REMI Production: How Remote Integration Is Reshaping Live Broadcasting and Why It Matters

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The live production industry has undergone a fundamental shift over the past decade. What was once a workflow driven entirely by large mobile production trucks and full on-site crews has evolved into something more flexible, more connected, and more cost-efficient. At the center of that shift is REMI production.

REMI, which stands for Remote Integration Model, is a method of live production in which camera feeds, audio, and data from an event venue are transported over IP to a centralized production facility. There, the director, technical director, audio mixer, graphics operator, replay team, and other key production roles do their work remotely, producing the live broadcast without being physically present at the event. The finished program is then distributed to broadcast networks, streaming platforms, or both.

For organizations producing live content at scale, including sports networks, entertainment companies, brands, universities, and houses of worship, REMI production has become an essential part of the playbook. It enables more events to be covered, with fewer people traveling, and with the kind of production consistency that comes from operating out of a purpose-built control room.

Live Media Group has positioned itself at the forefront of this evolution. With roots dating back to 2002, a fleet of more than 30 mobile production units, a dedicated REMI control room at TNDV headquarters in Nashville, Tennessee, and IP-based mobile units specifically engineered for remote workflows, the company offers a model for how traditional mobile production and modern REMI infrastructure can work together seamlessly.

What Is REMI Production?

REMI production, also known as at-home production or remote production, reimagines how a live broadcast is executed. In a traditional production model, nearly every member of the production team travels to the venue. Cameras, switching, audio, graphics, replay, transmission, and communications are all handled on site, typically inside a mobile production truck or outside broadcast unit.

In a REMI workflow, the on-site footprint is deliberately reduced. Cameras and microphones are still deployed at the venue, but those feeds are encoded and transported over high-bandwidth IP connections to a remote facility. At the centralized control room, the production team receives those feeds and produces the show as if they were on site. Switching, graphics, replay, and audio mixing all happen remotely. The finished program output is then sent to the broadcast or streaming destination from the control room rather than from the venue.

The result is a production model that reduces travel costs, compresses setup timelines, allows a single facility to handle multiple events across different venues, and gives organizations access to a deeper talent pool. Instead of flying a full crew to every venue, REMI production allows the best operators to work from a central location across many different shows.

This approach has been gaining momentum for years, but it accelerated significantly during the COVID-19 pandemic when isolation requirements forced production teams to work remotely. Organizations that had already invested in REMI infrastructure were able to return to live broadcasting faster. Since then, adoption has only grown as networks, leagues, and event producers have recognized the long-term operational advantages.

How Live Media Group Approaches REMI Production

Live Media Group operates across three divisions: Live Media, based in Columbus, Ohio; TNDV Television, the entertainment division based in Nashville, Tennessee; and GameTime Productions, which delivers turnkey production services for major networks and events. Together, the three divisions give Live Media Group a broad range of capabilities, and REMI production is increasingly central to how the company serves its clients.

In 2024, TNDV completed and activated a purpose-built REMI production control room at its Nashville headquarters. The facility was designed from the ground up for remote integration workflows. It is built around the Ross Video Ultrix Acuity platform with Ross XPression for real-time graphics, integrating a software-defined production engine with four mix/effect switcher cards, hybrid routing, and multiviewer capabilities. Adjacent to the main control room are isolated spaces for digital audio mixing and EVS-based sports replays and highlights, along with seating for producers, technical directors, and other team members.

The Nashville REMI control room first became operational with a series of women’s softball games produced for Athletes Unlimited, a professional sports network that delivers women’s basketball, softball, volleyball, and lacrosse to broadcast platforms including ESPN. That initial deployment demonstrated how a centralized control room could produce high-quality live sports coverage without sending a full production crew to the venue.

If demand surges, Live Media Group has built in redundancy. A second identically configured control room exists on TNDV’s Elevation mobile unit, parked on site at the Nashville facility. This gives the company the ability to scale REMI output quickly without building additional permanent infrastructure.

MU-28: A Purpose-Built REMI Production Truck

While the Nashville control room represents the centralized side of REMI, the venue side of the equation matters just as much. In August 2025, Live Media Group launched MU-28, a new mobile production unit built from the ground up specifically for REMI production.

MU-28 is a SMPTE 2110-7 IP-based truck, which means it uses the latest broadcast IP standards for signal transport rather than traditional SDI-only infrastructure. It features ARISTA cloud networking, an EVS Strada router, and a Cerebrum routing and control system. The unit is designed to integrate directly into client facilities, reducing the need for additional equipment and minimizing setup time on site.

Michael Sullivan, President of Live Media, described MU-28 as a reflection of how the company is responding to partner needs while advancing broadcast flexibility. The truck was built with REMI production in mind from the start, not retrofitted from a traditional design. Ryan Jones, SVP of Internal Operations at Live Media and a key leader on the build project, emphasized that MU-28 complements the growth of remote studios and represents the company’s recognition of where the industry is heading.

Importantly, Live Media Group sees MU-28 as more than a REMI-only truck. The company positions it as a scalable hub for a variety of production needs, capable of supporting large-scale remote workflows as well as other broadcast support functions. Its layout is also designed to help clients reduce costs beyond the technical line items, addressing broader production challenges that many broadcasters face.

Multiple trucks in Live Media Group’s fleet now feature the EVS Strada with Cerebrum control, which means MU-28 can combine its capabilities with other units in the fleet for larger, multi-truck productions. This interoperability is a significant advantage for clients who need to scale up for major events while still leveraging REMI workflows.

Why REMI Production Matters for Broadcasters and Event Producers

REMI production is not just a technical preference. It is a strategic decision that affects cost structure, scheduling, talent allocation, and the volume of content an organization can produce.

Cost Efficiency

One of the most immediate benefits of REMI production is cost reduction. Traditional on-site production requires transporting a full crew, accommodating them at the venue, and deploying a fully staffed mobile production truck. REMI workflows significantly reduce travel, lodging, and per diem expenses by keeping most of the production team at a centralized facility. For organizations producing dozens or hundreds of events per year, those savings compound quickly.

Scalability and Volume

REMI enables organizations to cover more events with the same production resources. A single control room can produce multiple events across different venues on the same day, rotating crews and resources between shows. This is especially valuable for sports leagues, conference networks, and streaming platforms that need to produce a high volume of live content across geographically dispersed venues.

Access to Top Talent

When production teams are centralized, organizations can consistently deploy their best operators across every event rather than relying on locally available freelancers or splitting top talent across simultaneous shows in different cities. Directors, technical directors, replay operators, and graphics specialists can work from the same room on event after event, building consistency and improving show quality over time.

Faster Setup and Turnaround

With reduced on-site infrastructure, REMI productions can be set up faster at the venue. The on-site team focuses on cameras, audio acquisition, communications, and IP transport. The heavy lifting of production, switching, replay, and graphics happens at the control room, which is already configured and ready to go.

Sustainability and Logistics

Fewer trucks on the road and fewer crew members flying to venues means a smaller logistical and environmental footprint. For organizations that are increasingly conscious of sustainability goals, REMI production offers a meaningful way to reduce the operational impact of live event coverage without sacrificing quality.

REMI Does Not Replace On-Site Production. It Complements It.

One of the most important things to understand about REMI production is that it does not eliminate the need for on-site resources. Cameras still need to be deployed, rigged, and operated at the venue. Audio must be captured on location. Communications infrastructure must be established between the site and the control room. IP transport must be reliable, with redundancy planning for connectivity.

That is why organizations like Live Media Group maintain a large fleet of mobile production units alongside their REMI infrastructure. Some events are best served by a full on-site production, with a truck, full crew, and complete control environment at the venue. Other events benefit from a REMI approach with a smaller on-site footprint. Many productions use a hybrid model, combining on-site truck resources with centralized REMI support for functions like replay, graphics, or additional production positions.

Live Media Group’s fleet of more than 30 mobile production units, ranging from compact single-expando trucks to 53-foot double-expando OB trucks, gives the company the ability to deploy the right configuration for each event. Combined with the Nashville REMI control room, fly pack capabilities, and now the purpose-built MU-28, Live Media Group offers clients the flexibility to move between full on-site, full REMI, and hybrid production models depending on the event’s needs, budget, and venue conditions.

The Technology Behind Modern REMI Workflows

Successful REMI production depends on reliable, low-latency IP transport between the venue and the control room. Early remote production models relied on dedicated fiber or satellite connections. Today, the technology landscape includes high-bandwidth IP routing, bonded cellular transmission, SRT protocol for secure transport over public networks, and SMPTE 2110 standards for professional IP video.

