The job
Every live show is a chain: cameras into a switcher, graphics into the cut, the cut onto the network, the network onto the world. We draw that chain, test it, and put a second path next to the first. Comms stay up so the crew can still talk when the picture is the problem.
When you need this layer
You need it on every show we take. It is louder on multi-site and international jobs, where a cloud stack can keep a global feed up with a light crew on the ground. Ubisoft Forward and a New York street broadcast ran that way. The audience does not see this layer. That is the point.
How it sits with the rest
Technical is not a bolt-on after the camera plan. It is the reason the other three layers can fail over without the show going dark. If you only hire cameras, you still need this. We would rather own it.
