Remote Production

How to Connect Multiple Offices for a Company-Wide Broadcast

The difference between offices watching the same stream and offices participating in the same production.

Connecting multiple offices starts with one decision: which sites only receive the broadcast and which sites contribute to it. Receiving sites need a reliable viewing set-up and good room audio. Contributing sites need cameras, microphones, a return feed and a tested connection back to the production.

Receiving sites versus contributing sites

Treating every location as a full production site is expensive and usually unnecessary. Most organisations have one or two sites that speak and many that watch.

  • Receiving site: display, room audio, a viewing device and a named local contact
  • Contributing site: camera, microphone, return video and audio, and a tested uplink

Connectivity is the real constraint

Corporate networks are built for downloads, not for sustained uploads. Contributing sites need verified upload bandwidth, ideally a dedicated or separate connection, and a tested path through the corporate firewall.

This is checked days before the broadcast, not on the morning of it.

One programme, one direction

A company-wide broadcast should feel like one production. That means one graphics package, one director calling the programme, one running order and one point of contact per site.

Rehearse the hand-offs

The riskiest moments in a multi-site broadcast are transitions between locations. Rehearse each hand-off, including the cue the local contact receives and what happens if a site drops.

Related questions

Can you connect multiple locations?

Yes. We connect rooms, floors, offices or cities into one program, either by producing each location or by building the local hub inside a wider workflow.

Multi-site work depends on clear rules: which location sends what, who directs, how timing is handled and how teams talk to each other during the show.

What internet connection does a livestream require?

A livestream needs a stable, preferably dedicated, wired upload connection with headroom above the stream’s bitrate. Stability matters more than the headline speed in the venue’s brochure.

The right figure depends on the number of streams, their quality and any remote speakers sharing the line. We test the actual connection at the venue and, when the risk justifies it, plan a second connection.

Can you coordinate with teams in other time zones?

Yes. We regularly plan with teams in Europe and North America. We agree call times, a shared schedule and response expectations at the start of the project.

For live productions directed from another country, rehearsals and show calls are scheduled in both time zones so everyone works from the same timetable.

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