Live Media Group’s infrastructure reflects this evolution. MU-28’s SMPTE 2110-7 architecture represents the current standard for IP-based broadcast transport. The Nashville control room’s Ross Ultrix Acuity platform provides the routing and switching backbone for receiving and processing remote feeds. LiveU bonded cellular backup, which Live Media Group highlights across its fleet, adds another layer of redundancy for uninterrupted coverage.

Audio is another critical component of REMI workflows. Live Media Group’s published capabilities include multitrack fly packs with MADI technology and up to 96-channel Pro Tools integration. These audio systems can work inside OB truck environments or as standalone solutions, supporting the kind of flexible deployment that REMI production demands.

Graphics and replay round out the technical picture. With Ross XPression graphics integrated into the Nashville control room and EVS replay capabilities built into both the control room and mobile units, Live Media Group can deliver the complete production toolkit through REMI workflows. Scores, lower thirds, sponsor integration, instant replay, and highlight packages can all be produced remotely with the same quality as a fully staffed on-site truck.

What Types of Events Benefit from REMI Production?

REMI production was initially driven by sports, and sports remains the primary use case. League-wide coverage, conference networks, women’s sports, minor league and development events, and high-volume regular season schedules all benefit enormously from the cost and scale advantages of remote integration.

But the model extends well beyond sports. Live Media Group’s divisions serve entertainment, music, corporate, religious, and community events. Concerts and music festivals can use REMI workflows for multi-camera streaming and recording. Corporate events can leverage centralized production for company-wide broadcasts, earnings calls, and town halls. Houses of worship increasingly rely on remote production for weekly services distributed to online congregations. Awards shows, red carpets, and television specials can all benefit from REMI’s ability to consolidate production talent and resources.

The common thread is that any live event requiring professional production quality can benefit from REMI if the IP transport infrastructure is in place and the production partner has the right combination of on-site and remote capabilities.

Choosing a REMI Production Partner

Not every production company offering REMI services has the same depth of infrastructure, experience, or flexibility. When evaluating a REMI production partner, the key questions are practical.

Does the provider have a dedicated control room designed for REMI, or are they improvising with temporary setups? Do they have mobile units specifically engineered for IP-based remote workflows? Can they support both full on-site production and REMI, giving clients the flexibility to choose the right model for each event? Do they have experienced crews who understand the unique operational demands of remote integration, including IP transport planning, latency management, and communication coordination between remote and on-site teams?

Live Media Group checks those boxes with a purpose-built Nashville REMI control room, an IP-native MU-28 production truck, a fleet of more than 30 mobile units supporting HD through UHD and 4K workflows, fly pack integration, uplink and streaming capabilities, and teams with over 35 years of mobile unit industry experience. The company describes itself as a turnkey production partner capable of broadcasting events on any platform, anywhere, and its investment in REMI infrastructure reflects that commitment.

The Future of REMI and Remote Production

REMI production is not a trend. It is a permanent shift in how the live production industry operates. As IP transport becomes faster and more reliable, as cloud-based production tools mature, and as the demand for live content continues to grow across broadcast, streaming, and social platforms, the value of centralized remote production will only increase.

Organizations that invest in REMI infrastructure today are positioning themselves to produce more content, more efficiently, across more platforms, without compromising on quality. The companies that will lead this space are the ones combining deep mobile production expertise with modern IP-based systems, dedicated control rooms, and the operational flexibility to support any production model a client needs.

Live Media Group’s trajectory, from a company rooted in traditional mobile production to one actively building IP-native trucks and operating a dedicated REMI facility, illustrates where the industry is heading. For broadcasters, leagues, networks, brands, and event producers, the question is no longer whether to adopt REMI. The question is whether the production partner has the infrastructure, the technology, and the experience to deliver it at scale.

 

FAQ: REMI Production and Remote Broadcasting

What is REMI production? REMI stands for Remote Integration Model. It is a live production workflow in which camera and audio feeds from an event venue are transported over IP to a centralized control room, where the broadcast is produced and distributed remotely.

What is the difference between REMI and traditional on-site production? In traditional production, the entire crew and control environment are at the venue, usually inside a mobile production truck. In REMI production, most of the production team works from a centralized facility, and only essential personnel and equipment are deployed on site.

Does Live Media Group have a dedicated REMI control room? Yes. Live Media Group operates a purpose-built REMI production control room at TNDV headquarters in Nashville, Tennessee, built around the Ross Video Ultrix Acuity platform with integrated graphics, replay, and audio capabilities.

What is MU-28? MU-28 is Live Media Group’s newest mobile production unit, launched in August 2025. It is a SMPTE 2110-7 IP-based truck built specifically for REMI production, featuring ARISTA cloud networking, EVS Strada routing, and Cerebrum control.

Can REMI production match the quality of a full on-site truck production? Yes. When properly executed with the right infrastructure, REMI production can deliver the same video, audio, graphics, and replay quality as a full on-site production. The key is reliable IP transport and a well-equipped centralized control room.

What types of events use REMI production? REMI is widely used for sports broadcasting, especially for league-wide coverage and high-volume schedules. It is also used for concerts, corporate events, worship services, awards shows, and other live events that benefit from centralized production efficiency.

Does REMI eliminate the need for mobile production trucks? No. REMI reduces the on-site footprint but still requires cameras, audio, communications, and IP transport at the venue. Many productions use a hybrid approach that combines on-site truck resources with remote production support.

How does Live Media Group support both REMI and on-site production? The company maintains a fleet of more than 30 mobile production units alongside its Nashville REMI control room, fly pack systems, and the new MU-28. This allows clients to choose full on-site, full REMI, or hybrid production models depending on the event.

What technology does REMI production require? REMI workflows depend on reliable high-bandwidth IP transport, low-latency encoding and decoding, professional routing and switching, and redundant connectivity. Standards like SMPTE 2110 and protocols like SRT are commonly used in modern REMI deployments.

Is REMI production more affordable than traditional production? In many cases, yes. REMI reduces travel, lodging, crew costs, and on-site infrastructure requirements. It also allows a single control room to produce multiple events, improving resource utilization across a production schedule.

Outside Broadcast (OB) Trucks: The Backbone of Professional Live Event Production

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When viewers tune in to a live sports event, concert, awards show, corporate broadcast, or major community gathering, they expect a polished experience. They want sharp visuals, clean audio, instant replays, well-timed graphics, and reliable coverage from start to finish. What most people do not see is the infrastructure that makes all of that happen in real time. At the center of that operation is the Outside Broadcast truck, more commonly known as the OB truck.

An Outside Broadcast truck is the mobile command center of live production. It brings the capabilities of a professional control room directly to the event site, allowing production teams to manage video, audio, graphics, replay, transmission, communications, and recording from one integrated environment. For live event organizers, broadcasters, sports networks, entertainment producers, and brands, OB trucks remain one of the most important tools in the industry.

For a company like Live Media Group, OB trucks are not just part of the service offering. They are a core part of how large-scale productions are executed with consistency and flexibility. Live Media Group describes its mobile units as advanced outside broadcast solutions designed for seamless live production at any scale, and its broader company profile highlights more than 30 mobile production units, fly pack capabilities, systems integration, cloud-based software solutions, a control room in Nashville, and experienced crews. The company also notes roots dating back to 2002 and says its team brings more than 35 years of mobile unit industry experience to productions across the country and globally.

What Is an Outside Broadcast Truck?

An Outside Broadcast truck is a specialized mobile production facility used to produce live events on location. Instead of relying on a fixed studio or permanent control room, the OB truck travels to the venue and serves as the technical hub for the entire production.

Inside the truck, multiple workstations support the people responsible for bringing a live event to air. Depending on the scale of the show, that can include the producer, director, technical director, audio engineer, replay operators, graphics operators, engineering staff, and communications team. Together, they manage every major production element in real time.

This matters because live production leaves very little room for error. There are no second takes in a live broadcast. Camera feeds must be switched at the right moment. Audio must be mixed correctly the first time. Graphics have to appear on cue. Transmission paths must stay stable throughout the show. An OB truck helps keep all of those functions organized in one controlled environment.

Live Media Group’s fleet page makes this point clear by highlighting multi-camera capabilities, high-end broadcast solutions, and support for multiple truck types and workflows. Its public site lists audio production units, B-units, production units, and uplink hybrid configurations, as well as support for formats such as 1080i/720p HD, 1080P/3G, REMI-only production, and UHD/4K.

Why OB Trucks Still Matter in Modern Broadcasting

Some people assume that remote production and cloud workflows have reduced the need for OB trucks. In reality, the role of the OB truck has expanded. Today’s productions often blend on-site resources with remote integration, centralized control rooms, fly packs, and streaming platforms. That makes the truck more valuable, not less.

