BitRobot at Solana Breakpoint: robot combat, live on the main stage.
We produced the live broadcast of BitRobot's main-stage robot combat segment at Solana Breakpoint in December 2025. Three consecutive days, 18 hours of live production on a six-camera plan: PTZ heads on the action, a roaming RF gimbal at the ring, and an interview position, streamed to two platforms with same-day highlights.
You are in the director's chair. Pick a camera, then press Take to put it on air. Keys 1 to 4 pick, T takes.
PROGRAMME OUT
- 3
- 18h
- 6
- 2
The broadcast, as it went out.
Robot combat, live on the main stage.
We produced the live broadcast of BitRobot's main-stage robot combat segment at Solana Breakpoint. Three consecutive days, 18 hours of live production. Remote vision mix and remote PTZ control, with screen content held at broadcast resolution. Developer audiences scrutinise everything. The picture held.
Remote production, broadcast resolution.
- The programme was vision-mixed remotely, with the mix position off the stage floor and the cut as tight as an in-room gallery.
- Four remotely operated PTZ heads covered the fast action without operators crowding the stage, a roaming gimbal camera on a broadcast RF link worked the ring and the crowd, and a static interview position caught the teams between bouts. It is multi-camera production with the gallery somewhere else.
- Stage screen content was carried into the broadcast at broadcast resolution, readable on every viewer device. Not a camera pointed at a screen.
- The programme streamed live to two platforms at 120-plus minutes a day over bonded 5G contribution, with highlights cut and packaged the same day and a live clipping pipeline publishing moments as they happened.
- Rigged in two days, then three consecutive show days in December 2025 for 18 hours of live production, without the picture dropping its standard.
The picture held.
Developer audiences scrutinise everything, and this one watched robot combat for three days. The broadcast held its standard for all 18 live hours, with a remote production chain doing the work a full stage-side gallery would normally do.
The same standard, on other stages.
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