User Guide: Open Live Studio
Instructions on how to run a live production with Open Live Studio.
Open Live Studio is the browser-based production gallery for Open Live. It replaces the hardware vision mixer, audio console, and multiviewer with a single browser tab, and it is designed so a crew can work from anywhere.
This guide follows the order you will actually work in: first you configure your inputs and outputs, then you create and activate a production, and finally you run the show from the studio.
Looking for how to deploy Open Live? See the Open Live Setup Guide. This guide assumes you already have a running instance.
- Prerequisites
- Opening Open Live Studio
- Getting around
- Step 1 — Add your sources (Optional)
- Step 2 — Add graphics (Optional)
- Step 3 — Add outputs (Optional)
- Step 4 — Create a production
- Step 5 — Activate the production
- Using the studio
- The multiviewer and PGM monitors
- The controller — cutting the show
- Downstream keyers (DSK)
- Picture-in-Picture
- Looks — per-source effects
- The audio mixer
- Controller options
- The program clock
- Pop-out panels and multi-operator working
- Tally for camera operators
- Keyboard shortcuts
- Ending the production
- Troubleshooting
- Stream Deck control
- A running Open Live instance and Open Live Studio instance — see the Open Live Setup Guide
- A Strom media pipeline instance reachable from Open Live
- A modern Chromium-based browser (Chrome or Edge recommended — WebRTC playback and Stream Deck WebHID both depend on it)
You do not need a camera or an encoder to get started. Open Live ships built-in Pinwheel and Colors test patterns, and HTML sources render a web page as video — any of these will fill a mixer input with no external feed at all. Bring in SRT or WHIP feeds when you have them.
If you are running on Open Source Cloud, log in to https://app.osaas.io/, find your Open Live Studio instance, and click the instance card to open the app. Authentication happens automatically in the background using your OSC session — there is no separate login screen.
Running locally, open http://localhost:5173.
A narrow icon rail runs down the left edge of the window. It has two destinations:
| Icon | Label | What it is for |
|---|---|---|
| ⇄ | I/O | Configure sources, graphics, and outputs — everything that exists independently of any one production |
| 🎬 | Productions | Create, configure, activate, and enter productions |
At the bottom of the rail is a globe icon — the connection indicator. Hover it to see the health of the three things the studio depends on:
- Open Live — the backend API
- Strom — the media pipeline
- Database — the CouchDB document store
Green means everything is reachable, orange means a partial outage, red means the backend is down.
The order matters. Sources, graphics, and outputs are reusable building blocks. You create them once under I/O, then assign them to as many productions as you like.
Go to I/O → Sources. A source is one incoming feed: a camera, a remote guest, a graphics machine, or a test pattern.
Skip this step if you only want the built-in Pinwheel, Colors, or WHIP inputs — those are assigned directly in the production form and need nothing defined here. Come back when you have real SRT, EFP, or HTML feeds to add.
Click + New Source and fill in the form.
A human-readable name — this is what appears on the multiviewer tile, the source buttons in the controller, and the audio channel strip. Something like Camera 4 — Closeup works well.
| Type | Use it for |
|---|---|
| MPEG-TS/SRT | Standard SRT contribution feeds — hardware encoders, OBS, ffmpeg, cloud encoders |
| EFP/SRT | EFP-wrapped SRT from synchronised camera transmitters. Use this when you need frame-accurate multi-camera sync |
| HTML | A web page rendered as a video source — scoreboards, clocks, browser-based graphics |
Two more types exist but are not created here:
- WHIP — a WebRTC ingest slot. You assign it directly in the production form (see Step 4) and Open Live generates the ingest URL for you when the production goes live.
- Pinwheel and Colors — built-in test patterns. Also assigned directly in the production form. Extremely useful for checking a pipeline before your cameras arrive.