An OB truck gives producers a reliable, self-contained production environment at the venue itself. That is especially important for stadiums, arenas, convention centers, festivals, houses of worship, outdoor event sites, and temporary locations where permanent infrastructure may be limited or nonexistent. The truck allows the team to arrive with a proven system, deploy quickly, and adapt to the needs of the event.

At the same time, the best OB trucks now support hybrid production models. Live Media Group states that its control rooms are integrated with its mobile TV production trucks for seamless REMI workflows, using Ross Video Ultrix Acuity platforms and XPression graphics to support high-end centralized production with reduced on-site resources. That combination reflects the direction of modern live broadcasting: mobile when needed, centralized when efficient, and flexible at every stage.

The Core Functions of an OB Truck

A professional outside broadcast truck does much more than house video equipment. It serves as a complete technical ecosystem for live production.

The first function is video acquisition and switching. Multiple camera feeds come into the truck, where the production team monitors them and selects the right shots for the live program. This process must happen instantly and continuously, especially during sports, concerts, and fast-moving live events.

The second function is audio mixing. High-quality live production depends on more than what viewers see. Crowd microphones, commentator feeds, stage audio, music playback, IFB, intercom, and mix-minus feeds all need to be managed carefully. A strong OB truck setup ensures that the audience hears a balanced, intelligible mix without distraction or technical issues.

The third function is replay and graphics. Replays help explain key moments in sports and add storytelling value to live entertainment. Graphics provide context, branding, sponsor integration, scores, lower thirds, timing data, and program structure. Together, they turn raw event coverage into a professional broadcast product.

The fourth function is recording and transmission. Every live event needs a dependable way to reach its destination, whether that means traditional television, streaming platforms, social channels, or internal distribution networks. Live Media Group’s public materials say its OB trucks and mobile TV trucks can be equipped with Ku-band and C-band uplink services, with LiveU bonded cellular backup for uninterrupted coverage. The company also promotes HD and 4K streaming, secure high-speed internet connectivity, and scalable live-feed support for events ranging from intimate gatherings to global broadcasts.

OB Trucks for Different Types of Events

One of the biggest strengths of an outside broadcast truck is versatility. Not every production has the same needs, and that is why having access to different truck sizes and configurations matters.

A major sports broadcast may require more camera positions, more replay resources, more commentary support, and more robust communications systems. A concert production may prioritize audio integration, multitrack recording, and flexible camera routing. A corporate event may place greater emphasis on presentation graphics, live streaming, and branded delivery. A red carpet event may need a nimble footprint and fast turnaround in a tight urban environment.

Live Media Group’s public site reflects that range. Its company overview highlights a fleet of more than 30 mobile production units, while also describing 53-foot expando units and smaller 38- to 45-foot mobile production units with uplink. Its entertainment division, TNDV, is described as supporting entertainment, red carpet, music, corporate, religious, and sporting events with straight body units, expando units, flypacks, and a control room.

That breadth matters for clients because it means the production can be matched to the event instead of forcing the event to fit a one-size-fits-all solution. The right OB truck strategy helps balance technical performance, venue logistics, and cost efficiency.

OB Trucks and Fly Pack Integration

Outside broadcast production is not always limited to what happens inside the truck itself. In many modern workflows, fly packs play an important role alongside mobile units.

Fly packs are portable production systems that can be deployed in venues where space is tight, access is limited, or additional flexibility is needed. They can serve as standalone systems for smaller productions or integrate directly with a truck for expanded capability. Live Media Group highlights versatile fly pack systems as portable, high-performance kits for remote broadcasting that can easily integrate into mobile television trucks and are well-suited for concerts, sports, and corporate events.

This combination gives production teams more options. For example, a truck may handle the central switching, replay, and transmission functions while fly packs extend camera acquisition, audio capture, or specialty production positions to other parts of the venue. That kind of modularity is increasingly important in live production because no two venues are exactly the same.

Audio, Communications, and the Details That Matter

The public conversation around live production often focuses on cameras and screens, but the details behind the scenes are what separate an average broadcast from a great one.

Audio is one of those details. Live Media Group specifically mentions advanced audio recording through multitrack fly packs with MADI technology and up to 96-channel Pro Tools integration, noting that these compact solutions can work inside OB truck environments or as standalone systems. For productions where music, crowd sound, commentary, and stage audio all need to be captured clearly, those capabilities can make a major difference.

Communications are another essential part of OB truck operations. Directors, producers, engineers, camera operators, talent, and stage managers all depend on clear coordination during a live show. If communication breaks down, the production suffers. A strong truck environment helps maintain order under pressure by centralizing technical and operational communication.

These elements may not be visible to the audience, but they are critical to the final result. Great live production depends on hundreds of small decisions being executed correctly in real time, and the OB truck is where those decisions come together.

Why Experience Matters as Much as Technology

Technology alone does not guarantee a successful broadcast. The best equipment in the world still depends on experienced professionals who know how to plan, deploy, troubleshoot, and execute under real-world conditions.

Live Media Group emphasizes expert, experienced crews in its company overview and notes that its team has over 35 years of experience in the mobile unit industry. It also presents itself as a turnkey production company capable of broadcasting events on any platform anywhere. Those points matter because live production is often unpredictable. Weather shifts. Venue conditions change. Connectivity needs backup. Schedules compress. Production requirements evolve on site. Experience is what allows a team to solve those problems without compromising the show.

That is especially true for OB truck operations, where planning and engineering discipline are just as important as creative execution. Signal flow, camera placement, power management, truck parking, cabling, communications, transmission redundancy, and crew workflow all affect the outcome.

The Future of Outside Broadcast Trucks

Outside Broadcast trucks continue to evolve because audience expectations continue to rise. Viewers want more coverage, more angles, better audio, faster replays, stronger graphics, and delivery across more platforms. Events that once needed only in-room AV support are now expected to be broadcast-quality productions with streaming, recording, sponsor integration, and cross-platform distribution built in from the start.

That is why OB trucks remain central to the future of live event production. They offer the stability of a proven on-site control room while adapting to REMI, cloud, streaming, and hybrid workflows. In other words, they are not outdated. They are foundational.

For organizations planning a live production, the question is not whether the OB truck model still works. The question is whether the production partner has the fleet depth, technical capability, and experience to deploy the right solution for the event. Based on its public materials, Live Media Group positions itself as that kind of partner, with a broad mobile unit fleet, multiple production formats, fly pack integration, centralized control room support, uplink and streaming capabilities, and experienced teams serving a wide range of live productions.

In live broadcasting, reliability and quality are never accidental. They are built through infrastructure, preparation, and execution. Outside Broadcast trucks remain one of the most powerful tools for delivering all three.

FAQ

What is an Outside Broadcast truck?
An Outside Broadcast truck, or OB truck, is a mobile production control room used to produce live events on location. It typically supports video switching, audio mixing, replay, graphics, recording, communications, and transmission.

What kinds of events use OB trucks?
OB trucks are commonly used for live sports, concerts, festivals, red carpet events, corporate productions, religious broadcasts, and other on-location events that require professional live coverage.

Are OB trucks still relevant with REMI and remote production?
Yes. Modern OB trucks often support hybrid workflows that combine on-site production with remote integration and centralized control rooms, making them more flexible than ever.

What is the difference between an OB truck and a TV production truck?
In many cases, the terms are used interchangeably. “OB truck” is often the broader broadcast industry term for a mobile production vehicle used on location.

Can OB trucks support live streaming as well as traditional broadcast?
Yes. Many modern units are built to support both television broadcasts and digital streaming workflows, including HD and 4K delivery. Live Media Group specifically highlights HD and 4K live event streaming as part of its outside broadcast capabilities.

Why do fleet size and truck variety matter?
Different events require different technical footprints. A provider with multiple truck types and sizes can better match the production to the event’s complexity, venue constraints, and budget. Live Media Group says it offers more than 30 mobile production units and a mix of larger expando units and smaller uplink-capable units.

Does Live Media Group offer fly packs in addition to OB trucks?
Yes. The company’s public site states that it offers fly pack capabilities and portable production kits that can integrate with its mobile television trucks.

 

Why Outside Broadcast Trucks are Best for Live Productions

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In live television and event production, there is no substitute for reliability, speed, and control. Whether the assignment is a major sporting event, a concert, a corporate broadcast, a television special, or a live community event, the production has to work the first time. That is why outside broadcast trucks continue to be one of the most important assets in the live production industry.

