{"id":19,"date":"2026-08-28T14:05:03","date_gmt":"2026-08-28T14:05:03","guid":{"rendered":"https:\/\/9495creative.com\/blog\/2026\/08\/28\/how-to-live-stream-a-conference\/"},"modified":"2026-09-07T17:39:58","modified_gmt":"2026-09-07T17:39:58","slug":"how-to-live-stream-a-conference","status":"publish","type":"post","link":"https:\/\/9495creative.com\/blog\/how-to-live-stream-a-conference\/","title":{"rendered":"How to Live Stream a Conference: Kit, Crew and Setup (2026)"},"content":{"rendered":"<p>Knowing how to live stream a conference comes down to five essentials: at minimum, one camera, a video switcher (such as a Blackmagic ATEM), a clean audio feed taken from the venue&#8217;s sound desk, an encoder, and a reliable internet connection \u2014 ideally bonded across two or more networks so a single dropout doesn&#8217;t take you offline. A professional single-room conference stream in London typically runs from around \u00a31,500 for a modest setup and rises with camera count, streaming destinations and recording deliverables.<\/p>\n<p>That&#8217;s the short answer. Below is the full kit list, how many cameras you actually need, how to stream to YouTube and LinkedIn at the same time, and what a well-run stream looks like on the day.<\/p>\n<h2>How to live stream a conference: the equipment you need<\/h2>\n<p>A dependable conference stream is built from five layers. Skip any one of them and it shows \u2014 usually as bad audio or a frozen picture at the worst possible moment.<\/p>\n<ul>\n<li><strong>Cameras.<\/strong> One or more broadcast or cinema cameras with clean HDMI\/SDI output. For a stage, that means proper lenses and operators who can follow a speaker who paces.<\/li>\n<li><strong>A video switcher.<\/strong> The switcher lets an operator cut live between cameras, slides and lower-third graphics. Blackmagic&#8217;s ATEM range is the industry workhorse for exactly this.<\/li>\n<li><strong>Audio.<\/strong> The single biggest quality signal. You take a dedicated feed (a &#8220;mult&#8221; or split) from the venue&#8217;s sound desk rather than relying on a camera&#8217;s on-board mic, so speech is clean and level.<\/li>\n<li><strong>An encoder.<\/strong> Hardware or software that converts the switched programme into a streamable signal and pushes it to your platform via RTMP.<\/li>\n<li><strong>Connectivity.<\/strong> A stable, high-upload connection \u2014 and a backup. For anything that matters, we use bonded internet that combines several connections (venue wired, plus multiple 4G\/5G modems) into one resilient pipe.<\/li>\n<\/ul>\n<h3>What is an ATEM switcher?<\/h3>\n<p>An ATEM switcher is a live production mixer made by Blackmagic Design that takes feeds from multiple cameras and sources and lets an operator cut, dissolve, key graphics and add picture-in-picture in real time. It&#8217;s what turns three separate camera feeds into one polished broadcast. When you see a conference stream cut cleanly from a wide stage shot to a presenter close-up to their slides, an ATEM (or a switcher like it) is doing that work. It also handles the audio mix and outputs a single programme feed to your encoder.<\/p>\n<h2>How many cameras do you need to live stream a conference?<\/h2>\n<p>You can stream a conference with a single locked-off camera, but two to three is the sweet spot for anything you want people to actually watch to the end. More cameras mean more visual variety, fewer awkward cuts, and coverage if a speaker moves or a panel gets lively.