Oasis Studio

09/09/2026

Case from our floor: BetBoom Dacha in Dubai.

On paper it looks simple — nine high-resolution cameras, a mixer, a video matrix, recorders, and clear talkback between operators and directors. In practice we were covering the main stage and two studios for five straight days. That is not “more cameras.” That is three production spaces that have to cut, record, and talk like one show.

What worked: treat the matrix and comms as the spine. If stage and studios don’t share the same switching logic and the same director language, you get three nice feeds and one messy broadcast. Viewers don’t care how many rooms you built — they feel whether the show stays coherent when you jump between them.

Craft takeaway we keep reusing: multi-zone isn’t a hardware problem first. It’s a routing and communication problem that hardware only makes possible.

07/09/2026

On a live break, the story lives in the producer’s head. Every tool after that — NRCS, ingest, edit, social clip factory — gets a partial copy, rewritten by hand. That’s where time and errors hide.

Ahead of IBC 2026 (11–14 Sep, Amsterdam), the IBC Accelerator Smart Stories project is building the Story Object Model (SOM): an open standard so systems share one structured editorial description of what the story is, what changed, and what matters. The press framing is blunt: MOS moves data between boxes but is editorially blind; SOM is meant to connect them on meaning. Champions span major newsrooms and standards bodies (BBC, ITN, AP, Reuters, EBU, SMPTE and others). Planned outputs before the show: the SOM spec, a Skills reference architecture (house style / compliance owned by the newsroom), and a multi-vendor demo — including a live case where the story flips mid-production and every connected system updates, with a human editor giving final sign-off.

For live producers the useful question isn’t “will AI replace editorial.” It’s whether context travels with the feed from the field into every tool without you retyping it at each hop.

https://www.liveu.tv/company/press-releases/liveu-joins-ibc-accelerators-smart-stories-consortium-to-define-an-open-standard-for-story-context-interoperability

LiveU connects live field acquisition to the Story Object Model, the open standard newsrooms are building so AI-enabled production tools work from one shared understanding of a story LiveU is participating in the IBC Accelerator Incubator 2026: Smart Stories – The New Knowledge Architecture for Co...

04/09/2026

AI camera control left the demo floor. Secondary and tactical positions are landing in real host feeds: the model reads the scene, drives the remote head, production still shades and cuts.
That is not “replace every op.” It is a budget and coverage question: one more angle without one more person on a long lens.
So the craft line, not the hype line:
Where is AI framing good enough for air — and where do you still want a human on the stick every time?
Wide tactical? Offside? High behind goal? Cam 1 / Cam 2 stay human by default — or not?

Curious how other producers draw that map.

01/09/2026

ST 2110 is not a brand-new idea. What’s changing is the address.

For years the IP story lived in the plant: routers, cores, galleries. Cameras, mics, commentary and the monitor wall still wanted physical connectors — and a pile of gateways to get there. Ahead of IBC 2026 (11–14 September, Amsterdam) the demos keep landing on that last meter: native ST 2110 stageboxes at the venue edge, monitors that take 25GbE without an ST 2110-to-SDI box just to see picture, hybrid flypacks that stop stacking a video gateway next to an audio stagebox.

Is that “the future”? For live production it is the practical future. Not a magic rewrite of every truck overnight. A quieter one: fewer ports, fewer conversion points, fewer places the path dies before PGM. REMI and venue work only get cheaper when the edge speaks IP without an adapter rack.

The producer question for Amsterdam isn’t “who has the flashiest 2110 slide.” It’s how much of your stack still exists only to feed SDI glass and analog mics.

31/08/2026

A car scene is not one setup. It is a choice: street or studio.

On the street the world does the work. Real parallax in the glass. Real vibration in the chassis. Real light that will not wait for a take. You also buy everything attached: road noise, permits, weather, a cabin that kills cellular if you go live. The driver is not the operator. The antenna wants to be outside.

In studio the car is a set. LED volume, process trailer, poor man’s process — passing lights, a crew on the rocker. You buy takes, clean sound, a reflection you designed. The lie is cheaper and safer. What you lose is the weight of a real road in the background and in the body of the car.

Same picture to sell. Different cost. Different things that can kill the shot. Pick the one you can actually control on the day.

oasisstudio.ae

28/08/2026

Not every live needs a full camera crew.

On a small forum the budget is the brief. Three PTZ cameras. A tight team. Still a real mix of shots on air: wide, speaker, room.

It is not about cutting quality. It is about covering the event without inflating the crew. Robotic PTZ holds the angles a small team cannot staff.

We ran this on a forum livestream. Same discipline. Same picture. Smaller footprint.

oasisstudio.ae

18/06/2026

A little backstage glimpse from our live broadcast at the EIF Graduation Ceremony!

10/06/2026

Gearing up for a massive live project: the EIF Graduation Ceremony 🎓🎥

The OASIS STUDIO team is currently prepping the setup for a high-stakes live broadcast. Our arsenal includes a 5-camera multicam, a jib crane, full live broadcasting, and IMAG (live feed to the venue screens).

The reality of these events is simple: there are no second takes. A graduate crosses the stage to receive their diploma exactly once, and that moment is the culmination of years of hard work. Our job is to capture that emotion perfectly on the first try.

This is why bulletproof technical reliability and absolute crew precision are our top priorities.

Zero latency for the on-site screens is non-negotiable. The dynamic jib crane shots must be calculated to the millimeter, and cutting between 5 cameras needs to run like clockwork. We are meticulously testing every cable and running backup systems, because in live production, technical stability is the foundation of the magic the audience sees.

The gear is tested, the crew is ready. A major live show is ahead! 🚀

04/06/2026

Combat Games for the first time in Dubai! And we were right in the middle of the action 🎥🔥
Filming martial arts is always pure adrenaline. The speed, the raw emotions, and the tension you could cut with a knife. Here is a quick sneak peek of what we captured.
Head over to the official account Combat Games to watch the full video!

25/05/2026

Premiere! Our Documentary on United FC is Now Live 🎬⚽️
Our script, their story! We invite you to experience the atmosphere for yourself. You can watch the full film here:

Experience The Movie of United FC — a cinematic recap of the team’s journey in the President’s Cup, UAE.This exclusive film features never-before-seen footag...