Outside broadcast trucks, often called OB trucks, serve as fully equipped mobile production control rooms that bring broadcast-level capabilities directly to the event location. They allow production teams to manage camera feeds, audio, graphics, replay, communications, recording, and transmission from one centralized environment on site. For broadcasters, rights holders, brands, and event producers, OB trucks remain the standard for high-quality remote production because they combine flexibility with performance in a way few other solutions can match.

Live Media Group positions its fleet around exactly that need, offering the most advanced mobile outside broadcast units in the industry, built for seamless live production at any scale, with multi-camera capabilities, flexible workflows, and full-service packaging. We have more than 30 mobile production units, fly pack capabilities, systems integration, cloud-based software solutions, 2 REMI control rooms, and the most experienced crews in the industry available through our internal packaging division – GameTime Productions.

What Are Outside Broadcast Trucks?

Outside broadcast trucks are mobile production units designed to bring the technical power of a control room directly to the venue. Instead of relying on a fixed studio, the truck is deployed wherever the event is taking place. That could be a stadium, arena, festival site, theater, convention center, house of worship, racetrack, red carpet location, or any outdoor event space.

Inside an OB truck, every major part of the live broadcast workflow can be managed in real time. Producers, directors, technical directors, audio engineers, replay operators, graphics operators, and engineering teams work together from dedicated positions inside the unit. The result is a broadcast environment built for speed, coordination, and reliability. I

That is especially important in live production because there is almost no margin for error. Camera switching must happen at the exact right moment. Commentary and natural sound must be balanced correctly. Graphics must appear on cue. Replay clips need to be ready when the story demands them. Signals must be routed and transmitted without interruption. OB trucks give live event teams a proven way to manage all of that under pressure.

Live Media Group’s fleet reflects this range and are fully customizable for specific needs of an event. We offer a mix of compact and full-size mobile broadcast units, including 53-foot expando trucks, smaller uplink-capable units, audio production support, B-units, and hybrid production/transmission configurations. We have units built for 3G, UHD, HDR, and REMI-oriented workflows.

Why OB Trucks Still Matter

Some people assume remote production has made outside broadcast trucks less relevant. In reality, the opposite is true. Modern live productions often depend on a blend of on-site infrastructure and remote integration. That means the best OB trucks now support both traditional field production and modern hybrid workflows.

An OB truck remains the most dependable way to establish a professional production footprint at the venue itself. It provides the physical space, routing, monitoring, communications, and technical backbone needed to execute complex live events. That matters when the venue does not have permanent broadcast infrastructure or when the production requires a self-contained control environment that can be deployed quickly.

At the same time, modern trucks are evolving with the industry. Our control rooms are integrated with our mobile TV production trucks for seamless REMI workflows, with Ross Video Ultrix Acuity platforms and XPression graphics as part of a centralized production approach. Based in Nashville, our control rooms can support live broadcasts from anywhere in the country.

This is one reason outside broadcast services remain so valuable. Clients need more than just a vehicle. They need a mobile production environment that can support traditional broadcast, remote integration, cloud-connected workflows, and streaming delivery without sacrificing reliability.

What Outside Broadcast Services Include

The phrase “outside broadcast services” covers more than just the truck itself. A professional broadcast company is expected to deliver the full production ecosystem that supports a live event from acquisition through transmission.

This starts with camera support and switching. OB trucks are designed to handle multi-camera productions with precise monitoring, switching, and signal management. Live Media Group’s units are designed to support multi-camera live production, advanced replay and ISO workflows, 3G, UHD, and HDR production environments, scalable routing and multiview systems, and dedicated audio control rooms.

Audio is another major component. Strong live production depends on commentator microphones, crowd sound, music, stage feeds, IFB, intercom, and mix-minus coordination all working together smoothly. We offer audio recording support through multitrack fly packs with MADI technology and up to 96-channel Pro Tools integration, including compact solutions that can work inside OB trucks or standalone environments.

Replay and graphics are also essential. For sports, replay is often central to storytelling. For entertainment and corporate productions, graphics help shape the viewer experience, reinforce branding, and support sponsor requirements. A strong OB workflow needs both.

Then there is transmission. This is where many mobile broadcast units prove their value. It is not enough to produce the event well; the signal also must get where it needs to go. Our OB trucks and mobile TV trucks can be equipped with Ku-band and C-band uplink services, and a LiveU bonded cellular backup helps ensure uninterrupted coverage. We do HD and 4K streaming over secure, high-speed connectivity for events ranging from intimate productions to global broadcasts.

The Advantage of a Diverse Mobile Broadcast Fleet

Not all live events require the same technical footprint. Some productions need a large-format double-expando truck with deep replay capacity and extensive routing. Others need compact mobile broadcast units that can fit into tighter spaces while still providing production and transmission capability.

The bottom line is that fleet diversity matters when evaluating outside broadcast services. Our fleet of over 30 vehicles includes 53-foot expando units along with 38- to 45-foot mobile production units with uplink capability.

This kind of range is important because it helps clients “right-size” the production. A high-profile national sports broadcast may require a massive mobile control room with extensive replay, comms, and camera support. A political town hall, public service event, or fast-turnaround field production may be better served by a compact production plus uplink hybrid. Live Media’s MU-21 and MU-22 and TNDV’s Aspiration35 trucks are specifically positioned for integrated production and satellite uplink in agile footprints.

The result is a better fit between technical needs, venue logistics, and production budget.

OB Trucks for Sports, Entertainment, Corporate, and More

Outside broadcast trucks are essential because they work across so many event categories. Sports broadcasting remains one of the clearest examples. Multi-camera live coverage, replay, graphics, announcer support, and fast turnaround all make OB trucks the natural choice.

But OB trucks are just as valuable for concerts, all sporting events, festivals, television specials, awards shows, corporate productions, worship events, red-carpet broadcasts, entertainment specials, corporate events, studio-style productions on location – any location that an event is taking place that needs to be broadcast live. OB trucks are the answer.

This is where experienced outside broadcast services make a difference. Different event types have different demands. A sports show may prioritize replay and booth audio. A concert may place more emphasis on multitrack audio, stage integration, and dynamic camera coverage. A corporate event may prioritize clean graphics, streaming stability, and presentation support. The best providers understand how to match the right mobile broadcast unit to the right production environment.

Why Experience Matters in Outside Broadcast

Technology matters, but great crews matter just as much. Even the most advanced OB truck depends on experienced professionals who know how to deploy, engineer, coordinate, and troubleshoot in real-world conditions.

Live Media Group has the most experienced crews in the industry. This matters because live production is always a moving target. Venue access changes. Power conditions vary. Weather affects timelines. Connectivity needs redundancy. Production requirements evolve right up to show time. Strong outside broadcast services are built not just on equipment but on engineering discipline and operational experience.

Experience is another reason OB trucks remain so important. They do not simply move gear from place to place. They provide a structured production environment where experienced teams can execute under pressure.

The Future of Outside Broadcast Trucks

Outside broadcast trucks are not going away. They are adapting. Today’s mobile broadcast units increasingly support HDR, UHD, REMI, centralized production, streaming, satellite transmission, bonded cellular backup, and modular flypack integration. The industry is moving toward flexible workflows, and OB trucks are evolving right along with it.

Live Media Group’s fleet of outside broadcast trucks can provide both UHD and HDR, advanced replay, scalable routing, audio control rooms, ARRI ALEXA 35 cameras, REMI integration, HD and 4K streaming, and uplink backup options. These offerings show why outside broadcast trucks still sit at the center of professional live event production.

For brands, broadcasters, leagues, and event producers, the real question is not whether OB trucks still matter. The real question is whether the production partner has the fleet, technology, and experience to deliver the right solution for the event. Live Media Group continues to position itself as a strong partner for organizations seeking dependable, scalable outside broadcast services backed by a broad fleet of mobile broadcast units and experienced crews. We continually expand our team, our capabilities, and our resources to provide the best possible outcomes for our clients.

When the event is live, quality depends on preparation, infrastructure, and execution. Outside broadcast trucks remain the backbone of that process because they bring all three together in one place.

Satellite TV Trucks and Mobile Production: The Power Behind Live Broadcasts

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In the world of live broadcast production, mobility, reliability, and signal reach are the defining factors that separate average productions from premium ones. Whether it’s a national sports broadcast, a breaking news update, a red-carpet event, or a live concert, the ability to produce and transmit high-quality, live video from anywhere is essential.

This is where satellite TV trucks, mobile TV trucks, and production trucks come into play. These vehicles serve as fully operational mobile control rooms and transmission hubs, equipped with cutting-edge technology that enables remote video acquisition, real-time switching, professional audio mixing, and secure signal delivery to operation centers, networks or digital platforms.