<\/p>\n<div class=\"rb-table-scroll\"><table>\n<thead>\n<tr>\n<th>Setup<\/th>\n<th>Cameras<\/th>\n<th>Best for<\/th>\n<th>Typical London cost (from)<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>Single camera<\/td>\n<td>1<\/td>\n<td>Webinars, single-speaker sessions, tight budgets<\/td>\n<td>from \u00a31,500<\/td>\n<\/tr>\n<tr>\n<td>Two-camera multicam<\/td>\n<td>2<\/td>\n<td>Talks with slides, small panels, most breakout rooms<\/td>\n<td>from \u00a32,500<\/td>\n<\/tr>\n<tr>\n<td>Three-camera multicam<\/td>\n<td>3<\/td>\n<td>Main-stage keynotes, panels, awards, launches<\/td>\n<td>from \u00a34,000<\/td>\n<\/tr>\n<tr>\n<td>Full broadcast<\/td>\n<td>4+<\/td>\n<td>Flagship conferences, hybrid events, multi-room programmes<\/td>\n<td>from \u00a38,000<\/td>\n<\/tr>\n<\/tbody>\n<\/table><\/div>\n<p>Those are entry-level starting figures for a London crew and kit, excluding VAT \u2014 starting points, not full ranges. What you actually pay moves with shoot length, the number of rooms, graphics complexity and whether you also need edited recordings afterwards. For the bands behind each of these starting points, and what a streaming quote should itemise, see our guide to <a href=\"https:\/\/9495creative.com\/blog\/event-live-streaming-cost-london\/\">how much event live streaming costs in London<\/a>.<\/p>\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https:\/\/9495creative.com\/blog\/wp-content\/uploads\/2026\/08\/how-to-live-stream-a-conference-inline-1.jpg\" alt=\"Speaker presenting to a seated audience beside a large screen at a London tech conference\" loading=\"lazy\"\/><\/figure>\n<h2>Can you stream to YouTube and LinkedIn at the same time?<\/h2>\n<p>Yes. You can stream to YouTube, LinkedIn, a website player and other destinations simultaneously \u2014 this is called multistreaming (or simulcasting). There are two common ways to do it. You can push separate RTMP feeds from a capable encoder to each platform, or you can send one feed to a cloud restreaming service that fans it out to every destination for you.<\/p>\n<p>A few practical notes for a UK corporate audience:<\/p>\n<ul>\n<li><strong>YouTube<\/strong> is the most forgiving destination and gives you an evergreen recording. Match your encoder settings \u2014 resolution, frame rate and bitrate \u2014 to <a href=\"https:\/\/support.google.com\/youtube\/answer\/2853702?hl=en\">YouTube&#8217;s own encoder guidance<\/a>, and, as a general rule of thumb, leave roughly 20% headroom under your available upload bandwidth so the stream stays stable.<\/li>\n<li><strong>LinkedIn Live<\/strong> can&#8217;t be streamed to directly from the platform \u2014 you broadcast through an approved third-party or preferred-partner tool, or via a custom RTMP feed, as set out in <a href=\"https:\/\/www.linkedin.com\/help\/linkedin\/answer\/a520811\">LinkedIn&#8217;s help centre<\/a>. It&#8217;s excellent for B2B reach, so it&#8217;s often the priority destination for corporate launches.<\/li>\n<li><strong>Your own website<\/strong> keeps the audience on-brand and captures data, but needs a player embedded ahead of time \u2014 decide this early, not on the morning.<\/li>\n<\/ul>\n<p>One caveat worth planning for: multistreaming multiplies your upload demand. Pushing a 1080p feed to three destinations from a single encoder roughly triples the bandwidth leaving the room, which is another reason a cloud restreaming service \u2014 where you send one feed up and it fans out the rest \u2014 is often the safer choice on a shared venue connection.<\/p>\n<h2>Can you live stream without venue internet?<\/h2>\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https:\/\/9495creative.com\/blog\/wp-content\/uploads\/2026\/09\/how-to-live-stream-a-conference-inline-2.jpg\" alt=\"Interview being filmed with a lighting rig at a London conference stand\" loading=\"lazy\"\/><\/figure>\n<p>Yes \u2014 and for any event that matters, you should assume venue internet will fail you. Conference-centre Wi-Fi is shared with hundreds of delegates and rarely offers the guaranteed <em>upload<\/em> speed a stream needs. The professional answer is bonded internet: a device that combines multiple connections (a wired line plus several 4G\/5G SIMs, often on different carriers) into a single resilient link, so if one drops the stream carries on uninterrupted.