For SRT and EFP sources, enter the SRT URI, for example:
srt://192.168.1.10:9000?mode=caller
The address must start with srt:// and include a port. If it does not, you will see Must be a valid srt:// URI.
For HTML sources, enter an http:// or https:// URL, or a data:text/html URI for inline markup.
Never hardcode a port that something else is already using. Each SRT source needs its own port.
The SRT receive buffer, in milliseconds. Valid range is 20 – 8000; leave it blank to use the default of 125 ms.
Higher latency survives worse networks; lower latency gets you closer to the glass. For a 5G camera on a public network, 200–500 ms is realistic. For a wired feed on the same LAN, 60–125 ms is plenty.
Click Save.
The list shows every source with a status dot, its type badge, and its address. The dot turns red when the source is assigned to a production that is live.
Click any row to edit it, or use the delete button to remove it. Both are blocked while the source is in an active production — hover the button and you will see Cannot edit source in an active production. Deactivate the production first.
The list refreshes itself every 15 seconds; the header shows how long ago.
Skip this unless you need overlay graphics — the DSK slots can be left empty.
Go to I/O → Graphics. A graphic is an overlay that gets keyed over your programme output by a downstream keyer (DSK) — lower thirds, bugs, score bars, sponsor idents.
Click + New Graphic:
-
Name — e.g.
Lower Third -
URL — an
http:///https://URL, adata:image/…URI for an inline image, or adata:text/htmlURI for inline markup
Graphics with transparency work as you would expect — an HTML page with a transparent background, or a PNG with an alpha channel, keys cleanly over programme.
Each production has two DSK slots, so you can have two graphics armed at once.
Skip this if you only need to watch programme in the browser — the WHEP endpoint the studio uses is created automatically. You need an output only to send programme somewhere outside Open Live.
Go to I/O → Outputs. An output is where your finished programme goes.
Click + New Output:
-
Name — e.g.
Program SRT - Type — MPEG-TS/SRT or EFP/SRT
-
SRT URI — defaults to
srt://:43524?mode=listener
A listener URI (empty host, as in the default) means Strom waits for something to connect and pull the stream. A caller URI means Strom pushes to an address you specify. Use listener when your CDN or decoder will pull; use caller when you are pushing to a fixed ingest point.
Each SRT URI must be unique across your outputs — reuse one and you will get Address already used by "…".
WHEP output is automatic. You do not need to create an output to watch programme in a browser. Every active production exposes a WHEP endpoint for the multiviewer and the PGM monitor. Outputs are for feeding the world outside Open Live.
Outputs, like sources, cannot be edited or deleted while they are part of an active production.
Go to Productions and click + New Production. The dialog has two columns: Setup on the left, Configuration on the right.
-
Name — e.g.
Evening News — May 1 - Air Time (optional) — a scheduled start. Set this and the studio gives you a countdown before the show and an elapsed-time clock once you are on air, plus an On Air badge on the production card.
This is where you map your sources onto the vision mixer's inputs. Each row is one mixer input, in order — the first row is input 1, which is what keyboard key 1 will select later.
Use the dropdowns to assign a source to each slot. Sources are grouped by type, and the list also offers the virtual sources: Whip Input, Pinwheel, and Colors. Leave a slot as — unassigned — to skip it.
- Click + New Input to add a slot
- Click the ✕ next to a slot to remove it
- Minimum 2 inputs, maximum 16
Tip for a first run: assign Pinwheel and Colors to inputs 1 and 2 and activate. You will have a working programme output in seconds and can confirm your whole chain before touching a camera.
Two fixed slots, DSK 1 and DSK 2. Pick a graphic for each, or leave them — none —.
Add as many output slots as you need (up to 8) and assign an output to each.