Live Media Group has two mobile production truck divisions – Live Media (Columbus, Ohio) and TNDV (Nashville, TN) providing end-to-end solutions for over 20 years.  Our growing fleet of modern production trucks and satellite-enabled vehicles that meet the demands of broadcast, streaming, and hybrid content distribution. Whether you’re renting a mobile production truck for a single-day event or deploying a full compound with satellite uplink, we bring it all to your location.

And with our REMI workflow, we can leverage advanced communication and transmission technologies from an event to our centralized production hub, reducing the amount of on-site equipment and personnel, bringing cost savings and efficiency to our clients’ productions.

What Is a Satellite TV Truck?

A satellite TV truck, sometimes referred to as a mobile uplink unit or broadcast uplink truck, is a specialized vehicle equipped with a satellite dish and transmission equipment designed to send live video and audio signals to television networks or streaming distribution platforms. These trucks are essential for events where fiber connectivity is not available or when redundancy is required for mission-critical transmissions.

Equipped with C-band or Ku-band satellite antennas, encoders, modulators, and power management systems, these trucks establish uplink connections from virtually anywhere, enabling reliable contribution of live content to remote master control rooms or cloud-based ingest systems.

Live Media Group offers multiple satellite-enabled vehicles, including trucks with:

  • 4-meter C-band and Ku-band AVL antennas
  • Adtec and Ericsson encoder/decoder chains
  • High-powered SSPBs (Solid State Power Block amplifiers)
  • Redundant systems for primary and backup paths

These satellite TV trucks can function as standalone transmission vehicles or as part of a larger production workflow when paired with control room-equipped mobile TV trucks.

The Value of Production Truck Rentals

Not every production team needs to own a full production vehicle fleet. That’s where production truck rental comes in.

Renting a production truck gives your team access to broadcast-grade infrastructure without the capital investment or long-term maintenance obligations. And with rentals, you know the equipment will be kept current and operational. Whether you’re producing a one-off event or expanding capacity for a multi-day show, production truck rentals from Live Media Group offer a turnkey solution.

Each rental includes:

  • A fully prepped truck based on event needs (from compact REMI units to full double-expandos and support vehicles for both audio and video)
  • Configurable production switchers (Grass Valley K-Frame, Kayenne, Karrera)
  • Replay systems (EVS XT-VIA, XT3)
  • Audio consoles (Calrec Artemis, Apollo, or Argo
  • Router and signal distribution gear (Evertz, Ross, GV Node)
  • Comms systems (RTS ADAM, ODIN)
  • Optional satellite uplink pairing or IP delivery integration
  • Engineering crew, tech manager, or A1/A2 (as needed)

We also offer ARRI ALEXA35 cinematic cameras for an even more immersive experience and creative options for your event.  From a small corporate stream to a major sports league broadcast, production truck rental allows you to scale quickly and professionally, without compromising on gear, signal flow, or workflow design.

Inside a Modern Mobile TV Truck

Also known as an outside broadcast truck, today’s mobile TV trucks are more than just transport vehicles with control panels. They are self-contained, climate-controlled mobile broadcast facilities that rival in-house studio control rooms. When you rent or deploy one of Live Media Group’s production trucks, you get access to the latest technology and infrastructure needed to run an entire live show on site.

Key capabilities include:

  • Multi-camera integration: Wired for 6 to 20+ cameras, including RF, robotic, and slo-mo units
  • Replay and playout: EVS support with ISO recording and highlight packages
  • Live audio mixing: Surround sound capability, comms routing, and mix-minus outputs
  • Graphics insertion: Integration with Chyron, Ross XPression, and custom graphics servers
  • Signal routing: 3G, 12G, and IP routing options
  • Multiview monitoring: Configurable walls for TD, director, producer, and shaders
  • Transmission ready: Satellite uplink, bonded cellular, fiber, or IP-based streaming

These trucks support a wide range of applications including sports, music, entertainment, corporate events, esports, government productions, and religious broadcasts.

Use Cases for Satellite and Mobile TV Trucks

The combination of mobile production capability and transmission infrastructure is what makes satellite TV trucks and mobile video production trucks so valuable. Use cases include:

  1. Remote Locations

For events in stadium parking lots, rural communities, or festival grounds with no hardline connectivity, satellite broadcast trucks provide a direct pipeline to viewers. Often, music venues do not have broadcast capabilities and bring in a mobile unit for events that are to be broadcast or streamed.

  1. Disaster Recovery and Redundancy

Even in areas with fiber, satellite uplinks serve as a mission-critical backup feed in the event of failure or congestion. Broadcasters use uplink trucks to ensure signal reliability for high-stakes events.

  1. Network Contribution

Many news and sports networks rely on television trucks with satellite capacity to contribute live feeds to their control rooms or cloud distribution networks.

  1. Multi-City Tours

For event tours across multiple cities, renting a production truck ensures consistent technical workflows from stop to stop without building out temporary control rooms.

Why Live Media Group?

Live Media Group operates one of the most advanced and versatile fleets of mobile TV trucks, satellite-enabled broadcast vehicles, and support trailers in the U.S. Our trucks are built to serve a variety of live event formats, from small-scale productions to network-level shows.

We offer:

  • UHD/HDR ready production infrastructure
  • REMI-capable and hybrid workflow support
  • Onboard and flypack satellite uplinks
  • IP and baseband flexibility (ST2110, MADI, Dante, 12G)
  • Nationwide deployment

Our GameTime Productions division offers end-to-end packaging, including production and technical crews, from engineers and editors to operators and high-caliber, senior level producers, writers and directors.

Whether you need a full-service production compound or a flexible uplink solution, we design workflows that meet your needs, your venue, and your budget.

Frequently Asked Questions (FAQ)

What is a satellite TV truck?

A satellite TV truck is a mobile vehicle equipped with a satellite dish and transmission gear used to uplink live video and audio feeds from a remote location to a network or streaming platform.

Can a satellite truck also handle production?

Some trucks are dedicated to uplink, while others combine production and transmission. Live Media Group offers both types and can pair a satellite truck with a production unit for a complete workflow.

What kind of events require mobile TV trucks?

Sports, entertainment, corporate events, concerts, red carpets, and news coverage all use mobile TV trucks for live production and distribution.

What’s the difference between fiber and satellite transmission?

Fiber provides faster, low-latency, high-bandwidth signal transport but is location-dependent, since fiber requires connectivity via underground cables. Satellite offers global reach and field flexibility, making it essential for mobile production environments where a wired infrastructure isn’t available.

How much does a production truck rental cost?

Cost depends on truck type, duration, crew needs, and travel. Basic REMI trucks cost less, while full UHD OB units with EVS and satellite integration represent a higher tier. Contact Live Media Group for quotes – solutions@livemediagroup.com or call us 833-933-5483.

Mobile Unit Snapshot: MU-B8 A 53′ Support Trailer for REMI and Engineering Teams

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Field Production Support Trailer with 10 Workstations and Modular Cable Infrastructure

The MU-B8 is a 53-foot straight support trailer engineered for live production teams requiring dedicated technical workspace in the field. With a climate-controlled, non-expanding design and 10 operator positions, MU-B8 provides efficient and reliable infrastructure for engineering, audio, comms, and production coordination. Its internal layout is designed to accommodate multiple disciplines without overlap, making it an essential tool for REMI workflows, hybrid events, and mobile production compounds.

This mobile trailer is structured to support flypack deployment, crew overflow, signal management, and cable routing without the overhead of a full production switcher. Built for efficiency and designed to integrate seamlessly with larger production trucks, MU-B8 delivers utility and performance in a compact, high-function format.

Interior Layout and Functional Zones

The MU-B8 trailer is segmented into four operational zones to enable parallel workflows. The rear storage room includes shelving and open space for flypacks, fiber drums, expendables, and engineering carts, accessible via rear entry stairs. Adjacent to the storage room is the audio room, an acoustically treated workspace for A2 support, comms coordination, or clean feed monitoring. At the center of the trailer is the engineering bay, which provides three workstations for patching, system control, and network management. The front of the trailer contains the production area, equipped with four operator desks ideal for producers, show callers, or control staff. This layout ensures separation between departments while maintaining connectivity across disciplines.

Power and Climate Support

MU-B8 operates on single-phase 208-volt power at 150 amps and connects via Camlock input to generator or shore power sources. Rear-mounted HVAC units provide stable climate control across all internal zones. This power and environmental configuration allows MU-B8 to maintain optimal conditions for both personnel and rack-mounted gear during extended deployments.

