The studio: several cameras, one person

You see it before the audience does

The desk is split in two: what the audience is watching now, and what you are checking before you send it there. You cue a camera on preview, confirm it looks and sounds right, and only then take it to air. A blind cut - the kind where you find out on the audience's screen that the camera moved or the light changed - simply does not happen here.

The preview runs a fraction of a second behind, not the six seconds the audience sees. That is deliberate: judging when to cut against a picture from eight seconds ago is working blind. The clock on your desk is not the clock the audience is on, and that is fine.

• Preview and programme side by side, with an unmistakable sign of what is live
• Seven layouts: single, picture-in-picture, side by side, three, four, main with a strip, and a grid
• A layout that needs more cameras than are connected is shown as unavailable rather than breaking
• A branded holding card in one click - the organisation's name and the event title

A real mixer, not a switch

Every source has its own fader, its own meter, and mute and solo buttons. The lectern microphone can stay open while the picture cuts to another camera - sound does not have to follow the picture, and at most events it should not.

The mixer floats above the screen as a bubble you can drag anywhere, and it does not close mid-move: while a finger is on a fader, while any solo is lit, or while it is pinned, a click elsewhere leaves it alone. A desk that vanishes mid-fade during a live broadcast loses the operator's place.

• Fader, meter, mute and solo on every channel
• A master strip with a limiter and a clip warning
• Background music ducks automatically when somebody speaks
• Fine adjustment with the mouse wheel on any slider; Shift for a smaller step

When the sound arrives on its own path

In a hall with its own sound desk, audio and video travel two different routes - and then the sound runs ahead of the lips, or behind them. Every source has a sync slider that holds back whichever arrives first until the two meet. You calibrate by ear against a live picture; a double click returns it to zero.

The calibration is stored on the source itself. A hall you have broadcast from before arrives already calibrated, and if the system restarts mid-event the setting comes back on its own. There are no numbers to write on a note.

A rundown that actually fires content

You can plan the order of the event in advance: segments, sponsors, and media files from the library. The rundown is not a list to look at - a row that fires really does put the sponsor on screen or send a film to air.

It can also run on the clock, counted from the moment the broadcast actually began. A row that has already passed will not replay if the system restarts.

• Segment, sponsor, or media file - three kinds of row
• Sponsor logo with position and width controlled from the desk
• Fired by hand, or automatically at an offset from the start

What happens when something falls over

A health strip across the top of the desk shows four checks - sources, compositor, recording, viewers - and beside each one how long ago it was measured. A frozen picture or a source that went silent is marked on its own tile, before anybody complains.

If the main source dies entirely, the system moves to the backup by itself. An operator's manual cut always beats the automatic decision.

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