Extra angles are great until they eat the bandwidth the hero shot needs. The trick is to decide which camera is being judged, protect it, and treat everything else as context.
One hero, the rest supporting
Put the hero camera on the machine with the best uplink — wired, nothing else running. Supporting angles (wide, reverse, product close-up) join as camera participants, which are low priority: they get leftover uplink after the people and the hero. That is deliberate. A soft wide shot is fine; a soft hero shot is a wasted review.
Pin, don't grid
- Client pins the hero full-screen and glances at others only when asked.
- Director keeps the grid to watch all angles and call which one to look at.
- If a supporting angle matters for a moment, the client pins it, then pins back.
Seat math
Every camera is a participant. Free: 4 total (director, client, two cameras). Pro: 12. Cinema: 32 — the plan with headroom for multi-cam review. Check Pricing before shoot day.
What this is not
This is a review room, not a switcher: there is no program output or tally. If you need a cut, run a hardware switcher and send its output in as one camera. Background reading: the white paper.