My Plans for a Studio Camera 4K Live Streaming Setup

It’s time to get out my non-existent Credit Card… Again!

I’ve finally finished updating my kit list. This took me longer than usual because I generated 3D renders for every single component in the rack—a process that took a few days of rendering on my trusty (if aging) MacBook Pro. Now that the design is finalized, let's dive into the build.

The Camera Chain

At the heart of the setup is the Blackmagic Studio Camera 4K Pro G2. The 10G Ethernet workflow is the real star here, allowing me to consolidate power, video, program return, comms, and teleprompter feeds onto a single cable.

• The Workflow: I’m pairing these with the Panasonic Lumix 25-175mm PowerZoom lenses to leverage electronic zoom control. For precision, I’ve included the Blackmagic Zoom and Focus Demands, all mounted on a Manfrotto MVJ500AM tripod system with a dolly for smooth movement in tighter spaces.
• Audio Embedding: I’ve opted to run audio over a Dante network. To keep the "one-wire" camera setup clean, I’m using the Teranex Mini Audio to SDI 12G paired with Dante AVIO analog output adapters to embed audio directly into the SDI feed.

The Control Hub

For the switcher, I’ve chosen the ATEM Television Studio Pro 4K. It’s a powerhouse for small-to-medium productions, providing 8 standards-converted inputs, internal recording, and a full Fairlight audio engine. I’ve rounded this out with:

• Mackie Universal Control Pro Bundle for tactile DAW-style audio control.
• ATEM Camera Control Panel to ensure the shading engineer has hands-on control over iris, pedestal, and color balance.

Video Routing & Streaming

• Routing: The Smart Videohub 12G 40×40 is the backbone of the rack. It’s the only way to get 40×40 routing at 12G speeds, ensuring I can re-patch any signal on the fly during a production.
• Streaming: I’m moving away from computer-based OBS setups for the primary feed. By using the new Blackmagic Streaming Encoder 4K, I can stream directly to RTMP platforms without worrying about dropped frames or the overhead of an extra laptop.

The Rack Infrastructure

• Networking: I’m utilizing the UniFi Dream Machine Pro SE paired with a 48-port PoE switch. This handles all the camera connectivity and PoE requirements for the Studio Converters, plus it leaves plenty of headroom for local access points if the venue requires it.
• Computing: I’ve included two M1 Mac Minis in a Sonnet RackMac enclosure. Even in 2026, the M1 chip remains an incredible value, and these units provide all the horsepower I need for real-time graphics and firmware management.

The "Shopping List" Total: £52,734.96

Note: I’ve accounted for the full cabling suite, including necessary Genlock connections and additional SDI runs for full 40×40 routing.

A Note on Scaling

Looking back at the render, I realized I’d initially undersized my SDI cabling for the full 40×40 routing capacity of the Videohub. I’ve updated the list to ensure everything from the Dante stage boxes to the Teranex converters is fully accounted for.

Is £53k a lot of money? Sure. But for a complete, 4K-ready, broadcast-grade multi-cam setup that can handle conferences, concerts, or studio work, it’s arguably the best value you can get in the current market.

What do you think? Have I overlooked a specific piece of the puzzle, or is there a better way to handle the Dante-to-SDI embedding? Let me know in the comments below!