Cable Infrastructure and Customization

The MU-B8 trailer is built with modular cable capacity. Cable sets are pre-configured per event and may include Triax, DT12 audio multicore, SMPTE hybrid fiber, TAC-12 tactical fiber, XLR audio, and coaxial looms in both 5-wire and 10-wire configurations. This makes MU-B8 highly adaptable to a wide range of production formats and integration scenarios. It can be configured as a patch bay, cable landing zone, fiber terminus, or system prep room depending on show requirements.

Use Cases and Deployment Scenarios

MU-B8 is frequently deployed in support of REMI productions, flypack staging, and overflow crew operations during large-scale live events. It serves as a central hub for engineering, audio support, and production coordination. Ideal use cases include sports broadcasting, touring concerts, government events, town halls, music festivals, hybrid corporate shows, and distributed control workflows. Its compact footprint enables quick deployment and efficient use of compound space, especially in environments where primary expando trucks are already at capacity.

Why MU-B8 Stands Out in the Field

What sets MU-B8 apart is its focused design as a dedicated support unit. Unlike full production trucks, it does not include a switcher, router, or replay systems, which frees up interior space for teams that handle infrastructure, logistics, and support systems. It is commonly paired with production units like MU-10, MU-14, or MU-28 to offload comms, fiber management, and auxiliary control functions. The clear departmental separation and operator comfort make MU-B8 an essential tool for any production that requires reliable support in the field.

Specifications Summary

Trailer Length: 53 feet
Working Area: 61.5 feet long by 18 feet wide
Structure Type: Straight, non-expando
Operator Positions: 10
Power: 208 Volts, Single Phase, 150 Amps
Cooling: Rear-mounted A/C units
Cable Types: Triax, DT12, SMPTE, TAC-12, XLR, 5-wire and 10-wire coax
Integration: Camlock connectors for generator or shore power
Gross Vehicle Weight: Not specified (standard class for 53-foot support units)

Contact for Booking or Custom Configuration

To schedule MU-B8 for your next broadcast or production event, or to request custom cable loads and workstation configurations, contact Live Media Group directly:

Phone: 833.933.54483
Email: solutions@livemediagroup.com
Please reference MU-B8 when inquiring.

Mobile Unit Snapshot: MU-B9 A 53′ Advanced Support Unit for REMI and Hybrid Workflows

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MU-B9 | 53-Foot Single Expando Broadcast Support Trailer

Modular Mobile Work Trailer for Engineering, Production, and REMI Workflows

The MU-B9 is a 53-foot single-expando support trailer purpose-built to provide technical workspaces, engineering infrastructure, and overflow capacity for complex live production environments. Designed for maximum functionality in remote and hybrid broadcast workflows, MU-B9 delivers 10 fully equipped operator workstations, dual climate zones, and a segmented interior layout to support multiple departments simultaneously. It is ideal for REMI deployments, flypack integration, broadcast truck compounds, or any large-scale event requiring flexible work and coordination space in the field.

With a footprint of 60 feet by 23 feet when fully expanded, MU-B9 offers dedicated spaces for engineering staff, show callers, production leads, A1 audio techs, data engineers, and comms personnel. Its zone-based layout and robust cable infrastructure make it a versatile companion to mobile control rooms and production vehicles such as MU-14, MU-16, or MU-28.

Key Specifications

Trailer Length: 53 feet
Working Footprint (Expanded): 60 ft (L) x 23 ft (W)
Structure Type: Single Expando
Operator Positions: 10 Configurable Workstations
Power: Single Phase, 208V, 150 Amps
Power Connection: Camlock connectors (shore or generator)
Air Conditioning: Dual HVAC Units (rear and mid-trailer)
Recommended Setup Area: 60 ft x 23 ft
Gross Vehicle Weight: Not specified (standard class for 53-foot support units)

Interior Floorplan and Work Zones

MU-B9 is designed around five independent work zones that keep technical, production, and audio workflows separated but connected:

  • Production Zone: Features seven operator seats in a shared deskline. This area is used for producers, show callers, technical directors, EICs, and coordination staff. It offers a collaborative layout for managing onsite operations.
  • Engineering Room (ENG): Includes two workstations for routing, signal integrity, fiber patching, or system monitoring. It is designed to isolate technical workflows and reduce noise interference.
  • Audio Bay: Centrally located and acoustically treated, the audio bay supports A1 engineers, intercom leads, and monitoring roles. It provides a quiet environment for precision audio operations.
  • Flex Zones 2 and 3: Floating workspaces ideal for data techs, IT staff, network engineers, and overflow crew. These spaces support network control, IP management, or comms operations.

Multiple entry points provide direct access to key areas of the trailer, reducing traffic through signal-sensitive zones and improving efficiency during high-demand show operations.

Cable Infrastructure

MU-B9 includes customizable cable infrastructure based on project needs. Live Media Group configures each deployment with the appropriate inventory, including:

  • SMPTE hybrid fiber
  • DT12 audio multicore
  • TAC-12 tactical fiber
  • Triax camera cable
  • Analog XLR audio
  • 5-wire and 10-wire coaxial looms

The trailer is commonly deployed as a cable patch hub or fiber termination point, supporting both truck-based and flypack-based systems in live production environments.

Use Cases

MU-B9 is engineered to serve a wide range of remote production needs, including:

  • Technical overflow during multi-unit productions
  • REMI support for switching and replay housed in centralized facilities
  • Onsite engineering and routing control
  • Production management and show calling in large venues
  • Signal patching, network monitoring, and fiber management
  • Audio comms and intercom prep
  • Temporary control or recovery environments for mission-critical live broadcasts

Why MU-B9 Stands Out

MU-B9 is more than a workspace—it’s a production-critical asset that expands a crew’s operational capacity without requiring a full mobile control room. Its single-expando design offers expanded square footage with easier deployment logistics than dual-expandos. The trailer’s climate control, dedicated audio and engineering bays, and flexible workstation setup make it indispensable in large, complex shows where additional headcount and infrastructure are required.

MU-B9 is an ideal companion to REMI broadcast trucks, central control rooms, and multi-city live productions, enabling teams to scale quickly while maintaining signal integrity, crew efficiency, and workflow separation.

Contact for Booking or Custom Configuration

To schedule MU-B9 or request a custom cable configuration:

Phone: 833.933.54483
Email: solutions@livemediagroup.com
Reference MU-B9 in your inquiry.

 

Mobile Unit Snapshot: B5 A Scalable, Single Expando Support Trailer Built for Live Broadcast Engineering, Audio, and REMI Workflows

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For sophisticated live production environments, engineering and operations teams need more than just switchers and servers—they need space to work, organize, and manage signals at scale. The MU-B5 support unit was designed to meet that need. A 53-foot single-expando trailer, MU-B5 functions as a flexible workspace for broadcast engineers, comms operators, and audio supervisors who require operational clarity and physical separation from the main control room.

Built by Live Media Group, MU-B5 delivers field-ready infrastructure that supports remote productions, REMI workflows, festival coordination, and national-scale sports events. With 10 modular workstations, a climate-controlled environment, and per-show cabling configurations, MU-B5 ensures your crew has the room—and resources—they need to execute at the highest level.

Designed for Flexibility, Engineered for Productivity

MU-B5 features a full-length single expando that increases the trailer’s working width to nearly 20 feet, enabling a segmented but collaborative environment. The interior layout is divided into four core zones, each with a distinct purpose and infrastructure:

  • Chapman Storage Bay: Located at the rear, this load-out area features shelving and open space for flypacks, fiber drums, expendables, and camera gear. It’s accessible via both rear ramp and side door, allowing fast ingress and egress for field operations.
  • Engineering / Cushman Bay: A climate-controlled technical room optimized for system integration, patch management, and routing. It offers counter workspace and is ideal for broadcast engineers, tech managers, or EICs.
  • Audio / Office Room: A smaller enclosed room suited for comms control, audio coordination, or production management. It’s frequently used by A1s or production supervisors for show calling, comms routing, or IP phone integration.
  • Flex Work Zones 1 & 2: The heart of the expando section, these zones include seating for up to six operators and can be customized for fiber patching, IP routing, communications control, or event coordination.

This configuration makes MU-B5 ideal for shows that require technical modularity, clean signal paths, and flexible team coordination, whether operating REMI or centralized production workflows.

Custom Cabling for Custom Shows

No two shows are the same—and MU-B5 is built with that in mind. For each deployment, Live Media Group provisions the trailer with a custom cabling package that can include:

  • Triax Camera Cable for legacy compatibility
  • SMPTE Fiber for UHD and IP workflows
  • DT12 Audio Multicore for booth/stage feeds
  • TAC-12 Tactical Fiber for long-range connectivity
  • XLR and 4-Pair Audio for analog audio patches
  • 5-Wire and 10-Wire Coaxial Looms for SDI and RF

The result is a fully customizable cable lab on wheels, ready to handle complex patching needs without disrupting the control room or main production vehicles.

