EQUIPMENT LIST:
SWITCHERS:
ATEM Constellation ME2 HD
ATEM HD8ISO
ATEM Extreme ISO SDI
ATEM Extereme ISO HDMI
Atem Advanced Panel 10
VIDEOHUB:
VideoHub 40×40
VideoHub 20×20
Cleanswitch 12×12
RECORDING:
Hyperdeck 4K Pro
Hyperdeck HD +
Hyperdeck 12G
Hyperdeck Studio 2
Video Assist 12G
MONITORING:
Smartview
Smartview Duo
Audio Monitor
Multiview 16
Multiview 4HD
Ultrastudio HD
Decklink Duo 2
CAMERA:
URSA Mini 4.6K G2
Pocket 6K
POV Cams: GoPro & AIDA
OTHER:
Atem Camera Control Panel
Teranex Express
Duplicator 4K
DaVinci Speed Editor
Web Presenter HD
Instant Replay: Vmix & P.I. Engineering w Elgato Stream deck XLs
BlackMagic DaVinci Resolve Replay Editor
Internet: Starlink Netgear Peplink
Climate: EcoFlow Wave 2 A/C
Power: EcoFlow Delta Pro & Smart Generator
TRANSMISSION:
ATEM Talkback Converter 4K
Hollyland Cosmo C1
Hollyland Pyro S
DJI Transmission
Camplex TACC Fibre Optic Spools
AJA FiDO Converters
Blackmagic 2110 IP Converter 3x3g
DRONE:
DJI Mini 4 Pro
DJI Mavic 3 Cine
DJI Avata (FPV)
DJI Inspire 2 (X5S)
AUDIO:
Behringer X32 Compact
S16 Stage Box
X-Touch Universal
Sennheiser G3/G4 Mic Kits
JBL 306 Monitors
RØDE Microphones Shotgun Mics
Audio-Technica USA BPHS1
The Live Stream King, a Toronto based livestreaming and audiovisual solutions provider, relies on an ATEM 2 M/E Constellation 4K live production switcher, in addition to numerous Blackmagic Design products, as part of its new modular OB truck. With more than 600 live streams under its belt, The Live Stream King produces and streams a range of events for clients such as Walmart, TD Bank and more.
Founded in 2020 by Director Ajeet Siewnarine, The Live Stream King recently introduced a modular OB truck equipped with Blackmagic Design, enabling seamless setups and enhancing flexibility to meet varied client needs.
“Many projects require in venue configurations where deploying a full truck isn’t feasible, so we opted for a modular approach that can be used on a case by case basis,” said Siewnarine. “This allows our team to select only the necessary gear for a specific project, eliminating the need to dismantle larger systems. Integrated patch bays further enhance safety and efficiency by enabling secure, rapid connections. This adaptable, semi permanent setup empowers The Live Stream King to confidently take on a spectrum of productions, both large and small.”
The ATEM 2 M/E Constellation 4K is pivotal for larger events, providing extensive input management, dual M/E functionality, and multiple AUX outputs for routing signals to recorders, displays, and more. This routing capability ensures seamless signal distribution, meeting client specific requirements, such as independent outputs for live streams and stage monitors. Additionally, networked software control facilitates dual operator functionality, eliminating the need for multiple video mixers.
“The ATEM 2 M/E Constellation 4K streamlines our operations by supporting a wide range of input formats with built in scaling, eliminating compatibility issues,” Siewnarine continued. “Advanced networking features, together with app based tools, provide unmatched control and flexibility. With an integrated streaming encoder, the ATEM 2
M/E Constellation 4K also reduces hardware complexity and costs, making it an invaluable asset to our workflow.” For events that require portability and compact setups, an ATEM Television Studio HD8 ISO live production switcher serves as a vital component, and for smaller scale productions, an ATEM Extreme ISO live production switcher provides a portable yet robust solution.
Rounding out the OB truck, a Blackmagic Videohub 40×40 12G router ensures efficient signal management, and a HyperDeck Studio broadcast deck provides reliable event recording and playback. SmartView Duo and SmartView 4K monitors address the truck’s unique space challenges by providing precise monitoring in cramped environments, and an ATEM Talkback Converter 4K enables communication and control, even in expansive production environments.
Always on the forefront of innovative workflows, The Live Stream King also recently implemented Blackmagic Replay complete with a DaVinci Resolve Replay Editor. “The Blackmagic Replay workflow is a game changer for us as it reads all the files directly, adds stingers, does replay and adds to the timeline. DaVinci Resolve Studio is used for editing, specifically if we want to edit the entire event or just the highlight reel of replays produced,” Siewnarine explained.
“Flexibility is everything in live production, and Blackmagic Design empowers us to meet any challenge, Siewnarine concluded. “The gear’s reliability and innovation ensure exceptional results at any scale. Looking to the future, The Live Stream King plans to expand into sports broadcasting, leveraging Siewnarine’s background in motor sports media to cover racing and other live sports using its modular OB truck.
ATEM Advanced Panel 10
As our atem me 2 constellation is rack mounted, we use the advanced panel for controlling the mixer. The mixer is situated near to the 40×40 VideoHub so that SDI Cables can be plugged in easily. All the advanced panel requires is power & a network connection, so it can be situated anywhere to the operators preference. In a Broadcast Trailer setting, the mixer can be situated inside the venue, while the advanced panel can be situated inside the truck, communicating with the mixer over the network. The operators prefer a tactile touch and manual control instead of having to navigate through the software on the computer. The Advanced panel can also be quickly programmed to control other mixers on the network.
Hyperdeck 4K Pro
The 4K Pro is used for recording & replay. this also works well with the DaVinci Replay System as it has a 10G Ethernet port. This means that files can be read much quicker than the older versions. At times, we often want a backup recording in 4K, so we will use the 4k Pro to do the initial record & then can be sent to HD mixers.
HyperDeck Studio HD Plus
The HD Plus is used along with other hyperdeck recorders to do record & replay. As the ATEM 2ME Constellation does not have ISO Recording, we use the HD plus to record individual channels or mixes (PGM Mix/Clean Feeds/Inputs) for the system. They are also used in conjunction with the HD8 & Extreme video mixers to record higher quality recordings or for backups. The flexibility of having cheap SD card media or connecting a SSD means that data transfer is much quicker at the end of an event.
URSA Mini 4.6K G2
While we do use other brand cameras depending on the project, the URSA has more flexibility and can be used with the ATEM CCU unit. Having the ATEM CCU being able to control the camera shading/colour/control means that the operators can focus on framing the shot. We use the URSA Mini for higher budget projects where we need the benefits of BRAW & higher recording formats for more latitude in post production. We can also equip it with B4 Lenses for corporate & sport events. Having a high frame rate is optimized for sports as well as being a netflix approved camera.
Pocket Cinema Camera 6K
Due to the smaller form factor and reduced cost, as well as the flexibility of the cheaper EF Lenses, the pocket series of cameras are a great option for getting great quality & raw (braw) on a budget. The ability to use small handheld gimbals enhances our production standard. These were a great stepping stone for us with working on a variety of projects eventually leading to the URSA mini and to the URSA Broadcast in the near future.