The right column controls how the pipeline is built. These are the settings you most often want to get right before the first activation, because they cannot be changed while the production is live.
| Setting | Default | Notes |
|---|---|---|
| Mix Latency | 100 ms | Audio pipeline latency. Higher is more stable, lower is more responsive. Range 0–2000 ms |
| Flow Clock | Default (monotonic) | Choose TAI to synchronise EFP cameras by absolute timestamp |
| PGM Resolution | 1280×720 | Up to 4K (3840×2160) |
| PGM Frame Rate | 25 fps | 10 – 60 fps, including 23.976 / 29.97 / 59.94 |
| PGM Encoder Bitrate | 4000 kbps | Range 100 – 100000 |
| Multiview Resolution | 1280×720 | Independent of PGM |
| Multiview Frame Rate | 25 fps | |
| Multiview Encoder Bitrate | 4000 kbps | |
| Swap PVW/PGM positions | off | Flips the multiviewer and PGM monitors left-to-right in the studio |
| AUX Buses | 2 | None, 1, 2, 4, 6, or 8 |
| Group Buses | 2 | None, 1, 2, 4, 6, or 8 |
| EBU R128 Meter on Main | off | Adds loudness metering to the main bus. Turn this on for anything going to broadcast |
| PiP Slots | 0 (None) | Up to 4. The PiP editor only appears in the studio if this is above 0 |
When AUX Buses is above 0, each bus also gets a Pre-fader / Post-fader choice. Post-fader (the default) means the send follows the channel fader — right for effects and recording feeds. Pre-fader means the send is independent of the fader — right for commentator and IFB mixes, where the talent needs to keep hearing a source even after you pull it out of programme.
Every setting has an i tooltip explaining it.
Tick Save, give it a name like HD Standard, and the whole right-hand column is stored as a reusable config. Next time, pick it from the — load saved config — dropdown instead of setting thirteen fields by hand.
Manage your presets under Productions → Configs, where you can create, rename, edit, and delete them.
Click Create when you are done.
On the production card, click Activate. The button changes to Activating… while Open Live clones the flow template, patches in each source address, and starts the flow in Strom. This normally takes a few seconds.
Once active, the card shows:
- A solid red status dot
- A count of connected operators
- Copy buttons for every endpoint the production exposes — click one to copy the URL to your clipboard:
| Pill | What it gives you |
|---|---|
| WHIP IN: Input N | The WebRTC ingest URL for a WHIP source — paste into OBS or a browser WHIP client |
| WHEP OUT: PGM | A WHEP playback URL for the programme feed |
| SRT OUT: Program | The SRT URI for the programme output |
| SRT OUT: | The SRT URI for each output you assigned |
The SRT URIs are resolved for you. Strom emits listener URIs with an empty host (
srt://:43524), which a caller cannot use. Open Live substitutes the real Strom hostname, so what you copy is what you can connect to.
If activation fails, the error appears on the card in red. The most common causes are an unreachable source address and Strom being down — check the globe indicator in the nav rail.
Now click Studio.
The studio is a single screen made of panels. Along the top, next to the production name, is a row of icons — one per panel. Click an icon to show or hide that panel; active panels are orange.
| Icon | Panel |
|---|---|
| Grid | Multiviewer |
| Monitor | PGM |
| Faders | Controller |
| Frame-in-frame | PiP Editor (only if PiP Slots > 0) |
| Speaker | Audio |
| Aperture | Looks |
Your panel layout is remembered in the browser, so the studio comes back the way you left it. By default, Multiviewer, PGM, Controller, and Audio are on.
Every panel header carries the same set of controls on the right: an i tooltip explaining the panel, a pop-out icon to open it in its own window, and an ✕ to hide it. Some panels add a gear for their options.
The far right of the top bar has the clocks and the LIVE pill, which turns red with a pulsing dot when you are on air.
A grid of every source, with programme and preview shown large. Tiles are outlined red for PGM and green for PVW, and labelled accordingly. A tile that has no decoded video shows NO SIGNAL.