<\/p>\n<p>As a rule of thumb, work backwards from the bitrate your platform expects and add headroom. <a href=\"https:\/\/support.google.com\/youtube\/answer\/2853702?hl=en-GB\">YouTube&#8217;s own live encoder guidance<\/a> recommends 10 Mbps for 1080p at standard frame rate using H.264, and 12 Mbps at 50\/60fps \u2014 meaningfully more than the 5 Mbps a venue will happily quote you. Whatever the number, test it in the actual room on a working day, not from the empty venue the week before. Signal, delegate load and building materials all change the picture.<\/p>\n<h3>How much upload speed does a conference stream need?<\/h3>\n<div style=\"overflow-x:auto\">\n<div class=\"rb-table-scroll\"><table>\n<thead>\n<tr>\n<th>Stream<\/th>\n<th>YouTube&#8217;s recommended H.264 bitrate<\/th>\n<th>Upload to allow for, with 20% headroom<\/th>\n<th>When you would use it<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>720p, 25\/30fps<\/td>\n<td>6 Mbps<\/td>\n<td>About 7.5 Mbps<\/td>\n<td>A talking-head webinar, an overflow feed, or a hostile venue connection<\/td>\n<\/tr>\n<tr>\n<td>1080p, 25\/30fps<\/td>\n<td>10 Mbps<\/td>\n<td>About 12.5 Mbps<\/td>\n<td>The default for a conference stream with slides<\/td>\n<\/tr>\n<tr>\n<td>1080p, 50\/60fps<\/td>\n<td>12 Mbps<\/td>\n<td>About 15 Mbps<\/td>\n<td>Only where there is real movement \u2014 demos, performance, sport<\/td>\n<\/tr>\n<\/tbody>\n<\/table><\/div>\n<\/div>\n<p>If you are pushing separate feeds to several destinations from one encoder, multiply that upload figure by the number of destinations; sending a single feed to a cloud restreaming service avoids the problem. A hardware encoder is also steadier on a live show than a laptop juggling other jobs \u2014 encoder settings and protocol choice are covered in our <a href=\"https:\/\/9495creative.com\/blog\/hybrid-event-av-equipment-guide\/\">hybrid event AV equipment guide<\/a>.<\/p>\n<h2>What does the day look like?<\/h2>\n<p>A well-run conference stream is quiet, unglamorous and deeply prepared. Here&#8217;s the shape of it.<\/p>\n<ol>\n<li><strong>Recce and plan.<\/strong> Before the day, the team confirms camera positions, power, where the audio feed comes from, sightlines and the run of show.<\/li>\n<li><strong>Load-in and rig (2\u20134 hours).<\/strong> Cameras, cabling, switcher, audio and connectivity go in early. Bonded internet is set up and speed-tested in the room.<\/li>\n<li><strong>Rehearsal and tech check.<\/strong> Graphics, lower thirds, holding slides and the private preview stream are all confirmed before doors open.<\/li>\n<li><strong>Live programme.<\/strong> A director calls the show; a vision mixer cuts cameras and slides; an audio operator rides levels. Someone watches the outbound stream as an audience member would.<\/li>\n<li><strong>Wrap and deliver.<\/strong> Recordings are backed up on site, then edited into speaker-by-speaker clips or a full-session cut as agreed.<\/li>\n<\/ol>\n<blockquote><p>The gear is only half of it. The difference between a watchable stream and an embarrassing one is a director who has run the show before and a crew who saw the failure points during the recce.<\/p><\/blockquote>\n<h3>A quick pre-brief checklist<\/h3>\n<ul>\n<li>How many rooms and sessions need covering?<\/li>\n<li>Which platforms \u2014 YouTube, LinkedIn, website, or all three?<\/li>\n<li>Is the audience public, gated, or internal only?<\/li>\n<li>Do you need edited recordings, clips or captions afterwards?<\/li>\n<li>What&#8217;s the venue&#8217;s real upload speed \u2014 and what&#8217;s the backup?<\/li>\n<li>Who owns the run of show and the final &#8220;go live&#8221; call?<\/li>\n<\/ul>\n<h2>What about hybrid events and on-demand viewing?<\/h2>\n<p>Most conferences now serve two audiences at once: the room and everyone watching from a desk. A hybrid setup treats the online feed as a first-class output rather than an afterthought \u2014 clean audio, readable slides, well-framed cameras and, ideally, a host or moderator who acknowledges the remote audience and fields their questions. Plan for it in the recce, not on the day.<\/p>\n<p>The stream is also an asset long after the doors close. The same recording that goes out live becomes your on-demand library: full-session replays for registrants, short speaker clips for social, and highlight cuts for next year&#8217;s promotion. Agreeing those deliverables up front means the crew records at the right quality and captures the extra angles a good edit needs.