Reliable Power & Climate Control

MU-B5 is powered by single-phase 208V service at 150 amps, making it compatible with venue drops or generator-based compounds. The onboard Camlock power input ensures rapid setup and clean integration with larger shows.

Inside, full HVAC ensures thermal stability for rack-mounted gear, patch bays, and personnel—crucial for long shoot days or temperature-sensitive operations.

Ideal Applications for MU-B5

MU-B5 shines in any high-capacity or distributed broadcast environment where field engineering, REMI integration, or offboard audio/comms require a dedicated space. Common use cases include:

  • REMI & hybrid production staging
  • Mobile comms and IFB coordination
  • Audio infrastructure for multi-stage festivals
  • Flypack launchpad for camera and fiber prep
  • Engineering zone during venue transitions
  • Overflow crew workstations when main trucks are at capacity

When deployed alongside units like MU-10, MU-14, or MU-28, MU-B5 acts as an infrastructure multiplier, giving tech crews the ability to offload cable management, routing, and equipment prep—without impacting core broadcast operations.

Why MU-B5 Stands Out

The MU-B5 fills a critical niche in today’s event production world. While many trucks focus on switching, replay, or transmission, MU-B5 focuses on the support systems that make them all work together. Its single-expando design strikes a balance between compact travel and expansive internal space. Its modular zones allow for precise team deployment, and its custom cable configuration adapts to your show’s needs.

For production teams juggling comms, fiber, patching, and IP management, MU-B5 becomes the quiet hero behind the scenes—making sure your signal arrives clean, clear, and on time.

FAQs for MU-B5

What is the MU-B5 trailer used for?
MU-B5 is a mobile support trailer used for engineering, audio, and production team operations during live broadcasts and REMI productions. It provides workstations, storage, and climate-controlled space near the truck compound.

Does MU-B5 include any switching or replay capabilities?
No. MU-B5 is not a production or replay truck. It is a support unit designed for offboard work such as patching, comms coordination, IP routing, and engineering support.

How many operators can work inside MU-B5?
MU-B5 has 10 configurable operator positions, including shared desk space and enclosed workrooms.

Is MU-B5 compatible with flypacks and REMI workflows?
Yes. MU-B5 is frequently deployed as a REMI staging trailer or flypack base, thanks to its modular cable design and work zones.

Can MU-B5’s cabling be customized for my event?
Absolutely. Live Media Group provisions MU-B5 with a custom cable inventory for each show, including SMPTE, DT12, TAC fiber, coax, and triax.

What kind of power does MU-B5 need?
MU-B5 runs on 208V single-phase power at 150 amps, using a Camlock connector for tie-in to generators or shore power.

Does MU-B5 offer climate control?
Yes. MU-B5 includes full HVAC support to keep gear and crew cool and operational—even in extreme environments.

Is MU-B5 available for rental?
Yes. Contact Live Media Group at 833.933.54483 or email solutions@livemediagroup.com for availability and scheduling.

Mobile Unit Snapshot: B1- A Mobile Support Unit Built for Modern Broadcast Engineering, Audio, and REMI Workflows

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In today’s fast-paced live production landscape, mobile teams need more than just switchers, cameras, and uplink systems—they need space. Purpose-built to meet that need, the MU-B1 is a 53-foot straight support trailer engineered to give broadcast crews room to work, organize, stage, patch, coordinate, and collaborate without being crammed into control trucks or makeshift production tents.

Whether you’re running a REMI event, operating a multi-truck compound, or supplementing a flypack deployment, the MU-B1 functions as a mobile broadcast backbone, providing essential workspace for engineering, audio, and production support teams. With a non-expanding structure, internal climate control, power infrastructure, and custom cable configurations, MU-B1 is a must-have for shows that require more infrastructure than one truck can deliver.

A Dedicated Space for Offboard Broadcast Operations

MU-B1 isn’t a switcher truck or replay unit—it’s something different and equally important. It’s a support environment designed for the people and systems that make the rest of the show run smoothly. From engineering teams staging fiber routing and audio techs managing patch panels, to producers needing space to coordinate crews, this unit creates physical separation of functions while keeping everyone close to the action.

At 53 feet long, the trailer provides a recommended working footprint of 61 feet by 18 feet. Inside, there are 10 full workstations, including seating and access to power, networking, and audio cabling. The trailer includes clearly divided areas for production, engineering, audio coordination, and logistics, with internal air conditioning and custom layouts to meet the needs of different crews and event types.

Floorplan Built for Collaboration & Efficiency

The MU-B1’s interior layout is a key part of its utility. According to the official spec floorplan:

  • The Chapman Room is accessible via front-load ramp, offering easy storage and fast access for large equipment or cable runs.
  • The Cushman Area and adjacent Audio/Office zones offer quieter space for mix engineers, recordists, or producers who need to work on-site but away from the main production noise.
  • The Production Workspace includes multiple seated operator positions—ideal for REMI monitoring, ingest coordination, or broadcast scheduling.
  • The Engineering Bay at the rear of the trailer includes power access, HVAC controls, and critical routing infrastructure for triax, SMPTE, DT12, TAC, and coax.

This layout enables divided but collaborative workflows, letting audio, engineering, and production teams operate in parallel without stepping on each other.

Power and Climate Control Designed for All-Day Use

MU-B1 runs on a single-phase, 208V, 150A power draw, using a standard Camlock connection. That makes it easy to pair with other mobile production vehicles or shore power in venue-based applications. With internal air conditioning and zoned airflow, MU-B1 maintains comfortable working conditions for both crew and equipment—critical during long shoots or high-heat festival and sports environments.

Customizable Cable Infrastructure Per Show

MU-B1 doesn’t just provide space—it acts as a mobile cable and signal hub. Each deployment is custom-configured based on the production’s signal routing needs and compound layout. Common cable inventories include:

  • Triax for legacy camera infrastructure
  • SMPTE hybrid fiber for UHD/IP workflows
  • DT12 audio multicore for stage and booth feeds
  • XLR and 4-pair for analog and multichannel routing
  • TAC-12 tactical fiber for long-distance connectivity
  • Coax (SDI/RF) for video return and RF monitoring

This makes MU-B1 an essential patch and distribution point, especially when paired with high-capacity production trucks like MU-10, MU-11, or MU-28.

Use Cases: Where MU-B1 Really Shines

MU-B1 is not a one-trick pony—it’s a field operations chameleon that adapts to a range of live production demands. Ideal for:

  • Flypack system support: When your flypack team needs a clean, powered, climate-controlled workspace.
  • REMI staging: Pair with trucks like MU-27 or MU-29 to support camera, audio, and signal flow to centralized control rooms.
  • Overflow workspace: Add crew capacity during multi-truck shows or dense compounds.
  • Cable management: Serve as your central signal routing point and spool center.
  • Mobile broadcast HQ: Use MU-B1 as a command-and-control vehicle on large-scale entertainment, sports, or festival sites.

Why MU-B1 Is the Broadcast Utility Truck You Didn’t Know You Needed

MU-B1 isn’t flashy—but it’s essential. In an era of increasingly complex live production compounds, the ability to provide infrastructure, isolation, and organization makes all the difference between smooth execution and signal chaos. MU-B1 gives technical directors, broadcast engineers, A1s, and crew managers the tools and space they need to build robust shows without relying on cramped quarters or makeshift setups.

From major concerts and sports broadcasts to REMI production staging and hybrid compound deployments, MU-B1 is your mobile infrastructure solution—quietly powering the broadcast behind the broadcast.

For rental inquiries, custom cable configurations, or deployment details:
Phone: 833.933.54483
Email: solutions@livemediagroup.com

MU-28 Exterior production truck

MU-28 REMI Broadcast Truck FAQ

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MU-28 REMI Truck: Frequently Asked Questions

What is a REMI production truck?

A REMI (Remote Integration Model) production truck is a mobile unit that handles field-level video acquisition, camera control, routing, and contribution without performing in-truck switching or live mixing. Instead, it sends feeds to centralized or cloud-based control rooms where production is completed. REMI trucks are ideal for at-home broadcasting, hybrid workflows, and distributed production models.

What makes the MU-28 different from a traditional OB truck?

