Coming soon

remoteproducer

Your team, anywhere.

Everything a broadcast truck does — in a few clicks, on the gear you already own. Think FaceTime, for people who make shows.

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The idea

Broadcast spec.
Without the broadcast budget.

Television calls it REMI — cameras on site, the show run from somewhere else. It normally takes a truck, a leased circuit and an engineer who knows where the bodies are buried.

Remote Producer makes it a few clicks.

  • Podcasters & solo creators
  • Houses of worship
  • Corporate & education
  • Broadcast & live sport

On the back of a napkin

Here to there. Then someone who can help.

my room my mate, on his sofa (yes,
really) cameras switcher it just… goes no SRT. no RTMP. no ports. joins like a phone call …and he can run MY switcher

Works with

It speaks your gear's language.

Not adapted. Not bridged. Remote Producer talks these protocols natively, so the kit in your rack behaves exactly as it always has.

Deepest integration

Blackmagic Design

Native, at the protocol level — the same commands their own hardware sends to itself.

  • ATEMSwitchers — program, preview and tally
  • DeckLinkCapture and playback cards
  • UltraStudioThunderbolt and USB I/O
  • Blackmagic camerasStudio, Pocket and Micro — full CCU
  • HyperDeckRecord and playback decks
  • Blackmagic CloudHand-off straight to post

  • Control surfaces

    Bitfocus Companion Drive Remote Producer from a Stream Deck, same as the rest of your show.

  • Presentation

    ProPresenter Lyrics, lower thirds and slides land as real inputs, not a screen grab.

  • Audio & video desk

    RØDECaster Video Your desk stays the desk. Remote Producer just gives it a lot more reach.

  • Open standards

    SRT, RTMP & WebRTC Anything that speaks them plugs in — encoders, phones, software you already run.

Adding more all the time. Tell us what's in your rack and we'll aim at it next.

The honest comparison

You could run it on a meeting app.

Plenty of people do — it's the cheapest way to get a second pair of eyes on a show. Here's where it gives up.

  • Your camera op can't hear you mid-take. Talkback straight into their ear, at conversation speed.
  • Nobody can touch the switcher. Full ATEM control from either end — cut, dissolve, key, shade.
  • Your picture gets squeezed to fit a grid of faces. Full-quality video, sent the way you'd send it to air.
  • Talent has no idea when they're live. Real tally, on the real camera.
  • A drop means everyone stops and waits. It reconnects itself. The picture holds instead of going black.

What it makes simple.

The hard parts. The ones that normally need a truck.

01

Your ATEM. From anywhere in the world.

Already own one? That's the whole kit. No box to buy, nothing to rent — software on a Mac, and your switcher answers from the other side of the planet like it's on the desk next to you.

02

No SRT. No RTMP. No ports.

Open the app on a Mac. The feed arrives. Send it out the other end. Nobody has to learn what a keyframe interval is, or why the stream worked yesterday and doesn't today.

03

Talkback that's actually talkback.

Not a chat box. Your voice in your camera op's ear, at the speed of a conversation — so "tighten on him, now" lands while it's still now.

04

Fast enough to call the shot.

WebRTC end to end, not a streaming pipeline with a buffer bolted on. The gap between seeing it and saying it is short enough that directing live actually works.

05

The whole rig, not just the video.

Ride levels on a RØDECaster Video. Punch it all from a Stream Deck through Companion. Shade a camera. Everything you'd reach for in the room, reachable from anywhere.

06

It recovers like production gear.

Several connections bonded into one, and recovery that starts the moment a path degrades. When the network stumbles the picture holds instead of cutting to black and making everyone wait.

Scenarios

Nobody should have to run a show alone.

Remote Producer hasn't launched yet, so nobody's shipped a show with it. These are the moments we're building it for — mostly the ones that go wrong an hour before you go live.

A podcaster mid-sentence at a mic, three cameras and a mixer around him and nobody operating them, while his producer watches the feeds from a laptop on the desk.

Podcast · Crew called in sick

His camera op cancelled an hour before. He called a friend instead.

Running a three-camera podcast on your own is a bad night. You're on mic, on camera, and reaching for the switcher between answers.

So he rang his mate, who joined the way you'd join a FaceTime call — no encoder to configure, nothing to install on the studio machine. From his own sofa he cut the cameras, rode the levels on the RØDECaster, and left the host to do the one thing only the host can do: talk.

A woman in a headset at her kitchen table, cutting a church service from a laptop multiviewer showing the pastor, the congregation and a camera operator.

House of worship · 20 minutes to service

The volunteer didn't show. Service went out anyway.

Sarah got the text at ten past. From her kitchen she picked up both campuses, followed the pastor as he moved, and asked the one volunteer who did turn up for a closer shot. Nobody in the seats knew anything had gone wrong.

A first-time host on mic at her own desk, her producer visible on a laptop beside her pointing at the camera feeds as he calls the shots.

Training · First live show

Her first live show, with someone in her ear the whole time.

Going live the first time is terrifying. This time a producer was on the air with her — seeing every feed she saw, calling the shots out loud, taking the switcher when it got busy. By show three she didn't need him. That's the point.

A cook tossing garlic into a pan in her own kitchen, an overhead camera on a boom above the hob and her director joining from a laptop across the counter.

Cooking show · First season

A proper overhead shot, from her own kitchen.

Nina wanted the shot every food show has — straight down onto the pan, cutting to her face when she talks. That used to mean a studio and a crew. Now it's two cameras on stands and a friend directing from two suburbs away, calling the cut the moment the garlic hits the oil.

The truck doesn't have to travel.

Remote Producer is in active development — a professional tool, built for people who don't have a professional budget. Leave your email and we'll tell you the day it's ready. One message, no newsletter.