<\/p>\n<h2>Why work with 9495 Creative<\/h2>\n<p>We&#8217;re a London video and creative studio with fully in-house directors and operators \u2014 no outsourced freelancers you meet for the first time on the morning. Our live events work covers multicam festivals, corporate launches and live performances, streamed with ATEM switchers, broadcast field audio and bonded internet for genuine resilience. Because the same team also handles the edit, your keynote recordings and highlight clips come back with cinema-grade craft rather than a raw dump of footage.<\/p>\n<p>If you&#8217;re weighing up suppliers more broadly, our <a href=\"https:\/\/9495creative.com\/blog\/how-to-choose-video-production-company-london\/\">buyer&#8217;s checklist for choosing a video production company in London<\/a> is a good companion read, and you can see the range of what we do on our <a href=\"https:\/\/9495creative.com\/services\">services page<\/a>.<\/p>\n<h2>Which platform should you stream a conference to?<\/h2>\n<p>Pick the platform by how much control you need over the audience, not by which logo looks best on the invitation. YouTube Live is free, gives you the widest reach and leaves you with an evergreen recording. LinkedIn Live is the B2B choice for a launch or an executive session. A paid player such as Vimeo is what you use when the stream has to be gated or sold. An embed on your own site keeps people on your domain and captures the registration data marketing actually wants. Most conferences end up using two destinations: one public, for reach, and one controlled, for the audience that matters.<\/p>\n<div style=\"overflow-x:auto\">\n<div class=\"rb-table-scroll\"><table>\n<thead>\n<tr>\n<th>Platform<\/th>\n<th>Cost<\/th>\n<th>Can you gate it?<\/th>\n<th>Recording and replay<\/th>\n<th>Best for<\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td>YouTube Live<\/td>\n<td>Free, but the channel must be verified and clear of live-streaming restrictions from the past 90 days<\/td>\n<td>Partly \u2014 public, unlisted or private, and YouTube says unlisted videos can be seen and shared by anyone with the link<\/td>\n<td>Automatic; the stream becomes an on-demand video on the channel<\/td>\n<td>Public keynotes, reach, an evergreen library<\/td>\n<\/tr>\n<tr>\n<td>LinkedIn Live<\/td>\n<td>Free, but you cannot broadcast from LinkedIn itself \u2014 you need an approved partner tool or a custom RTMP feed<\/td>\n<td>No, it is a public post<\/td>\n<td>Stays on the page or event as a replay<\/td>\n<td>B2B launches, sponsor visibility, thought-leadership sessions<\/td>\n<\/tr>\n<tr>\n<td>Vimeo or a similar paid player<\/td>\n<td>Paid plan; Vimeo lists live streaming on its Advanced tier at $75 a month billed annually at the time of writing<\/td>\n<td>Yes \u2014 password, invite-only links, domain restriction or SSO<\/td>\n<td>Hosted replay you control, with viewer analytics<\/td>\n<td>Gated, internal or ticketed streams<\/td>\n<\/tr>\n<tr>\n<td>Embedded player on your own site<\/td>\n<td>Player or platform fee, plus build time on the page<\/td>\n<td>Yes, through your own registration or login<\/td>\n<td>Whatever your player provides<\/td>\n<td>Registration capture and an on-brand experience<\/td>\n<\/tr>\n<\/tbody>\n<\/table><\/div>\n<\/div>\n<p>Two things to settle early. The gate decides the platform, so agree who is allowed to watch before anyone books kit \u2014 retrofitting a login onto a public stream in the final week is how events go wrong. And platform and licensing fees sit outside the crew-and-kit day rate: they are a separate budget line, broken down in our guide to <a href=\"https:\/\/9495creative.com\/blog\/hybrid-event-production-cost-uk\/\">hybrid event production costs in the UK<\/a>. If you want more than one destination at once, that is the multistreaming question above, and a cloud restreaming service keeps the extra upload demand off the venue&#8217;s connection.