Production company 2Vision deployed a Blackmagic Design workflow to manage multicamera video for Dawid Podsiadło’s stadium tour. The setup utilized URSA Broadcast G2 cameras, ATEM 4 M/E Constellation 4K switchers, and a Videohub 120x120 12G to handle over 20 sources for complex LED screen delivery.
The deployment by 2Vision demonstrates the increasing viability of integrated hardware ecosystems in high-stakes live environments where low latency and color consistency are paramount. By combining broadcast-grade B4 lens control with large-sensor visual aesthetics, the production addressed the specific challenge of maintaining skin tone accuracy on massive IMAG screens under volatile lighting conditions. This shift suggests that modular, software-defined routing and switching are becoming the standard for large-scale touring video infrastructure, replacing traditional fixed-patch systems. Industry observers should watch for 2Vision’s upcoming UHD OB van build as a signal of how these scalable 12G-SDI architectures will influence the next generation of mobile production units.
Production firm 2Vision successfully deployed a Blackmagic Design workflow for Dawid Podsiadło’s stadium tour, managing over 20 video sources. By integrating URSA Broadcast G2 cameras and ATEM switchers, the team achieved high-resolution feeds for a 360-degree stage, proving that modular, software-defined hardware ecosystems are now essential for high-stakes, large-scale live concert production.
2Vision utilized 12 URSA Broadcast G2 cameras with B4 lenses, an ATEM 4 M/E Constellation 4K switcher, a Videohub 120x120 12G for signal routing, and HyperDeck Studio 4K Pro units for recording.
The workflow was chosen to maintain broadcast-standard control and color consistency, specifically addressing the challenge of maintaining accurate skin tones on massive IMAG screens under volatile lighting conditions.
The production used an ATEM 4 M/E Constellation 4K switcher to manage multiple independent feeds, including PGM and three AUX outputs, while a Videohub 120x120 12G allowed for logical re-patching of sources without physical cable changes.
The team captured 20 separate tracks of 4K Blackmagic RAW and ISO feeds using HyperDeck Studio 4K Pro units.
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