Live Media MU-5 mobile production truck interior monitor wall

Mobile Unit Snapshot: MU-5 (Aspen) 45′ 3G Single-Expando Production Truck

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MU-5 is a 45-foot-class 3G single-expando mobile production truck in the Live Media Group fleet, built around a 4 M/E Grass Valley K-Frame X switcher, a Grass Valley Sirius 840 router under EVS Cerebrum control, a 56-fader Calrec Artemis Beam audio console, and eight Sony HDC-3500 HDR cameras. Previously known as Aspen during its Gravity Media service, it joined Live Media Group in August 2026. It carries 56 wired channels of EVS replay — a complement most trucks twice its size would be glad to claim — inside a 60′ × 22′ working footprint that fits venues a full-size expando cannot.

For producers who need big-truck switching, routing, and replay density without booking a 53-footer, MU-5 is the fleet’s answer. Here is what is inside, system by system.

What runs the show: switching

MU-5’s production switcher is a Grass Valley K-Frame X 3G frame with a Kayenne 4-stripe, 35-button control panel, configured for 4 M/Es with 64 inputs and 32 outputs. FlexiKey, DoubleTake, and chroma key are all licensed, so a TD can split M/Es across pre-shows, inserts, and secondary feeds without giving up the main program bus.

Replay: 56 wired EVS channels on a 45-foot truck

MU-5 carries four EVS XTVia LSM 12-channel replay servers with dual-user operation, plus an EVS XS3 six-channel spot server with a Lance controller, and the truck is wired for 56 channels of EVS. That density is the truck’s signature: multi-angle replay, melts, and spot playback for a replay-heavy show, handled onboard rather than farmed out to a B-unit.

Routing and control

Routing is a Grass Valley Sirius 840 at 384×288 under an EVS Cerebrum control system, with 46 3G framesyncs, 336×60 of multiviewer capacity, and 768×1536 of MADI audio routing. Cerebrum — EVS’s broadcast control and orchestration platform — gives engineering one control layer over the router, syncs, and multiviewers, which shortens setup on show day and makes source management legible to a visiting EIC.

Cameras: Sony HDC-3500 HDR 

MU-5 fields eight Sony HDC-3500 cameras with HDR and QFR (quick frame rate) licensing, and the truck is wired for 16 CCUs. Four Sony HDLA-3505 large-lens adaptors put box lenses on hard positions, with Vinten Vector 750 heads and V20 pan heads with tripods in the support package. The HDC-3500’s native 4K sensor block means clean HD and 1080p HDR today with headroom for UHD-capable workflows as shows call for them.

Audio: Calrec Artemis Beam

The audio room is built on a Calrec Artemis Beam digital surround console with 56 faders and 12 dual-fader layers, carrying 564 DSP processing paths and 340 input channels. Console I/O spans analog, AES, MADI, and Dante (48×48 analog, 64×64 AES, 640×640 MADI, and 120×120 Dante per the truck’s published I/O), so venue feeds, RF mics, comms mix-minuses, and record splits all land without adapters and workarounds.

Comms

Intercom is a 256×256 RTS Adam II matrix with 18 RTS DBP Omneo digital beltpacks and eight Glensound Dante IFB beltpacks, supported by Beyerdynamic DT-108 and DT-109 headsets. That is matrix capacity for a full crew plus talent IFB on a mid-size show, with digital beltpacks that ride the truck’s existing Dante and Omneo infrastructure.

Power and footprint

MU-5 needs three-phase, 190–240-volt, 200-amp service and travels with 200 feet of feeder cable. The box is 43′ long by 8′6″ wide at 13′6″ tall, expanding to a 60′ × 22′ working footprint — compact enough for tight compounds, big enough inside for a full production, audio, and replay crew.