<\/p>\n<h2>How do you keep a conference stream private or ticketed?<\/h2>\n<p>Gating a stream is a spectrum, and it pays to be honest about which end you are on. An unlisted YouTube link is convenience, not security \u2014 YouTube&#8217;s own documentation says unlisted videos can be seen and shared by anyone who has the link, so treat it as a soft door rather than a lock. A password stops casual forwarding. A registration gate is what most conferences actually want, because it gives you a delegate list as well as control. For an internal all-hands, SSO or a domain restriction is usually the only version IT will sign off, because it ties access to a corporate identity rather than a shared secret.<\/p>\n<ul>\n<li><strong>Unlisted link.<\/strong> No barrier at all, just no discovery. Fine for a low-stakes internal update, wrong for anything commercially sensitive.<\/li>\n<li><strong>Password.<\/strong> One shared secret for everyone. Easy to set up, easy to leak, and it tells you nothing about who watched.<\/li>\n<li><strong>Registration gate.<\/strong> Name and email before playback. The default for conferences, because the delegate list is usually the point.<\/li>\n<li><strong>SSO or domain restriction.<\/strong> Access tied to a corporate login or an email domain. The right answer for all-hands and results days.<\/li>\n<li><strong>Pay-per-view.<\/strong> Ticketed access sold through the platform. Only worth the setup if the stream is genuinely a revenue line.<\/li>\n<\/ul>\n<p>Two practical warnings. Gating costs money the crew day does not cover: a platform subscription and any per-viewer licensing are separate budget lines from the from-\u00a31,500 streaming figures above, and they belong in the platform and licensing section of our <a href=\"https:\/\/9495creative.com\/blog\/hybrid-event-production-cost-uk\/\">hybrid event production cost guide<\/a>. Gating also costs time. Someone has to log in as a real delegate, on a real device, off the venue network, before doors open \u2014 a step that belongs in the rehearsal rather than in the first five minutes of the live show. Our guide to <a href=\"https:\/\/9495creative.com\/blog\/how-to-run-a-hybrid-event\/\">running a hybrid event<\/a> sets out where that fits in the schedule.<\/p>\n<h2>How do you handle remote speakers, slides and parallel tracks?<\/h2>\n<p>All three are solved with inputs, not with more cameras. Slides should reach the switcher as an HDMI or SDI feed straight from the presentation laptop, so the online audience reads them at full resolution instead of watching a camera fight a bright screen from an angle. Ask for the deck the day before and confirm it is 16:9. A remote speaker comes in as a video call taken into the switcher as another source, with their audio routed into the desk mix and a mix-minus return sent back so they hear the room but not themselves on a delay. Parallel tracks are the expensive one: a second streamed room is a second flypack \u2014 switcher, encoder, connectivity and crew \u2014 not a longer cable from the first.<\/p>\n<ul>\n<li><strong>Slides.<\/strong> Feed the switcher directly, and get a copy of the deck in advance so the operator knows when a build or a video is coming.<\/li>\n<li><strong>Remote presenters.<\/strong> Rehearse on the real connection, not a home test, and give them the same run of show as everyone in the room.<\/li>\n<li><strong>Parallel rooms.<\/strong> Decide early which sessions are streamed live and which are recorded and published afterwards \u2014 it is often the cheaper answer.<\/li>\n<\/ul>\n<p>The kit side of this \u2014 microphone choice per source, the separate stream mix and how a mix-minus is actually built \u2014 is set out in our <a href=\"https:\/\/9495creative.com\/blog\/hybrid-event-av-equipment-guide\/\">hybrid event AV equipment guide<\/a>, and what a second streamed room does to a budget is covered in our <a href=\"https:\/\/9495creative.com\/blog\/hybrid-event-production-cost-uk\/\">hybrid event production cost guide<\/a>.