Controls in the header:
- Audio track selector — pick which mix you are monitoring: PGM, MON (your monitor/headphone bus), or AUX1, AUX2, … Only appears when the production carries more than one audio track
- Speaker icon — mute or unmute your monitoring
- Fullscreen icon — expand to the whole screen
Your programme output, exactly as it is going to air, delivered over WHEP with sub-500 ms glass-to-glass latency. Same audio track selector, mute, and fullscreen controls.
A pill in the bottom-right corner tells you the state of the connection:
| Pill | Meaning |
|---|---|
| LIVE | Connected and decoding frames |
| CONNECTING | Negotiating, or connected but no frames yet |
| RETRYING IN n | Lost the stream; reconnecting with a countdown |
| SIGNAL LOST | Five retries failed. A background watchdog keeps trying every 30 seconds |
NO SIGNAL stays up until real decoded frames arrive — not merely until the connection is established — so it is a trustworthy indicator that video is actually flowing.
The controller is the vision mixer. It is laid out in rows.
Red-tinted. Shows what is on air. The currently live source is lit red.
Green-tinted. Shows what is queued. Click a source to load it into preview; it lights green.
If the production has PiP slots configured, PiP 1, PiP 2, … appear as buttons on these rows alongside the source buttons.
| Button | Action |
|---|---|
| TAKE | A hard cut. Preview becomes programme instantly. This is the big red button |
| AUTO | An animated transition using the selected transition type and duration |
| FTB | Fade to black. Toggles — press again to come back. Lights up while active |
After a TAKE or AUTO, what was on programme moves to preview, so you can cut back immediately.
To the right of AUTO is a grid of transition chips. There are 40 transition types in five families:
| Family | Types |
|---|---|
| Mix |
FADE, DIP (dip to black) |
| Slide |
← SLIDE, → SLIDE, ↑ SLIDE, ↓ SLIDE
|
| Push |
← PUSH, → PUSH, ↑ PUSH, ↓ PUSH
|
| Wipe (GPU) | Four directional wipes plus IRIS OPEN, IRIS CLOSE, CLOCK, BLINDS, CHECKER, NOISE, LUMA, BARN DOORS, STAR, PINWHEEL, CROSSHATCH, HEX, WARP, MELT, HEART IRIS
|
| FX Takes (GPU) |
GLITCH, FLASH, ← WHIP, → WHIP, PUNCH ZOOM, PIXELATE, ZOOM BLUR, SPIN, TV ROLL, NEGATIVE, RIPPLE
|
The Wipe and FX Takes families need a GPU-backed Strom node.
Rather than showing all forty at once, the controller shows a chosen subset — up to 16 chips. Pick which ones under Controller options.
Presets for 0.5S, 1S, and 2S, plus a custom field. Single-click a preset to select it; double-click the custom value to type an exact duration between 100 and 10000 ms.
A slider from 0.00 to 1.00 setting the opacity of the multiviewer's overlay layer — the coloured PGM and PVW frames around the tiles, the source name labels, the clock, and the audio meters. Pull it down to strip the multiviewer back to clean pictures; leave it at 1.00 for full chrome.
OVL only affects the multiviewer. It does not touch the programme output, and it has nothing to do with DSK graphics — those are controlled by the DSK buttons below.
Below the transition controls is the DSK row, with one button per assigned graphic. Each button shows its slot (DSK 1, DSK 2) and the graphic's name underneath.
Click to key the graphic over programme; the button turns orange. Click again to remove it. K on the keyboard toggles DSK 1.
DSK sits downstream of the vision mixer, so a keyed graphic stays on screen across cuts and transitions until you take it off.
The PiP Editor appears when the production has PiP Slots above 0 and is active. A PiP is a composite layout — two-box, quad-box, over-the-shoulder — that you can cut to like any other source.
- Pick the slot to work on: PiP 1, PiP 2, …
- Click Edit to enter edit mode.
- Choose a Background — a full-frame source behind the boxes, or None.