Specifications at a glance

Class45′ 3G single expando (43′L × 8′6″W × 13′6″H box; 60′ × 22′ working footprint)SwitcherGrass Valley K-Frame X 3G · Kayenne 4-stripe/35-button panel · 4 M/E · 64×32 · FlexiKey, DoubleTake, chroma keyReplay4× EVS XTVia LSM 12-ch (dual user) + EVS XS3 6-ch spot w/ Lance · wired for 56 EVS channelsRouterGrass Valley Sirius 840 (384×288) · EVS Cerebrum control · 46 3G framesyncs · 336×60 multiview · 768×1536 MADICameras8× Sony HDC-3500 HDR w/ QFR · wired for 16 CCUs · 4× HDLA-3505 large-lens adaptorsAudioCalrec Artemis Beam · 56 faders, 12 dual layers · 564 DSP paths / 340 input channels · analog, AES, MADI, Dante I/OCommsRTS Adam II 256×256 · 18× RTS DBP Omneo beltpacks · 8× Glensound Dante IFBPowerThree-phase 190–240 V, 200 A · 200′ feeder cable

Where MU-5 fits in the fleet

MU-5 slots into the fleet’s mid-size class with a heavyweight toolset. Its acquisition siblings bracket it: MU-17 steps up to a 53′ 3G HDR expando with five M/Es and RF camera capability, while MU-26 matches the mid-size class with a nine-camera Sony HDC-4300 package. The rest of the group’s mobile units — from 20′ production/uplink hybrids to 53′ double expandos — are on the complete fleet page. For a deeper look at a home-grown unit in the same weight class, see the MU-15 Mobile Unit Snapshot.

What MU-5 is built for

  • Professional and collegiate sports where replay depth decides the show — 56 wired EVS channels handle multi-angle coverage without a support unit.
  • Entertainment specials and awards-style broadcasts that need 4 M/Es of switching and a 56-fader audio room in a venue with a tight compound.
  • Multi-day tournament and event coverage, where the 60′ × 22′ footprint and 200-amp service simplify siting and power planning.
  • Shows feeding multiple destinations, using the Sirius 840’s 384×288 routing and 336×60 multiview to manage outputs cleanly.

FAQ

What is MU-5?

MU-5 is a 45-foot-class 3G single-expando mobile production truck in the Live Media Group fleet, carrying a 4 M/E Grass Valley K-Frame X switcher, 56 wired EVS replay channels, a Calrec Artemis Beam console, and eight Sony HDC-3500 HDR cameras.

Is MU-5 the truck previously known as Aspen?

Yes — MU-5 operated as Aspen in Gravity Media’s U.S. fleet before joining Live Media Group in the August 2026 acquisition; it now carries the MU-5 designation.

How many cameras does MU-5 support?

MU-5 carries eight Sony HDC-3500 HDR cameras with QFR licensing and is wired for 16 CCUs, with four large-lens adaptors for box-lens positions.

What replay capability does MU-5 have?

MU-5 is wired for 56 channels of EVS, served by four XTVia LSM 12-channel servers with dual-user operation and a six-channel XS3 spot server with a Lance controller.

Is MU-5 an HDR truck?

Yes — MU-5 is a 3G truck with HDR-licensed Sony HDC-3500 cameras, supporting 1080p HDR production workflows end to end.

How do I book MU-5?

Contact Live Media Group at solutions@livemediagroup.com or 833.933.5483 with your venue, dates, feed count, and destination platforms, and the team will confirm availability and configuration.

Book the truck

If your next production needs big-truck replay and switching in a mid-size footprint, MU-5 delivers. Download the current spec sheet on the MU-5 truck page, or reach the solutions team directly at solutions@livemediagroup.com / 833.933.5483.

Floor plan of a mobile production trailer showing Audio, REMI/Truck Storage, REMI Client Space, and Engineering areas with stairs at both ends.

Mobile Unit Snapshot: MU-26 (Whiskey) 43′ 3G Single-Expando Production Truck

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MU-26 is a 43-foot 3G single-expando mobile production truck in the Live Media Group fleet, carrying nine Sony HDC-4300 cameras, a five-M/E Grass Valley K-Frame switcher, a Calrec Brio digital audio console, and Ross NK routing with an HDR-capable AJA framesync chain. Previously known as Whiskey during its Gravity Media service, it joined Live Media Group in August 2026 as the agile mid-sizer of that acquisition: a nine-camera show in a 60′ × 22′ footprint, with the kind of telco-rich comms plant that interview and call-in formats depend on.

Not every show needs a 53-footer — but every show needs the truck to arrive, expand, and be ready fast. MU-26 is built for exactly that. Here is what is inside.

Previously known as Whiskey

MU-26 joined Live Media Group in August 2026 through the company’s acquisition of Gravity Media’s U.S. mobile-production assets — eight units, led by the premium trucks then named Columbus, Whiskey, and Aspen, plus Gravity’s U.S. engineering personnel and long-term contracts with major U.S. broadcast partners.

