TOOLS & TECHNIQUES 49
HIVE’s distributed media server architecture powers the National Museum of Qatar in Doha
I n the not-so-distant past, media servers had a straightforward role in live production. They were, in essence, a playback machine: a machine that was responsible for delivering pre-rendered content to projection screens or LED displays on cue. However, back then, its role in the live production hierarchy was defined
just displayed; they become creative material that can be processed and integrated into the show in real time. Whether it’s compositing multiple sources, applying live effects with virtually no latency or combining pre-recorded and generative content, productions expect far more flexibility than they did in the past.” As a result, Kohn says, “Today’s media server is expected to be a real-time creative platform rather than simply a playback system. It must deliver powerful processing while remaining reliable in demanding live environments.” That notion extends beyond concerts too. Now more than ever, permanent visitor attractions expect live-quality visuals, while corporate events borrow techniques from broadcast. The houses of worship market is also blurring the lines between worship and a full-blown music concert; even retail and hospitality spaces are starting to demand top-tier
be it at arena concerts or corporate launches, visitor attractions or immersive museums. In general, there seems to be a layer of unspoken expectation when it comes to a production in 2026; where it’s required to feel cinematic yet believable at the same time. And this is an expectation that requires pro AV tools like media servers to step up to the plate. “Media servers are becoming part of a much wider production ecosystem,” emphasises Nigel Sadler, chief pollinator at HIVE, “and are expected to integrate seamlessly at the same time.” ONE PLATFORM, MANY WORLDS “Video has been an integral part of concert scenography for many years,” introduces Yannick Kohn, founder and CEO of Modulo Pi. “What has changed most recently is the growing demand for sophisticated real-time productions. We’ve moved well beyond playing back pre-rendered content or displaying IMAG camera feeds.” Instead, audiences increasingly experience productions where cameras become creative tools rather than just broadcast devices. “Today, show directors want to create complex visual experiences, where video reacts instantly to what’s happening on stage. Live camera feeds are no longer
by that task and that task alone. Returning to the present, the
previously somewhat meek role of the media server would likely shock those who are newer to the industry. No longer sat quietly behind the scenes feeding content into displays, the modern- day media server is now the nerve centre of increasingly sophisticated and diverse production formats. They orchestrate live camera feeds, real-time graphics, generative content, projection mapping, LED processing, immersive environments – the list goes on. This is all while needing to keep pace and communicate seamlessly with lighting, audio, automation and control systems. This monumental shift in their technical capability has largely been a direct response to changes taking place across the live entertainment industry as a whole in the last decade. Audiences have grown accustomed to dazzling visuals and striking storytelling,
experiential technical design. “Technologies that were once
associated with individual sectors are now becoming commonplace across multiple markets,” continues Sadler. “Broadcast techniques are increasingly being used in live events; XR production is influencing corporate environments and attractions. Likewise, many
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