Commentators join from a browser with a link. You mix them against the live program and deliver every language and format at once — from a single voice to a composed, multi-group broadcast. Two ways in: by what you want to do, or by an example close to your show.

One screen: the program on air, a commentator's voice on it, the mix metered, and the delivery routes.

A commentator needs nothing but a link — no install, no dedicated hardware, no fixed location. The whole invite loop, from an empty slot to a live voice:

1. 01

   The roster

   Every commentator has a slot on the connections desk, waiting for whoever will fill it.

   
2. 02

   Hand out a link

   Mint a join link for a slot and share it — a single click copies it, ready to send.

   
3. 03

   They open their page

   The commentator opens the link in a browser: their own page, pinned to their slot, with the live program returning to them as they'll talk over it.

   
4. 04

   On air

   When they start, the operator's desk shows the voice live — nothing sent, nothing installed.

   

The commentary rides against the program on the live on-air bus. Balance, cut and align — every move takes effect on air as you make it:

1. 01

   The mix desk

   The program bed on the left, each commentary mic metered in the middle, and the master that reaches air on the right.

   
2. 02

   Balance the voices

   Ride the master and the gain to air follows the fader in real time.

   
3. 03

   Arm the cut

   Taking a source to or from air asks for a deliberate second click, so nothing changes by accident.

   
4. 04

   Cut to air

   Confirmed, the source cuts on the live bus.

   
5. 05

   Pull into sync

   Nudge a late feed and the alignment readout follows, so voice and picture line up.

   

Beyond the voices going to air, a producer coordinates the booths over talkback — with their own console, kept separate from the mix.

1. 01

   The producer's console

   Cans, mute and open-to-all talkback to the booths — the producer works the show without going to air.

   
2. 02

   On the operator's console

   When a show has a producer, the console carries them alongside the commentators.

   

Half time, a technical fault, a pre-match hold: the operator cuts the program to a slate or a loop, and back. What makes it safe is that the feed they left stays watchable the whole time.

1. 01

   Before the cut

   Three monitors above the media library: the off-air audition, the incoming feed, and what is going out.

   
2. 02

   Take the slate

   Playing a file IS the takeover — it goes to air at once, with the commentary mix still riding on top.

   
3. 03

   The feed you left

   Every other monitor is downstream of the cut, so they show the slate. The live-source tile is tapped before it, so the incoming feed stays visible — for free, at about a frame a second.

   
4. 04

   Watch live

   When a glance is not enough, full motion from the source on demand — so you can tell a feed that is really back from one that is merely connected.

   

The program can be built by a compose stage rather than passed straight through — a Shot Bar of named shots keys a graphic over the feed, preview-then-take, and the composed picture drives the delivery ladder like any other source.

1. 01

   A composed program on air

   What reaches air is built by the compose stage, not passed straight from the ingest — the program hero carries the composed picture, the feed with a score bug keyed over it.

   
2. 02

   The Shot Bar

   Named shots as tiles — the clean feed, commentator picture-in-picture shapes, an L-bar, a lower third, a score bug — each a single take, with the live program and its preview above. Shots whose sources aren't live are greyed out with the reason.

   
3. 03

   Preview, then take

   Select a shot and preview it: the look is staged on an off-air preview bus, without touching what's on air, until Take commits it.

   
4. 04

   The advanced compositor

   Behind a toggle, the full compose surface — every layout preset, the sources ordered into layers, and saved scenes — for the looks the named shots don't cover.

   

One mix, several routes out — for players, for downstream contribution, and straight to social. A deployment can carry more than one delivery group:

1. 01

   Renditions and groups

   CMAF and HLS renditions, an SRT mezzanine for contribution, and more than one delivery group when the show needs it.

   
2. 02

   Vertical and social

   A 9:16 program pushes straight to a social feed over RTMP.

   
3. 03

   Health at a glance

   Every egress reports its own state, so a failing route shows on the console — here, five live at once.

   

The deployment isn't wired by hand. Describe the show and the product generates the broadcast graph behind it — the plan on the right tracks what you build:

1. 01

   Describe the sources

   Add your commentators and their languages; the plan counts them as you go.

   
2. 02

   Choose the delivery ladder

   Pick a delivery preset and the ladder expands to its rungs.

   
3. 03

   Add the outputs

   Add delivery groups and a push destination; each is reflected in the plan.

   
4. 04

   Ship it

   When the plan reads valid, build the deployment — the graph comes from what you described.

   

The smallest real show — everything else scales up from here.

1. 01

   The shape

   One commentator on a mic, mixed into a single CMAF ladder with an SRT mezzanine alongside.

   
2. 02

   On air

   The program on air with every egress live — the whole show on one screen.

   

Three commentators, each on their own language, delivered as separate renditions. A tour of the console that runs it:

1. 01

   On Air

   The show at a glance — three voices, the program, the delivery.

   
2. 02

   Connections

   The roster and the join links for all three voices.

   
3. 03

   Audio

   Per-voice faders and meters for the mix.

   
4. 04

   Outputs

   A rendition per language going out, each with its own health.

   

The three voices summed onto a single bed and balanced against the program. The full desk is under Live mixing:

1. 01

   One mixed bed

   Three mics metered individually, summed into the one master that reaches air.

   
2. 02

   Ridden to air

   The master cut live on the on-air bus.

   

The three-language show with a producer added on talkback, coordinating the booths without going to air.

1. 01

   The shape

   Three commentators and a producer, carried together on the console.

   
2. 02

   The producer's console

   Cans, mute and open-to-all talkback — separate from the voices on air.

   

The same three-voice shape, but the voices arrive as SRT contribution feeds rather than browser mics — the same rail, a different ingest.

1. 01

   The shape

   Three SRT contributors feeding the same console.

   
2. 02

   A contributor's feed

   Each contributor gets a status page with the feed-in details.

   

A single-commentator show bound for a vertical social feed — a 9:16 program pushed to a CDN over RTMP, the console laid out portrait to match the show:

1. 01

   A portrait cockpit

   The console reads the running show and stands up portrait: the program hero takes a true 9:16 shape, and the delivery band tiles the vertical ladder alongside the RTMP push — which reads 'awaiting stream key' until the operator sets its destination.

   
2. 02

   The vertical delivery

   One CMAF group carrying the portrait renditions — 360x640, 480x854 and 720x1280 — each with a copyable manifest, and the RTMP push to the social feed listed alongside.

   

A fuller build — SRT contributors, a compose stage, and two CMAF delivery groups with a mezzanine — the same console carrying more at once.

1. 01

   The composed program

   A compose stage builds the program — the feed with a score bug keyed over it, taken from the Shot Bar — on one glance-first console.

   
2. 02

   Two groups out

   The composed program feeds two CMAF groups — a mixed bed and a per-language set — each with its own renditions, plus an SRT mezzanine.