Cameras: nine Sony HDC-4300s

MU-26 fields nine Sony HDC-4300 cameras and is wired for 12 CCUs, with six Sony HDLA large-lens adaptors, six Canon 90× box lenses, and Canon 22× and 14× ENG glass in the package. The HDC-4300’s 4K sensor block gives the truck UHD-HDR-capable acquisition in a 3G production environment, and the lens mix — box glass for hard positions, ENG zooms for handhelds — covers arena and stage layouts without rentals. Support includes seven Vinten Vector 700 heads and four Sachtler Video 20s.

Switching

MU-26’s production switcher is a Grass Valley K-Frame configured for 5 M/Es with 64 inputs and 48 outputs. Five M/Es in a 43-foot truck is the difference between a mid-size unit that runs one look and one that holds program, screens, and an alternate feed at the same time.

Routing and signal processing

Routing is a Ross NK 3G video router at 128×144, backed by a Blackmagic Design 3G Videohub at 72×144, with a framesync package of eight AJA FS2s, three FS4s, and four HDR framesync/converter units (listed as FS4HDR on the sheet). The HDR units matter: onboard HDR conversion and processing for mixed-format sources, so an HDR show does not stall on a legacy feed.

Audio: Calrec Brio

The audio position is a Calrec Brio digital surround console carrying 24×16 analog I/O with UPS backup, a Calrec Hydra 24×8 analog stagebox, 192×192 MADI across three cards, and 32×32 Dante channels. That is a compact console with a serious plant behind it — MADI capacity for full-show splits and Dante for the networked sources modern venues hand you.

Comms: built for talkback-heavy formats

Intercom is a 128×128 RTS Adam matrix with 16 Omneo and RVON channels plus 48 MADI channels, eight RTS 4030 IFB beltpacks, eight RTS DBP-325 intercom beltpacks, six Telos One telephone hybrids, and two RTS telephone interfaces. Six telco hybrids is an unusual amount of phone I/O for a truck this size — call-ins, remote guests, and two-way interview formats land cleanly without outboard boxes.

Power and footprint

MU-26 needs three-phase, 190–240-volt, 200-amp service and travels with 200 feet of feeder cable. The trailer is 43′ long by 8′6″ wide, expanding to a 60′ × 22′ working footprint — quick to site, quick to power, quick to open.

Specifications at a glance

Class 43′ 3G single expando (43′L × 8′6″W; 60′ × 22′ working footprint)
Cameras 9× Sony HDC-4300 (UHD-HDR-capable) · wired for 12 CCUs · 6× HDLA adaptors · Canon 90×/22×/14× glass
Switcher Grass Valley K-Frame · 5 M/E · 64 in / 48 out
Router Ross NK 3G 128×144 + Blackmagic 3G Videohub 72×144
Framesyncs 8× AJA FS2 · 3× FS4 · 4× FS4HDR (see validation note 6)
Audio Calrec Brio · 24×16 analog w/ UPS · Hydra 24×8 · 192×192 MADI · 32×32 Dante
Comms RTS Adam 128×128 (Omneo/RVON + 48 MADI ch) · 8× IFB + 8× DBP-325 packs · 6× Telos One hybrids
Power Three-phase 190–240 V, 200 A · 200′ feeder cable

Where MU-26 fits in the fleet

MU-26 covers the mid-size class alongside MU-5, whose 56 wired EVS channels make it the replay-heavy pick, while MU-17 takes the marquee shows above them both. The group’s full range — from 20′ production/uplink hybrids to 53′ double expandos, plus fly packs and the Nashville control rooms — is on the complete fleet page.

What MU-26 is built for

  • Arena and collegiate sports where nine cameras and five M/Es cover the venue without oversizing the compound.
  • Regional professional coverage on tight turnarounds — a 60′ × 22′ footprint and standard 200-amp service make siting straightforward almost anywhere.
  • Concerts and entertainment broadcasts using the box-plus-ENG lens mix for stage and audience coverage.
  • Interview, call-in, and studio-style formats that lean on the six-hybrid telco plant and IFB-rich comms.

FAQ

What is MU-26?

MU-26 is a 43-foot 3G single-expando mobile production truck in the Live Media Group fleet, carrying nine Sony HDC-4300 cameras, five M/Es of Grass Valley K-Frame switching, Ross NK routing, and a Calrec Brio audio console.