<\/p>\n<h2>Frequently asked questions<\/h2>\n<h3>How much does it cost to live stream a conference in London?<\/h3>\n<p>A single-camera conference stream in London typically starts from around \u00a31,500, a two-camera multicam setup from about \u00a32,500, and a three-camera main-stage production from around \u00a34,000. Cost rises with the number of rooms, streaming destinations, graphics and edited recordings you need.<\/p>\n<h3>How many cameras do I need to live stream a conference?<\/h3>\n<p>You can stream with one camera, but two to three is the practical sweet spot. Two cameras suit talks with slides and small panels; three or more give main-stage keynotes and awards the visual variety that keeps an online audience watching.<\/p>\n<h3>Can I stream to YouTube and LinkedIn at the same time?<\/h3>\n<p>Yes. This is called multistreaming. You either push separate RTMP feeds to each platform from a capable encoder, or send one feed to a cloud restreaming service that distributes it to every destination. LinkedIn Live requires an approved third-party or RTMP tool rather than streaming directly from the platform.<\/p>\n<h3>What is an ATEM switcher?<\/h3>\n<p>An ATEM switcher is a live production mixer made by Blackmagic Design. It takes feeds from several cameras and sources and lets an operator cut, dissolve and add graphics in real time, turning multiple camera angles into one polished broadcast programme feed sent to your encoder.<\/p>\n<h3>Can you live stream without venue internet?<\/h3>\n<p>Yes. For any important event you should assume venue Wi-Fi will not be reliable enough. The professional solution is bonded internet, which combines a wired line with multiple 4G\/5G connections into one resilient link, so the stream keeps running even if one connection drops.<\/p>\n<h3>Can you live stream a conference privately?<\/h3>\n<p>Yes. You can password-protect the stream, put it behind a registration form, or restrict it to your own email domain or SSO for an internal all-hands. An unlisted YouTube link is convenience rather than security, because anyone with the link can share it on. Gated playback normally means a paid platform, which is a separate budget line from the from-\u00a31,500 crew-and-kit figure.<\/p>\n<h3>What internet speed do you need to live stream a conference?<\/h3>\n<p>For 1080p, YouTube&#8217;s own live encoder guidance recommends 10 Mbps using H.264, so allow around 12.5 Mbps of stable upload once you leave 20% headroom. A 720p webinar feed needs roughly 7.5 Mbps. Test the upload in the actual room on a working day: conference Wi-Fi is shared with delegates, which is why bonded 4G\/5G is standard on anything that matters.<\/p>\n<h3>What do you need for a live streaming setup for conferences and webinars?<\/h3>\n<p>Five things: at least one camera with a clean HDMI or SDI output, a video switcher such as a Blackmagic ATEM, a dedicated audio feed split from the venue&#8217;s sound desk, an encoder pushing RTMP to your platform, and a stable upload connection with a backup. Slides should go into the switcher directly rather than being filmed off the screen.<\/p>\n<h3>How do you include remote speakers in a conference live stream?<\/h3>\n<p>Bring the remote presenter in as a video call taken into the switcher as another source, with their audio in the desk mix and a mix-minus return so they hear the room but not themselves on a delay. Brief them on the same run of show as everyone else, and rehearse on the real connection rather than a home test.<\/p>\n<h2>Ready to plan your stream?<\/h2>\n<p>Tell us about your event \u2014 the venue, the rooms, the dates and where the stream needs to go \u2014 and we&#8217;ll turn it into a clear plan with a proposal, usually within five business days. <a href=\"https:\/\/9495creative.com\/contact\">Start a brief<\/a> and we&#8217;ll take it from there.<\/p>\n<p><script type=\"application\/ld+json\">{\"@context\": \"https:\/\/schema.org\", \"@graph\": [{\"@type\": \"BlogPosting\", \"headline\": \"How to Live Stream a Conference: Kit, Crew and Setup (2026)\", \"description\": \"A conference stream needs a camera, sound off the desk and an encoder. 