- Add Zones with + Add. A zone is a rectangle on the 16:9 canvas that one or more sources will occupy. Drag a zone to move it, drag its handles to resize. Zones are colour-coded and labelled
Z1,Z2, … - With a zone selected, click source chips to assign sources to it. A chip in the active zone is orange; a chip already used in another zone is greyed and italic.
- Fine-tune position with the X / Y / W / H fields, in programme pixels. Leave SNAP ticked to snap to the grid.
- Give a zone a border colour and width (0–64 px) if you want a visible frame around the boxes.
- Use the Crop / Zoom dropdown to pick a source and reframe it inside its zone — drag the crop box, use the zoom slider, or type exact values. Lock maintains the source's native aspect ratio while you drag.
- Click Done when finished.
Changes apply live after a short pause — there is no Apply button.
Optionally set a capacity on a zone to cap how many sources it will hold; leave it as ∞ for no limit.
Select the PiP on the PVW row and TAKE it like any other source, or press Shift + to hot-cut straight to it. PiPs are numbered after your real sources — with four cameras, PiP 1 is 5.
PiP layouts live only while the production is active. Strom resets its PiP configuration when the flow is torn down, so zones are not preserved across a deactivation. Rebuild them, or script them from Companion, at the start of each session.
The Looks panel applies GPU shader effects to individual sources, or to the whole programme via the MASTER card.
Pick an effect from a source's dropdown, then expand the card to adjust its parameters:
| Effect | Parameters |
|---|---|
| Color Correct | Brightness, Contrast, Saturation, Hue, Gamma, Temperature, Tint |
| Chroma Key | Key colour, Similarity, Smoothness, Spill |
| Vignette | Amount, Softness |
| Duotone | Shadow colour, Highlight colour, Mix |
| Blur | Radius |
| Pixelate | Block size |
| VHS | Intensity |
| Old Film | Intensity |
| Edge Glow | Glow colour, Intensity |
| CRT | Intensity |
| Halftone | Dot size |
| Thermal | Intensity |
| Night Vision | Intensity |
| Posterize | Levels |
| Underwater | Intensity |
Set an effect to None to remove it.
Color Correct is the one you will use on a real show — matching cameras that do not quite agree on white balance. Chroma Key lets you pull a green screen live.
If Strom is not running on a GPU node you will see Shader effects require GPU backend — applies on supported nodes only. The editor stays visible but the effects will not render.
The Audio panel is a full broadcast console. Tabs run vertically down its left edge: MAIN, then one per AUX bus (AUX 1, AUX 2, …).
Within a tab, strips are grouped into sections you can collapse by clicking the coloured vertical bar:
| Section | Contents |
|---|---|
| OUT | The MAIN master and the MON monitor strip |
| GRP | Group masters — GRP 1, GRP 2, … (only if Group Buses > 0) |
| IN | One strip per input channel |
Collapse state is remembered between sessions.
Each strip has a vertical fader running from −∞ to +20 dB, with unity (0 dB) at the marked line near the top and tick marks at +20, +10, 0, −10, −20, −30, and −∞. Drag it, or click anywhere on the track to jump there. Arrow keys nudge it once focused.
At the bottom of each strip:
- ON — the channel's contribution to the mix. Orange/coloured means on, dark grey means muted.
- AFV — audio follows video. When lit, the channel automatically opens when its source is on programme and closes when it is not.
ON mutes the routing, not the fader. Your fader position is never disturbed by a mute, an unmute, or an AFV state change — so your carefully set level is exactly where you left it when the channel comes back.
Clicking AFV while AFV is active turns it off and mutes the channel, so you never get an unexpected open mic. Press ON to bring it back manually.
AFV fade times are set under the audio panel's gear icon → Audio Options:
- Ramp Up — fade-in when a channel comes on air (default 300 ms)
- Ramp Down — fade-out when it goes off air (default 50 ms)
Both range 0–5000 ms. Asymmetric defaults are deliberate: a fast drop stops you hearing the old source through the cut, while a slightly slower rise avoids a hard click on the new one.