Is MU-26 the truck previously known as Whiskey?

Yes — MU-26 operated as Whiskey in Gravity Media’s U.S. fleet before joining Live Media Group in the August 2026 acquisition; it now carries the MU-26 designation.

What cameras does MU-26 carry?

Nine Sony HDC-4300s — a UHD-HDR-capable camera family — wired for 12 CCUs, with six large-lens adaptors, six Canon 90× box lenses, and ENG zooms for handheld positions.

Is MU-26 HDR-capable?

Yes — MU-26 pairs UHD-HDR-capable HDC-4300 camera chains with four AJA HDR framesync/converter units for HDR conversion and mixed-format handling in a 3G production environment.

What size shows suit MU-26?

MU-26 is built for mid-size productions — arena sports, college coverage, concerts, and studio-style shows — where a nine-camera complement and a 60′ × 22′ footprint fit the venue better than a full-size expando.

How do I book MU-26?

Contact Live Media Group at solutions@livemediagroup.com or 833.933.5483 with your venue, dates, feed count, and destination platforms, and the team will confirm availability and configuration.

Book the truck

If your next show fits the mid-size class, MU-26 brings premium-truck discipline to it. Download the current spec sheet on the MU-26 truck page, or reach the solutions team at solutions@livemediagroup.com / 833.933.5483.

 

Nighttime street scene with a large white semi-truck in the foreground and another truck in the background near a lit building with banners.

Live Media Group Acquires Gravity Media’s U.S. Mobile-Production Assets

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The deal includes three premium mobile units, engineering personnel, existing broadcast contracts, and a strategic partnership encompassing RF, specialty cameras, and other production services

Big news in the domestic production-truck business this week: Live Media Group has acquired Gravity Media’s U.S. mobile-production assets, adding eight units, experienced engineering personnel, and several long-term client contracts to its growing nationwide operation.

The transaction involves three premium production trucks currently assigned to major U.S. broadcast partners and professional events. It also establishes a long-term strategic partnership through which Live Media Group and Gravity Media can combine mobile facilities, RF technology, specialty cameras, flypacks, and other production services for domestic and international clients. Financial terms of the acquisition were not disclosed.

The eight units will join a Live Media Group fleet of more than 35 production trucks. The additional resources will be available across the company’s operating businesses: TNDV Television, Live Media, and GameTime Productions.

“Every acquisition we’ve made has been driven by one objective: creating more opportunities to better serve our clients,” says Live Media Group founder/President/CEO Brad Sexton. “We’ve never pursued growth simply to become bigger. We’ve focused on bringing together exceptional companies, talented people, and complementary capabilities that allow us to deliver more strategic value across the country. This acquisition continues that strategy by expanding our fleet, adding experienced engineering talent, and giving us additional resources to meet growing client demand.”

REMI-Capable Units Fit the Production Model

The acquisition comes as Live Media Group sees increased demand for distributed and at-home production models. According to company executives, several of the newly acquired units are particularly well-suited to the REMI workflows that are a growing part of the company’s business.

Three mobile units — Columbus, Whiskey, and Aspen — stand out as especially strong fits for Live Media Group’s existing operation.

“The fleet complements our fleet and slides into our business model,” says Ryan Hatch, SVP, Live Media Group. “It’s something we’re focused on more: the REMI model, which is what those trucks are built for. Ultimately, I think it increases our focus on that business, and it fits our mold. It’s our niche of hitting that model, which is quite honestly our strength.”

The units also support Full HD and HDR productions, providing Live Media Group with additional assets capable of serving the technical requirements of major sports and entertainment clients.

Sexton cites the expanding use of REMI workflows on events ranging from the FIFA World Cup to golf and the Olympic Games as evidence that the trucks align with where the market is heading. “The majority of World Cup was done with the at-home, full-REMI production model. Then you take the PGA TOUR and the Olympic Games and how they are producing large-scale events. That’s the reason. It’s more assets that will do Full HD, HDR. It just reinforces what our clients are asking for.”

The acquisition offers a faster alternative to designing and constructing new mobile units. He notes that a new production truck can require 12-18 months to complete, whereas acquiring existing assets allows the company to add capacity immediately and integrate the units into its national scheduling operation.

