From signal path to final pixel — LML fields complete video departments for NYC's most demanding productions.
A video department is not a single operator at a switcher. It is a coordinated system of roles — each one accountable for a specific layer of the signal chain — working in lockstep from load-in through final output. LML builds and staffs complete video departments, supplying the right operator for every seat in the room.
LML operators are hired for specific roles — not as generic AV crew. Every seat below is a distinct discipline with its own accountability.
The EIC is the top of the video department chain — accountable for the design, build, and real-time operation of the entire video system. From pre-production signal flow planning through show-day troubleshooting and department coordination, the EIC owns it all. Every other video role reports up to the EIC.
View position →The V1 operates directly under the EIC, responsible for camera shading, paint, and maintaining visual consistency across all camera feeds during live production. On smaller shows the V1 may also take on signal routing and confidence monitoring duties. A strong V1 is invisible — the show looks right and nobody knows why.
View position →The Camera Switch Operator runs the program feed switcher, selecting and transitioning between camera sources on the fly while following creative direction from the producer or director. Decisions happen in real time with no room for hesitation — this role demands sharp instincts and complete familiarity with the production's flow. Primary platforms: ATEM, Roland V-160HD.
The High Res Op manages signal routing and real-time switching for high-end custom videowalls and multi-screen environments. Operators in this role must understand the full signal chain from source to destination, manage layers and output mappings under live show pressure, and communicate clearly with the EIC and media server team. Primary platforms: Analog Way Aquilon, Barco E2, Christie Spyder X80.
The Graphics Op manages the live insertion of lower thirds, full-screen graphics, CG elements, and branded assets into the program feed. Fluency in Chyron, Vizrt, and Singular Live is expected, along with the ability to update and push assets in real time as show content evolves. Coordinates closely with the producer, show caller, and playback op.
View position →The Playback Op manages all pre-recorded video content — speaker rolls, sizzle reels, transitions, and B-roll packages — ensuring every clip plays at the right moment with correct format and audio levels. Operates ProPresenter, Keynote, and dedicated playback systems, often doubling as the confidence feed manager for speaker-facing screens.
View position →The Recording Op is responsible for capturing clean program outputs — whether ISO records of individual cameras, a clean program feed, or a multi-track file for post. Operates Blackmagic HyperDeck, Atomos recorders, and software-based capture solutions. Handles pre-show test records, monitors levels throughout, and confirms delivery format before doors open.
The LED Tech owns the physical display infrastructure — from panel installation and cabinet alignment through processor mapping and on-site calibration. Works directly with the High Res Op and EIC to ensure every output destination is correctly mapped and delivering a clean, uniform image. Comfortable with Brompton, Novastar, and ROE Visual system architectures.
View position →The Media Server Op manages real-time content playback, layer compositing, and output mapping from server-based systems, operating in close coordination with the High Res Op, EIC, and creative team. Expected to be fluent across disguise, Millumin, Watchout, Hippotizer, Pixera, and Picturall. On complex shows, the server op may be building and updating content in the hours before doors.
View position →The Video Systems Tech handles the physical build of the video infrastructure — running signal cable, terminating connections, building racks, labeling patch points, and supporting the EIC and V1 throughout load-in and strike. Familiar with fiber, HDMI, SDI, and DisplayPort cabling and signal flow. The role that separates a clean show from a chaotic one.
The platforms our operators know at a system level — not just button-push familiarity.
The flagship 4K/8K multi-screen presentation and videowall processing platform for mission-critical shows. Modular and scalable — complex multi-layer compositions, mixed-resolution outputs, and real-time signal management at a level no other platform currently matches. When the show's visual infrastructure is genuinely bespoke, this is the board.
The industry-standard multi-screen presentation system for large-format corporate events, award shows, and touring productions. A 4K event master platform handling dozens of simultaneous inputs and outputs with pixel-accurate scaling and seamless live switching.
High-end presentation switcher and windowing processor well-suited to broadcast-adjacent live events and complex multi-destination environments. Particularly strong on flexible I/O, precision windowing, and multi-layered output composition.
Full support across the ATEM product line — from compact switchers for smaller corporate productions to the ATEM Constellation for broadcast-scale multi-camera work. The workhorse of the mid-range and an operator staple across NYC production.
A compact, reliable video switcher for productions that don't need a full Aquilon or E2 setup. Handles a wide range of live-event work cleanly and without unnecessary overhead.
The hyperconverged routing and signal processing platform — combining video/audio routing, multiviewers, frame syncs, format conversion, and audio processing in a single chassis. Software-defined and format-agnostic: SDI, IP (ST 2110), NDI, MADI, and Dante in the same frame. The infrastructure backbone behind complex multi-room and multi-output productions.
The Ultrix platform with integrated Carbonite production switcher blades — routing infrastructure and production switching in a single frame. Strong fit for multi-room productions where all switchers share a common input pool.
High-density HDMI 2.0 matrix switching for complex multi-source, multi-display environments. Industry-trusted for precision signal management, low latency, and reliability across demanding live events and permanent installations.
Uncompressed 4K UHD@60Hz 4:4:4 signal extension over 10G Ethernet with ultra-low latency — eliminating long cable runs without sacrificing signal integrity. Used where fiber or long-haul signal distribution is required across large venues or multi-room setups.
The standard for on-site program and ISO recording. HyperDeck units capture clean SDI feeds to SSD media in broadcast formats, providing reliable archive records and post-delivery assets at every show LML staffs.
Camera-mounted and rack-based capture units for ISO recording of individual camera feeds and clean HDMI/SDI program outputs. Frequently paired with HyperDeck setups for comprehensive multi-track capture.
Broadcast-standard platform for live lower thirds, CG graphics, and branded on-screen elements. LML graphics operators are trained on Chyron PRIME and LIVE systems used across news, sports, and major corporate events.
Real-time graphics and live production software for complex branded presentations and broadcast-quality on-screen delivery. Commonly requested for high-profile corporate productions with heavy graphics requirements.
Browser-based live graphics platform used for its real-time update flexibility — producers and clients can push asset changes without touching the graphics operator's system.
The standard for presentation-driven live events — speaker support, video playback, and live graphics in a single environment. A primary platform for LML playback operators across NYC corporate productions.
Tell us what the show needs and we'll staff every seat — from EIC to video utility.
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