Two buttons on input strips route that channel to your monitor bus so you can listen in isolation:
- PFL — pre-fader listen. Hear the channel regardless of its fader, even fully muted. Use it to check a mic before opening it.
- AFL — after-fader listen. Hear the channel as it sits in the mix.
They are mutually exclusive. Click a lit button to cancel.
Input strips show G1, G2, … buttons. Click to assign the channel to that group; the button turns green. Group masters live in the GRP section, and their fader and ON button control every channel assigned to them at once.
Groups are for anything you want to ride as a unit — all the crowd mics, the whole band, a bank of effects.
Click an AUX tab to see that bus:
- The OUT section holds the bus master — its output fader and ON button
- The IN section holds one send strip per input channel, each with its own send level fader and ON button
Each send shows PRE (orange) or POST (blue) above the fader, reflecting the pre/post choice made in the production configuration.
Toggling a send off leaves its level untouched, so you can drop a source out of a commentator's mix and bring it back at the same level.
AUX buses are how you feed commentary positions, IFB returns, recording feeds, and venue PA.
The MON strip in the OUT section sets your own listening level and does not affect the programme mix at all. PFL and AFL land here.
Every strip has a PPM-style meter scaled −60 to 0 dB, green up to −18, amber to −6, red above that, with a peak-hold line and a numeric peak readout underneath. True silence reads −∞ in grey.
Enable EBU R128 Meter on Main in the production configuration and the MAIN strip gains a loudness meter beside its VU:
- The target zone is −26 to −20 LUFS, shown in green; amber either side, red at the extremes
- The number below is integrated loudness — your programme loudness
- If true peak exceeds −1 dBTP, a red border latches around the meter. Click it to reset.
For broadcast delivery, ride the integrated number to whatever your specification demands (−23 LUFS for EBU R128) and treat a latched true-peak border as something to investigate, not to dismiss.
Click the gear on the Controller panel header.
Toggle chips on and off to choose which of the 40 transition types appear in the controller, up to 16. At least one must stay active. The counter shows n/16. Wipe and FX Takes families are flagged GPU.
Keep this short. Four or five transitions you actually use beat forty you have to hunt through with your hand on the wrong button.
One row per assigned source, with two fields:
- V — delay the video track, in milliseconds
- A — delay the audio track, in milliseconds
Use these to fix lip sync per source. If a remote guest's audio arrives ahead of their picture, add delay to A. A field with a non-zero value is outlined orange so you can see at a glance which sources are offset.
Changes are held locally until you press Done, then applied live.
Top-right of the studio, beside the LIVE pill:
- Wall clock — current time, with its timezone above it
- Program clock — driven by the production's air time
The program clock changes label and colour as the show approaches:
| Label | When | Shows |
|---|---|---|
| PROGRAM | No air time set | --:--:-- |
| SCHED | More than 4 hours out | The scheduled wall time |
| COUNTDOWN | Within 4 hours | Time remaining, counting down, in yellow |
| ON AIR | From the air time up to 20 hours after | Elapsed time, in red |
| PAST | More than 20 hours after | The scheduled time, greyed out |
Click the program clock to set or clear the air time without leaving the studio.
Every major panel has a pop-out icon in its header. Clicking it opens that panel alone in a new window or tab:
| Panel | URL |
|---|---|
| Multiviewer | /pane/multiviewer?production=<id> |
| PGM | /pane/pgm?production=<id> |
| Controller | /pane/controller?production=<id> |
| Audio | /pane/audio?production=<id> |
| PiP Editor | /pane/pip?production=<id> |
This is what makes Open Live a real gallery rather than a one-person tool. Drag the multiviewer to a second display as a confidence monitor. Give the audio panel to your sound operator on their own machine. Put the controller on a laptop next to the director.