Additional Capacity Addresses Growing Demand

The expansion arrives after a particularly busy period for Live Media Group. Its existing mobile units have routinely been booked throughout much of the year, requiring it to subrent trucks from other providers to fulfill commitments.

That trend, Sexton says, became especially noticeable during 2025, when Live Media Group relied on an unprecedented number of outside units to support contracted productions and longstanding client relationships. The Gravity Media assets provide the company with more control over that capacity while reducing the need to turn down projects or source trucks elsewhere.

“Historically, our mobile units have been fully committed most of the year,” says Michael Sullivan, president, Live Media. “These additional assets immediately provide us with greater scheduling flexibility while allowing us to support more clients without compromising the level of service they’ve come to expect. Rather than turning opportunities away, we’re now positioned to say yes to more productions.”

Along with the physical units, Live Media Group is adding members of Gravity Media’s U.S. engineering and technical team. The personnel bring experience operating the acquired trucks as well as additional skillsets that can be deployed across the broader organization.

The combination of additional trucks, equipment, and personnel is expected to strengthen Live Media Group’s work across sports, entertainment, corporate productions, and other live events. It also gives the company more flexibility during heavily booked portions of the sports calendar, particularly in the fall.

“It gives us more capacity and reach, which ultimately opens more doors for the people we work with,” says Hatch. “The goal has always been simple: be in a position to say yes to more with quality staff and assets. This is a meaningful step in that direction.”

Beyond the Trucks: A Strategic Partnership

Although Live Media Group will own and operate Gravity Media’s U.S. mobile-unit fleet, Gravity Media will remain involved in the market through the strategic partnership.

Gravity Media can continue supporting productions with its RF systems, specialty-camera resources, flypack capabilities, and other services. Live Media Group, meanwhile, will provide mobile-production facilities for Gravity Media’s international customers when they require support for events in the U.S.

The companies have worked together for several years, including instances when Live Media Group rented Gravity Media trucks to address scheduling constraints and when Gravity Media used Live Media Group’s production-packaging capabilities.

That relationship helped make the transaction a natural fit, according to Sexton. “We’ve worked with Gravity for years, both just subrenting their production trucks when our utilization is too high and we can’t cover, or they’ll rely on us on production packaging and different skillsets that we have but they may not have here in the U.S. It’s a natural partnership, and it’s long-term, which is fantastic.”

The continuing relationship gives both companies the ability to assemble broader packages without requiring either side to duplicate every technical capability internally. “This strengthens our ability to scale, expand capabilities, and better support clients across every major market we operate in,” says Jonae Taylor, SVP, sales, Live Media Group. “Alongside additions to our mobile fleet, this partnership also expands what we can offer across RF, specialty cameras, and flypacks for both international and domestic clients.”

The Gravity Media transaction is the latest in a series of acquisitions that have expanded Live Media Group’s footprint. The company acquired SureShot Teleproductions in 2015, TNDV Television and HARB Production Services in 2019, and Lyon Video in 2022.

TNDV and Live Media Support NCAA Final Four Weekend for 13th Consecutive Year

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TNDV and Live Media deliver the music for the NCAA Final Four both inside the arena and outside. Learn how our companies worked together to pull off this challenging event at SVG. 

Outside Broadcast Services: How TV Trucks Power Live Productions Anywhere

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In the era of on-demand video and live streaming, delivering high-quality content from anywhere in the world is no longer a luxury-it’s a necessity. Whether it’s a professional sports event, a political debate, a red-carpet premiere, or a major corporate conference, audiences expect smooth, real-time video coverage with exceptional quality.

This is where outside broadcast services come into play. At the core of these services are TV trucks, also known as outside broadcast trucks, television trucks, or mobile broadcast units. These vehicles house the technology, teams, and broadcasting systems required to produce and transmit live content from virtually any location.

At Live Media Group, we specialize in providing state-of-the-art outside broadcast services through one of the most versatile and technologically advanced fleets of production vehicles in North America. Whether you’re producing for broadcast television or digital platforms, our TV trucks and integrated broadcasting systems deliver reliable, scalable solutions.

What Are Outside Broadcast Services?

Outside broadcast services refer to the complete setup required to produce and transmit live television or streaming content from a location outside a traditional studio. These services typically include:

  • Multi-camera live video production
  • Audio mixing and synchronization
  • Replay and slow-motion systems
  • Intercom and communications infrastructure
  • Graphics and real-time overlays
  • Signal routing and distribution
  • Uplink and transmission to broadcasters or streaming platforms

The central hub of these services is the outside broadcast truck, a specialized television truck equipped with all the broadcasting systems necessary to manage a live production on-site.

