Platform 02 — Live production
Replace the hardware truck and the switcher with cloud-native production, so a distributed crew can cut a live multi-camera show from anywhere — at full quality, with replay and multi-platform delivery built in.
Taking fixed hardware and on-site crew out of the model changes the cost, the scale and the footprint of a production.
Over 50%
Reported saving per hour of live content produced, once fixed hardware and on-site crew requirements come out of the model.
70+
Camera feeds carried in a single production, frame-synchronised and individually addressable for cuts and replay.
~30%
Reduction per production from shared cloud compute, reused studio resources and less crew travel to venue.
Seconds
Time to stand up a production from an automated workflow template, rather than scheduling and rigging a facility.
These are published benchmark figures for the underlying platform technology, drawn from production deployments. They are not results from Synthis engagements, and they are not a performance commitment for any particular show — actual figures depend on your camera count, connectivity, crew model and delivery obligations. We will size the expected range against a real fixture during discovery.
The signal path that used to live in a truck, rebuilt as cloud infrastructure your crew reaches from anywhere.
Cameras feed the platform over standard internet protocols. The signal chain that used to terminate in an OB truck at the venue perimeter terminates in cloud infrastructure instead.
Feeds arrive frame-synchronised, each with a low-bitrate proxy tied to its full-resolution master, so proxy timing and master timing stay locked together.
Vision mixing happens against the proxy feeds from anywhere with a connection, while camera selections apply frame-accurately to the masters.
Multiple parallel curations run off the same production, so a broadcast cut, a social cut and a highlights version are versions of one show rather than three productions.
The same production feeds traditional broadcast alongside streaming platforms, with output quality tuned to each audience's expectations.
Everything the gallery used to do, addressable through software and an API.
Remote operators mix from frame-synchronised low-bitrate proxy feeds while selections apply to the full-resolution masters, which is what makes a distributed gallery viable over ordinary connectivity.
Camera contribution runs over standard internet protocols, collapsing the OB-truck signal path into cloud infrastructure that scales with the show.
Multi-camera feeds write into a time-addressable media store, so replays and highlight cuts are pulled straight from object storage by timecode instead of from a dedicated replay device.
Full crews work from separate locations through proxy editing, with no shared physical gallery required and no assumption that the team is in one building.
One production supports several parallel curations and versions, so content is repurposed for each destination as it is made rather than re-edited afterwards.
Productions stand up in seconds from automated workflows, with the operator interface configurable to the show rather than the show shaped around the tool.
Every editing action, event, camera selection and graphics overlay is reachable through a public API, so the production can be driven by your own rundown and automation logic.
Cloud resources scale to the production instead of carrying fixed hardware overhead between events, which changes what a marginal fixture costs to cover.
Shared cloud compute, reused equipment and reduced crew travel cut the footprint of every show without changing what goes to air.
Live output lands in the same media supply chain that handles the rest of the catalogue, so finished productions move to versioning, packaging and distribution without a separate handoff.
Contribution, control, distribution and integration points, so a broadcast engineer can check the platform against an existing production model.
Rundown, graphics, audio and audience-engagement systems connect through the platform's control API. Which specific products are certified for a given deployment is confirmed during workflow design — we will not assume an integration into a show plan before it has been verified against your version of the system.
We'll scope a single production end to end — camera contribution, remote gallery, replay and distribution — before you commit a season to it.