Every operator sees the same state in real time — faders, tally, DSK, PiP — because it is all synchronised through the backend. The production card shows how many operators are connected.
The pop-out controller responds to Space (TAKE) and Enter (AUTO), so a director with just the controller pane open can still cut on the spacebar. The other shortcuts — F, K, and the number keys — work only in the full studio.
Open the multiviewer in its own window — the pop-out icon on its header, or /pane/multiviewer?production=<id> — and put it on a display at the camera position. Every tile is outlined red for PGM and green for PVW and labelled accordingly, updating the instant you cut.
This works because the pane connects to the production itself and stays in sync.
Available whenever the controller has focus and you are not typing in a field.
| Key | Action |
|---|---|
Space |
TAKE — cut preview to programme |
Enter |
AUTO — run the selected transition |
F |
FTB — toggle fade to black |
K |
Toggle DSK 1 |
1 – 9
|
Select that source to preview |
Shift + 1 – 9
|
Hot-cut that source straight to programme |
Numbering follows your mixer inputs, with PiP slots after the real sources. Pressing the number of the source already on programme does nothing — it will not accidentally load your live source into preview.
Shift + number on a PiP performs an atomic take, bringing the PiP on air in one operation rather than a select-then-take, which avoids any risk of the PiP briefly appearing on both buses.
Go back to Productions and click Deactivate on the card. You will be asked to confirm — and if other operators are still connected, their count is called out in orange, so you do not pull the flow out from under your own crew.
Deactivating stops and deletes the Strom flow. That releases the GPU and CPU resources, and on OSC it stops the meter. Deactivate when you are done.
If a production is left active with nobody connected, Open Live deactivates it automatically after 5 minutes. The card shows an amber countdown — IDLE: De-activating in 4:32 — while it runs down, and afterwards carries an Idle timeout badge so you know why it stopped.
Reconnecting an operator cancels the countdown.
Click Delete on the card and confirm. This cannot be undone, and it is blocked while the production is active. Your sources, graphics, and outputs are not affected — only the production that referenced them.
A persistent notification in the bottom-right corner listing which dependencies are unreachable:
- Cannot reach Open Live backend
- Database unreachable
- Media pipeline unreachable
Click Reconnect to retry. This re-runs the backend's database connection and re-checks Strom, then refreshes the status. If it keeps failing, check the instances in your OSC dashboard or your cluster.
The connection is up but no frames are decoding. Check, in order:
- Is the production actually active?
- Is your source encoder running and pointed at the right SRT address and port?
- Does the source's Latency setting give the network enough headroom? A too-low value on a lossy link drops everything.
- Is Strom healthy? Check the globe indicator.
Usually network. Raise the source Latency. Note that reconnects deliberately keep Strom's encoding pipeline warm, so recovery is fast — a RETRYING IN n pill is not cause for alarm on its own.
It belongs to an active production. Deactivate it first. This is intentional: changing an address under a running flow would break it mid-show.
Those need a GPU-backed Strom node. Check the Looks panel — if it shows the GPU warning, your Strom instance is CPU-only. Use the Mix, Slide, and Push families instead.
Expected. Group and monitor metering is post-fader, so pulling that bus's fader to zero makes its meter read silence even though signal is arriving. The channels feeding it are fine — check their own meters, or use PFL to listen.
Note this does not apply to muting an input channel with ON: that closes the routing rather than the fader, so the channel keeps metering while muted. Which is useful — you can see a mic is live and healthy before you open it.
Open Live has a Bitfocus Companion module, so you can drive cuts, transitions, DSK, PiP, and audio from a physical Stream Deck.
See the dedicated guide: Open Live Companion Module Setup
- Open Live Setup Guide — deploying Open Live on OSC or locally
- Open Live Companion Module — Stream Deck control
- Strom Local Setup — running your own media pipeline
- Service: Open Live — service reference
- Cloud Intercom User Guide — talkback for your crew