Inside a Modern Outside Broadcast Truck

The days of minimal control gear in a small van are long gone. Today’s outside broadcast trucks are full-scale production facilities on wheels. Depending on the event scale, they range from compact flypack support units to full double-expando TV trucks equipped with dozens of workstations and UHD capabilities.

  • Typical systems inside a television truck include:
  • Production switchers (e.g., Grass Valley K-Frame, Kayenne)
  • Replay servers (e.g., EVS XT-VIA, XT3, or XFile3)
  • Multiviewer displays for directors and producers
  • Audio consoles (e.g., Calrec Artemis, Argo, or Apollo)
  • Comms platforms (e.g., RTS ADAM, ODIN, or Clear-Com Eclipse)
  • Video and audio routers (Evertz, Ross Ultrix, GV Node)
  • Uplink integration for satellite, fiber, or IP streaming
  • Power redundancy and HVAC for field reliability

These broadcasting systems ensure that every signal-video, audio, comms, or tally-is perfectly timed, routed, monitored, and delivered, whether it’s going to a national network or a global livestream.

Key Applications for TV Trucks and OB Services

Live productions are high-pressure environments that leave no room for error. That’s why the precision and mobility of outside broadcast trucks are in demand across a wide range of industries and events:

  1. Sports Broadcasting: From football stadiums and basketball arenas to motorsports tracks and Olympic venues, sports demand multi-camera coverage, live replay, and instant highlights. TV trucks serve as the central hub for camera feeds, announcer audio, and transmission uplinks.
  1. Entertainment and Festivals: Music festivals, award shows, and concert tours often occur in outdoor venues or pop-up locations. A television truck can act as the main production control room, integrating audio, video, and graphics on-site for both live screens and global streaming.
  1. Corporate Events: Large corporate events and keynotes need polished live video for internal broadcasts or customer-facing streams. Outside broadcast services deliver reliable multi-camera coverage with professional-grade mixing and branded overlays.
  1. Political and Government Coverage: Press conferences, debates, and elections require secure, high-quality production with fail-safe broadcast paths. OB trucks allow news teams to provide live feeds to multiple networks simultaneously.
  1. Remote Integration (REMI): In REMI workflows, cameras and audio feeds are captured on-site and sent to a centralized control room. Live Media Group’s mobile REMI units integrate perfectly with OB trucks to support scalable hybrid workflows.

Why Choose Live Media Group for Outside Broadcast Services?

At Live Media Group, we’ve invested in building a diverse fleet of mobile broadcast trucks, REMI-capable units, and support trailers to meet the growing complexity of live production. Our outside broadcast services offer:

  • UHD and HDR compatibility
  • IP and baseband hybrid infrastructures (ST2110, 12G, 3G)
  • Full redundancy in power, routing, and comms
  • Multi-platform distribution (TV, social, web)
  • Expert crews and nationwide deployment

Every mobile TV truck in our fleet is optimized for real-world conditions and prepped for fast setup, making it easy for crews to focus on delivering the highest-quality content without worrying about infrastructure.

What Sets a Broadcast Truck Apart from a Studio?

While studios offer fixed infrastructure, outside broadcast trucks provide studio-quality production capabilities wherever the event is happening. The benefits of using a mobile television truck include:

  • Mobility: The truck goes where the event is.
  • Speed: Setup is faster compared to temporary control rooms.
  • Cost-efficiency: No need to build out separate spaces or rent equipment piecemeal.
  • Consistency: Same team, same systems, every time.
  • Integrated transmission: Many units include satellite uplinks or IP delivery options.

When paired with support trailers (like Live Media Group’s MU-B1 or MU-B9), crews also get climate-controlled workspaces, cable prep zones, and overflow seating to support larger shows.

Frequently Asked Questions (FAQ)

What is an outside broadcast truck?

An outside broadcast truck (OB truck) is a mobile unit equipped with professional-grade video and audio production tools used to produce live events from remote locations. It acts as a mobile studio and control room.

How many cameras can a TV truck support?

Most TV trucks can support between 6 and 20+ cameras depending on the router size, switching capability, and available CCUs. Some units are expandable for even more complex coverage.