Unlike traditional OB (Outside Broadcast) trucks, the MU-28 is built exclusively for REMI workflows. It features a non-expando design, a rear liftgate for fast load-ins, and a fully IP-native ST 2110 routing core. It focuses on efficient camera acquisition, multiviewing, and contribution—leaving switching and directing to a centralized control facility.

What kind of IP infrastructure does the MU-28 use?

MU-28 is powered by an EVS Strada ST 2110 router with a 144×144 IP matrix. It includes 36×8 multiview outputs, 24×24 frame syncs with UDC and HDR LUTs, and 12×12 fiber I/O. This enables native support for ST 2110 uncompressed video workflows and full integration with centralized or cloud-based broadcast environments.

MU-28 Interior

How many cameras can the MU-28 support?

MU-28 supports up to 16 CCU-controlled camera channels. The standard package includes 13 Sony HDC-2500 cameras and 2 Sony HDC-4300 cameras, with large lens adaptors and a wide range of ENG and box lenses. Additional configurations are available upon request.

Does the MU-28 support remote intercom and IFB systems?

Yes. The truck is equipped with a 64-port RTS ODIN digital matrix intercom and supports RVON (VoIP), DANTE audio, and powered PL/IFB channels. It includes RTS KP-32 panels, belt packs, IFB boxes, and an Innkeeper hybrid phone system for full remote integration.

What types of events is the MU-28 REMI truck ideal for?

MU-28 is designed for national sports coverage, touring concerts, corporate remote broadcasts, multi-city event capture, and hybrid live/remote studio workflows. Its compact design and IP-based infrastructure make it ideal for high-volume, decentralized productions.

Does the MU-28 require a full crew on site?

No. MU-28 is engineered for minimal on-site staffing. The truck handles acquisition, routing, and communication, while switching, graphics, and final output are managed remotely—reducing personnel and travel costs.

Can the MU-28 be used for ST 2110 remote production?

Absolutely. MU-28 is fully compliant with ST 2110, making it perfect for modern remote productions requiring IP video, audio, and metadata synchronization. It’s optimized for use in centralized REMI workflows, cloud control rooms, and SDNs.

Is the MU-28 available for rental or long-term deployment?

Yes. TNDV offers the MU-28 for both single-event rentals and extended remote broadcast contracts. It can be deployed as a primary REMI acquisition unit or as part of a larger hybrid production model.

What kind of cabling and fiber support does the MU-28 include?

MU-28 comes with 7000 feet of triax cable, 3500 feet of TAC-12 fiber, 3000 feet of DT12 audio multicore, and extensive coax and XLR inventory. It’s prewired to support high-density venue deployments and complex broadcast compound setups.

Does the MU-28 include an onboard audio console?

MU-28 is prewired for full field audio capture and routing, but does not include an onboard mixing console by default. It’s designed to integrate directly with remote or centralized audio mixing environments via MADI and DANTE.

How fast can MU-28 be deployed on site?

Thanks to its non-expando design and liftgate, MU-28 can be loaded in and operational quickly, even in tight or temporary locations. It’s optimized for fast-turn events where time and access are limited.

 

 

Mobile Unit Snapshot: MU-29 A Compact REMI Production Truck

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MU-29: A Compact REMI Production Truck Optimized for Scalable, At-Home Broadcast Workflows

As broadcast and streaming production continues to evolve toward leaner, decentralized models, mobile units must be more efficient, faster to deploy, and ready for remote integration from the ground up. That’s where the MU-29, Live Media’s 40-foot REMI-dedicated production truck, stands out. Built specifically for at-home production workflows, MU-29 brings the power of a full production control room—switching, camera control, audio, comms—into a smaller, more agile form factor, while handing off final broadcast elements to centralized facilities.

With a single-expando design, compact footprint, and 1-phase 200A power, MU-29 is purpose-built for productions where speed, efficiency, and signal control matter most. Whether you’re producing a mid-size sports event, a university game day stream, a corporate town hall, or a remote government or news feed, MU-29 provides a complete acquisition and contribution platform that’s easy to deploy, easy to operate, and remarkably capable.

Despite being the most compact REMI truck in TNDV’s fleet, MU-29 offers a working dimension of 40 feet long by 21 feet wide, expanding internally to provide generous operator space while keeping exterior footprint minimal. With a GVW of 65,000 lbs and an overall tractor length of 65 feet, it fits comfortably in urban broadcast lots, college campuses, and limited-space venues. And thanks to simple 1-phase power (208 volts, 200 amps, no neutral), this truck can be powered and deployed with ease at venues with limited infrastructure.

At the center of MU-29’s production capability is a Grass Valley K-Frame switcher, paired with a Karrera 3-stripe, 35-button control panel. This system supports 3.5 mix effects (M/E) with 64 video inputs and 48 outputs, enabling dynamic REMI switching with robust flexibility. Advanced features include FlexiKey™, Double Take, chroma key support, and four internal DPMs, along with an integrated image store for clip playout. While the truck hands off master switching to centralized control rooms, it provides field-level switching and monitoring capabilities to support live production coordination and preview.

The truck is wired for two 6-channel EVS LSM servers and one 4-channel spotbox, making it ideal for ISO ingest, replay support, and content capture in sports and entertainment events. While EVS servers are not always included by default, the infrastructure ensures rapid deployment when needed, and compatibility with centralized EVS environments over a networked connection.

Routing is handled via a NV8280 3G/HD NVision video router, with a 192×252 routing matrix and 48×48 audio embedding/de-embedding capabilities. MU-29 includes 30 For-A up/down/cross frame syncs with color correction support, allowing seamless signal alignment across mixed formats and source types. The multiview system provides a robust 160×32 viewing matrix, giving technical directors and engineers total visibility across live feeds, returns, ISO recordings, and remote sources.

MU-29’s camera system includes eight Grass Valley LDX86 WorldCam cameras, configured with five Super XPanders and seven-inch viewfinders for full-field and ENG-style production. The truck also includes eight LDK4426 fiber triax converters, providing flexible transport for live camera signals over long distances. The lens package combines long-zoom HD box lenses—including three Canon 88×8.8, one 77×9.5, and one 75×9.3—with lightweight ENG options such as the Canon 11×4.7 wide-angle lens, two Fujinon 22×7.6 zooms, and a 23×7.6 Fujinon unit. Wired for 8 CCUs, the MU-29 supports full remote paint and iris control from the field or centralized production hub.

For audio, MU-29 is outfitted with a Calrec Summa digital mixing console, powered by Bluefin2 processing. The console supports 48 faders, 180 DSP paths, and extensive connectivity options: 64×64 analog, 12×12 AES, 320×320 MADI, and 64×64 Dante IP audio integration. Whether operating standalone or feeding centralized mix and routing systems, the Summa provides studio-grade control, processing, and mixdown options.

Communications are built around a RTS ADAM-M digital matrix (150×150), fully IP-ready with support for 64 OMNEO channels, 16 RVON VoIP paths, 16 MADI ports, and eight powered PL and IFB channels each. The truck includes a complete comms kit: RTS BP325 dual listen belt packs, RTS 4030 IFB packs, and Beyer DT108/DT109 headsets, alongside telephone interfaces and QKT couplers. This infrastructure allows clean integration into central intercom systems and provides full field support for crews, directors, and talent alike.

MU-29’s A/V support gear is equally capable. It comes with HMD26 announcer headsets, Studio Tech announcer boxes, MD46 stick mics, and a collection of Sennheiser MKH series shotgun mics (MKH416, MKH807, MKH418) for booth and field audio capture. Four 15” and four 21” SDI monitors are included for field and control viewing, and an LED lighting kit supports impromptu or low-light broadcast scenarios.

Cable infrastructure includes 7000 feet of triax, a 6x triax mult, 3000 feet of XLR audio cable, 3000 feet of single coax, and 2100 feet of DT12 multicore. For fiber transport, MU-29 features one 250-foot TAC-12, three 450-foot TAC-12, and two 1000-foot TAC-12 runs, providing robust field connectivity for multi-venue, campus, or large-event scenarios.

Why MU-29 Is the Ultimate Compact REMI Truck for Scalable Live Production

With REMI workflows now essential to the future of sports, streaming, and corporate broadcasting, MU-29 represents a new standard in mobile efficiency and broadcast power. It offers full camera control, monitoring, switching, audio, and communications—while handing off master switching, replay, and graphics to centralized facilities. This reduces on-site crew, shrinks the physical footprint, and streamlines cost without sacrificing signal quality or production value.

If you’re producing university sports, mid-size concerts, government broadcasts, or cost-conscious remote events, MU-29 delivers. With a compact size, lightweight footprint, and REMI-first design, it’s the perfect mobile partner for hybrid, cloud, and IP-driven live production.