gig to stream only appeared this week.

Multiple languages, multiple platforms

If your audience isn't monolingual, your stream shouldn't be either. We've built productions carrying several language feeds at once, including a purpose-built fly-away system for PlayStation, delivered with Engage Digital Partners, that produced a full set of independent programme outputs from a single transportable rack.

At a smaller scale, the same thinking applies to a two-language stream into Zoom for people who can't be in the room, or a simulcast that hits YouTube and a client's own private platform at the same time. Tell us where the audience is and we'll work backwards from that.

The audio position. The show mix, the mix-minus and the return feeds all live here.
Backstage on a multi-day show. vMix, a spare keyboard and the local fuel.

Some of the events we've streamed

Larian Studios, with Dreamtek. An eight-show series across two years, each show with its own specification, built on vMix and Blackmagic Design switching with Green-GO comms throughout.

Boiler Room. Vision mixing backbone for shows across Europe and into India, integrating with the promoter's own camera package via a compact, highly adaptable fly-pack.

Zeekr 7GT launch, Brussels Motor Show 2026, with Sassy+. Multi-camera live coverage of a European product launch on a busy show floor, including a wireless camera, full encoding on the ground and coordination with the satellite uplink for press distribution.

PlayStation, with Engage Digital Partners. A purpose-built flyaway delivering multiple independent language streams from one transportable system.

A religious community in Spain. A month-long retreat in Manresa made accessible to elderly and remote members through live language feeds over Zoom, PTZ cameras and audio installed in the space, plus a series of recorded sessions and interviews edited for their own private platform.

Read the Zeekr 7GT case study

If you want your brewery to look this good, get in touch. You bring the beer, we'll bring the cameras, the lights and the mics.

How we like to work

We are not a box that you put an order into. The productions that go well are the ones where we've understood what you're actually trying to achieve, not just the kit list you think you need, and where the conversation runs both ways from the first call to the final recording.

That occasionally means telling you something a salesperson wouldn't. If the budget doesn't fit the ambition, we'll say so, and we'll tell you what the budget does buy. If someone else is a better fit for what you need, we'll point you at them. We'd rather be the people you trust and come back to than the people who took one job and left you with an expensive lesson.

Live events shouldn't feel like a money pit, and you shouldn't be walking into one blind.

Questions

Frequently asked

What does a live stream cost?

It depends almost entirely on camera count, crew, venue and how much redundancy you want, which is why we quote after a conversation rather than from a price list. What we will do is tell you honestly what your budget can achieve before you spend it.

Do you work outside Belgium?

Yes. We're based in Brussels and work across Europe and internationally. Recent streaming work has taken us from a Brussels show floor to Spain and India.

What internet connection do you need?

Wired is always the first choice, and we'll tell you the sustained figure your show actually needs rather than guessing at it. Where a venue's connectivity is unknown or unreliable, we can add a second, physically independent path over bonded cellular or satellite, configured so that losing one connection doesn't take the stream down with it.

Can you stream in more than one language?

Yes. We regularly run productions carrying several language feeds at once, and the approach scales with how the interpretation is being produced.

Can you provide captions or subtitles?

Yes, we can arrange captioning as part of the production. Worth raising early if you're a public body or a large organisation, since accessibility requirements often shape the delivery rather than being bolted on at the end.

Can you stream into Zoom, Teams or a private platform?

Yes. Public platforms like YouTube and Twitch, a client's own player, corporate platforms, or several of them at once.

Do we get a recording afterwards?

Recording is part of most productions we run, and we will confirm exactly what is being recorded when we quote. Isolated camera feeds, which give an editor far more to work with than the live cut, are a separate item, so ask for them at quote stage rather than on the day.

Can you join our existing production team?

Regularly. Bring us in for vision mixing, encoding, connectivity or crewing, and we'll integrate with what you already have.

How far in advance should we book?

We take last-minute work, and we're good at it, but we'll be straight with you: the earlier we're brought in, the better the result. Early involvement means we can shape the production around what you're trying to achieve rather than working around decisions already made, and it gives us time to build the relationship that makes show day calm. Late is fine. Early is better.

How many people will be on site?

For a typical three or four camera production, expect three to five of us. We crew to the job rather than to a template, and we'll tell you what each role is for when we quote.

Let's talk about what your event actually needs

Tell us what you're planning, where it is and roughly what you have to spend. We'll tell you straight what's achievable, and if we're not the right fit, we'll say that too.

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