Can OB trucks be used for streaming?

Yes. Most modern outside broadcast services include integrated live streaming support alongside traditional broadcast transmission. Trucks are equipped with encoders and connectivity to stream to social platforms or OTT channels.

What is the difference between a production truck and a broadcast truck?

A production truck focuses on capturing and mixing video and audio signals, while a broadcast truck typically includes both production and transmission gear (e.g., satellite uplink or IP transport). Many modern vehicles combine both functions.

How are OB trucks powered?

Typically, OB trucks run on shore power or on-site generators. Power requirements usually include three-phase or single-phase 208V service, often with camlock inputs.

Book an OB Unit with Live Media Group

Whether you’re producing television, digital platforms, or internal enterprise networks, Live Media Group’s outside broadcast services offer the flexibility, technology, and support you need to execute flawlessly.

With TV trucks, television trucks, video production trucks, and full-service support vehicles available coast to coast, we are your partner in premium live content delivery.

Contact us at solutions@livemediagroup.com or call 833.933.5483 to speak with our team about configuring your next OB deployment.

The Role of Mobile TV Trucks in Modern Video Production

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In today’s fast-paced media landscape, the demand for high-quality live video content is greater than ever. From live sports broadcasts and music festivals to corporate events and breaking news coverage, producers require flexible, powerful, and reliable solutions to bring content to audiences in real time. This is where mobile TV trucks, also known as mobile broadcast trucks, OB (Outside Broadcast) units, and mobile video production trucks, play a crucial role.

At Live Media Group, we specialize in providing state-of-the-art mobile TV production trucks designed to deliver broadcast-quality video and audio from virtually any location. In this article, we’ll explore how these vehicles operate, the technology they house, and why they’re indispensable to modern video production workflows.

What Is a Mobile TV Truck?

A mobile TV truck is a specialized vehicle that serves as a mobile control room for live video and audio production. These trucks are fully outfitted with the equipment and personnel needed to produce, switch, mix, and transmit content from remote locations. Often referred to as OB trucks (short for Outside Broadcast), these units are the backbone of live event broadcasting and streaming.

At their core, mobile video production trucks offer the same capabilities as a traditional television studio-except everything is housed in a trailer or expando vehicle that can be driven directly to a venue. Whether it’s a concert in a stadium, a red-carpet premiere, or a government press conference, mobile production trucks are engineered to be deployed wherever the story unfolds.

Mobile Video Production Trucks: What’s Inside?

A high-end video production truck includes an array of cutting-edge technology that supports end-to-end content creation. At Live Media Group, our fleet includes everything from compact single-expando units to full double-expando production and transmission powerhouses.

  • Inside a typical mobile broadcast truck, you’ll find:
  • Production switchers such as Grass Valley Kayenne or K-Frame series
  • Multiview monitoring walls for directors, producers, and TDs
  • Audio consoles like Calrec Artemis, Apollo, or Argo for surround sound mixing
  • Replay systems such as EVS XT-Via or XT3 servers
  • Camera control units (CCUs) and tally systems
  • Routing infrastructure, including Evertz and Ross video/audio routers
  • Comms systems, including RTS ADAM or ODIN matrix intercoms
  • Power and environmental systems for field reliability
  • IP and baseband hybrid capabilities, including ST2110 and SMPTE routing

These trucks are staffed by directors, engineers, audio technicians, replay operators, shader techs, and production managers who collaborate in real time to produce a seamless broadcast or stream.

Why Use a Mobile Broadcast Truck?

The use of a mobile broadcast truck brings unmatched flexibility to productions that cannot be confined to a studio. Here’s why these units are so valuable:

  1. Remote Capability: OB trucks enable full-scale production in remote or temporary locations where permanent infrastructure does not exist. Whether it’s a beach, racetrack, mountain summit, or urban plaza, these trucks bring the studio to the scene.
  1. Time Efficiency: Live productions often operate on tight schedules. Mobile production trucks can be deployed quickly, set up efficiently, and strike rapidly post-show-saving crews valuable time and reducing logistical complexity.
  1. Scalability: From small single-camera events to massive multi-camera broadcasts with 20+ sources, mobile video production trucks can be scaled to meet the needs of the production. Trucks can also be paired with support units and flypacks to further extend functionality.
  1. Cost-Effective: Compared to building out a temporary control room from scratch, mobile TV trucks offer a cost-effective, all-in-one solution that reduces equipment rental, setup, and coordination overhead.
  1. Broadcast and Streaming Integration: Modern mobile TV trucks are equipped not only for broadcast transmission but also for simultaneous streaming, recording, and post-production handoff. This hybrid capability is crucial for today’s multi-platform distribution strategies.