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The professional solution is bonded internet, which combines a wired line with multiple 4G\/5G connections into one resilient link, so the stream keeps running even if one connection drops.\"}}, {\"@type\": \"Question\", \"name\": \"Can you live stream a conference privately?\", \"acceptedAnswer\": {\"@type\": \"Answer\", \"text\": \"Yes. You can password-protect the stream, put it behind a registration form, or restrict it to your own email domain or SSO for an internal all-hands. An unlisted YouTube link is convenience rather than security, because anyone with the link can share it on. Gated playback normally means a paid platform, which is a separate budget line from the from-\\u00a31,500 crew-and-kit figure.\"}}, {\"@type\": \"Question\", \"name\": \"What internet speed do you need to live stream a conference?\", \"acceptedAnswer\": {\"@type\": \"Answer\", \"text\": \"For 1080p, YouTube's own live encoder guidance recommends 10 Mbps using H.264, so allow around 12.5 Mbps of stable upload once you leave 20% headroom. A 720p webinar feed needs roughly 7.5 Mbps. Test the upload in the actual room on a working day: conference Wi-Fi is shared with delegates, which is why bonded 4G\/5G is standard on anything that matters.\"}}, {\"@type\": \"Question\", \"name\": \"What do you need for a live streaming setup for conferences and webinars?\", \"acceptedAnswer\": {\"@type\": \"Answer\", \"text\": \"Five things: at least one camera with a clean HDMI or SDI output, a video switcher such as a Blackmagic ATEM, a dedicated audio feed split from the venue's sound desk, an encoder pushing RTMP to your platform, and a stable upload connection with a backup. Slides should go into the switcher directly rather than being filmed off the screen.\"}}, {\"@type\": \"Question\", \"name\": \"How do you include remote speakers in a conference live stream?\", \"acceptedAnswer\": {\"@type\": \"Answer\", \"text\": \"Bring the remote presenter in as a video call taken into the switcher as another source, with their audio in the desk mix and a mix-minus return so they hear the room but not themselves on a delay. Brief them on the same run of show as everyone else, and rehearse on the real connection rather than a home test.\"}}]}]}<\/script><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A conference stream needs a camera, sound off the desk and an encoder. The full kit list, the crew, and how to hit YouTube and LinkedIn at once.<\/p>\n","protected":false},"author":1,"featured_media":175,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[61,62,59,60,11,5,14],"class_list":["post-19","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-event-production","tag-atem-switcher","tag-broadcast","tag-conference","tag-event-production","tag-live-streaming","tag-london","tag-multicam","entry"],"_links":{"self":[{"href":"https:\/\/9495creative.com\/blog\/wp-json\/wp\/v2\/posts\/19","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/9495creative.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/9495creative.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/9495creative.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/9495creative.com\/blog\/wp-json\/wp\/v2\/comments?post=19"}],"version-history":[{"count":9,"href":"https:\/\/9495creative.com\/blog\/wp-json\/wp\/v2\/posts\/19\/revisions"}],"predecessor-version":[{"id":449,"href":"https:\/\/9495creative.com\/blog\/wp-json\/wp\/v2\/posts\/19\/revisions\/449"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/9495creative.com\/blog\/wp-json\/wp\/v2\/media\/175"}],"wp:attachment":[{"href":"https:\/\/9495creative.com\/blog\/wp-json\/wp\/v2\/media?parent=19"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/9495creative.com\/blog\/wp-json\/wp\/v2\/categories?post=19"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/9495creative.com\/blog\/wp-json\/wp\/v2\/tags?post=19"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}