Mobile TV Trucks and Live Media Group

At Live Media Group, we operate one of the most technically advanced and versatile fleets of mobile broadcast trucks in the United States. Our lineup includes:

  • UHD, HDR-ready mobile control units
  • Dedicated REMI (Remote Integration Model) trucks for decentralized workflows
  • OB trucks with integrated C-band and Ku-band uplink systems
  • Single and double expando vehicles
  • Audio-dedicated trucks with world-class consoles and multi-track recording
  • Support trailers with flypack staging, crew workstations, and engineering bays
  • Each mobile TV truck is built to support live television, event streaming, corporate AV, and government production workflows, with flexibility for IP, SDI, or hybrid infrastructures.

Outside Broadcast: Evolving with Technology

The concept of Outside Broadcast (OB) has existed for decades, but the technology within OB trucks continues to evolve. Today’s OB units support IP-based production, real-time remote contribution, and even virtualized control rooms. As production demands grow more complex, mobile production trucks have evolved into command centers capable of everything from local switching to cloud-based integration.

At Live Media Group, our OB solutions are future-ready-supporting 3G, 12G, ST2110, MADI, DANTE, and SMPTE 2110 signal types, along with advanced routing, monitoring, and comms systems for hybrid cloud-ground environments.

Choosing the Right Mobile Video Production Truck

When planning a production, choosing the right video production truck is critical. Consider the following factors:

  • Event scale (number of cameras, replay, graphics)
  • Transmission needs (broadcast, streaming, satellite uplink)
  • Audio requirements (surround mixing, multi-track, comms complexity)
  • Venue logistics (space constraints, power availability)
  • Crew size and workstation configuration

Live Media Group offers production planning and truck configuration consultation to help clients select the right unit-or combination of units-for each show.

Frequently Asked Questions (FAQ)

What is a mobile TV truck used for?

A mobile TV truck is used to produce, switch, mix, and broadcast or stream live video content from a remote location. It acts as a mobile studio control room.

What’s the difference between a mobile video production truck and an OB truck?

They are often the same thing. OB (Outside Broadcast) truck is the traditional term used in the broadcast industry, while “mobile video production truck” is more common in digital and hybrid workflows.

How many cameras can a mobile TV truck support?

It depends on the truck. Some support 4-6 cameras, while larger OB units can support 12-20+ cameras including specialty formats like super-slo-mo, RF, and POV.

Can mobile broadcast trucks handle live streaming?

Yes. Most modern mobile broadcast trucks are fully capable of integrating live streaming platforms alongside traditional broadcast transmission paths.

What types of events use OB trucks?

Live sports, music festivals, political events, conferences, red carpet shows, esports tournaments, and breaking news coverage all rely on OB trucks for reliable, high-quality live production.

How much does it cost to rent a mobile video production truck?

Costs vary based on truck size, duration, crew needs, and location. Live Media Group offers scalable solutions from compact REMI trucks to large UHD OB units-contact our team for pricing.

Bring the Studio to the Field with Live Media Group

Whether you need a mobile TV truck, an OB production unit, or a mobile broadcast truck integrated with satellite uplink and REMI capabilities, Live Media Group has the expertise and the fleet to deliver. Our team supports everything from high-profile live sports broadcasts to corporate communications and branded digital experiences-with a commitment to flexibility, reliability, and innovation.

 

To learn more about our mobile units, contact our production team directly at solutions@livemediagroup.com or call 833.933.5483.

Aspen – MU-5

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Aspen – MU-5

45’ 3G HDR Single Expando

Switcher: Grass Valley K-Frame X 3G – 4 M/E 64×32
Audio Board: Calrec Artemis Beam (48×48 Analog, 64×64 AES, 640×640 MADI, 128×128 DANTE)
Router: Grass Valley Sirius 840 w/ EVS Cerebrum Control, 46 3G Framesyncs, 336×60 Multiview
Cameras: Sony HDC3500 UHD/HDR
Replay: EVS XTVia