Media Servers: The evolution of live production

The humble media server has evolved into one of the most powerful tools in live production. We look back at where that shift began – and where it now leaves the industry

Words Verity Butler

In the not-so-distant past, media servers had a straightforward role in live production. They were, in essence, a playback machine: a machine that was responsible for delivering pre-rendered content to projection screens or LED displays on cue. However, back then, its role in the live production hierarchy was defined by that task and that task alone.

Returning to the present, the previously somewhat meek role of the media server would likely shock those who are newer to the industry. No longer sat quietly behind the scenes feeding content into displays, the modern-day media server is now the nerve centre of increasingly sophisticated and diverse production formats. They orchestrate live camera feeds, real-time graphics, generative content, projection mapping, LED processing, immersive environments – the list goes on. This is all while needing to keep pace and communicate seamlessly with lighting, audio, automation and control systems.

This monumental shift in their technical capability has largely been a direct response to changes taking place across the live entertainment industry as a whole in the last decade. Audiences have grown accustomed to dazzling visuals and striking storytelling, be it at arena concerts or corporate launches, visitor attractions or immersive museums. In general, there seems to be a layer of unspoken expectation when it comes to a production in 2026; where it’s required to feel cinematic yet believable at the same time. And this is an expectation that requires pro AV tools like media servers to step up to the plate.

“Media servers are becoming part of a much wider production ecosystem,” emphasises Nigel Sadler, chief pollinator at HIVE, “and are expected to integrate seamlessly at the same time.”

One platform, many worlds

“Video has been an integral part of concert scenography for many years,” introduces Yannick Kohn, founder and CEO of Modulo Pi. “What has changed most recently is the growing demand for sophisticated real-time productions. We’ve moved well beyond playing back pre-rendered content or displaying IMAG camera feeds.”

Instead, audiences increasingly experience productions where cameras become creative tools rather than just broadcast devices.

“Today, show directors want to create complex visual experiences, where video reacts instantly to what’s happening on stage. Live camera feeds are no longer just displayed; they become creative material that can be processed and integrated into the show in real time. Whether it’s compositing multiple sources, applying live effects with virtually no latency or combining pre-recorded and generative content, productions expect far more flexibility than they did in the past.”

As a result, Kohn says, “Today’s media server is expected to be a real-time creative platform rather than simply a playback system. It must deliver powerful processing while remaining reliable in demanding live environments.”

That notion extends beyond concerts too. Now more than ever, permanent visitor attractions expect live-quality visuals, while corporate events borrow techniques from broadcast. The houses of worship market is also blurring the lines between worship and a full-blown music concert; even retail and hospitality spaces are starting to demand top-tier experiential technical design.

“Technologies that were once associated with individual sectors are now becoming commonplace across multiple markets,” continues Sadler. “Broadcast techniques are increasingly being used in live events; XR production  is influencing corporate environments and attractions. Likewise, many permanent installations now expect the same visual quality and responsiveness associated with live productions.”

Rather than building separate product lines for different industries, HIVE believes those distinctions are becoming irrelevant.

“Whether it’s a projection-mapped museum, a visitor attraction or a touring show, the underlying requirements around synchronisation, playback performance, colour accuracy and reliability are remarkably similar.”

Shifting surfaces

Modern productions are routinely made using enormous LED canvases, multiple projection surfaces, live camera systems, interactive elements and ever-more distributed networks. Yet, despite all of this, operators will still expect systems that can remain adept and intuitive under pressure.

“High performance shouldn’t come at the expense of usability,” explains Sadler. “As systems become more capable, there’s always a temptation to expose every possible feature to the end user. We take the opposite approach by focusing on workflows that make everyday tasks faster while still providing advanced functionality when it’s needed.

“Features such as visual layer management, streamlined workflows and automated synchronisation all help operators spend less time configuring systems and more time delivering the actual show.”

But equally important to that approach is consistency.

“Whether someone is programming a small immersive installation or a multi-server deployment with hundreds of outputs, the workflow should remain familiar and predictable.”

Modulo Pi has adopted a similar methodology, integrating multiple production tools into a single platform rather than requiring operators to jump impractically between different systems.

“When we launched Modulo Kinetic ten years ago, our vision was already to combine pre-rendered media with real-time and generative content within a single platform,” says Kohn. “Today, with Version 7, that vision has evolved into a comprehensive production environment that combines media server capabilities, an ultra low-latency live mixer and advanced compositing tools with more than 250 real-time effects.”

He highlights how the company’s objective was led by simplicity, rather than greedy feature accumulation.

“Instead of relying on multiple disconnected systems – a media server, live mixer, dedicated effects engine – we bring these capabilities together in one, fully integrated solution. This allows operators to focus on the creative aspects of the show rather than managing multiple technologies.”

Notre-dame shines again 

Notre-Dame de Paris took centre stage as the iconic landmark celebrated its grand reopening. Broadcast worldwide, the ceremony marking the rebirth of this UNESCO World Heritage site featured stunning projections that illuminated the cathedral’s façade. The event reached its peak with a captivating performance by French DJ and producer Michael Canitrot, joined by a monumental sound and light show powered by 30 Panasonic projectors and Modulo Pi’s state-of-the-art Modulo Kinetic media servers.

The renaissance of the rack

For years, media server deployments often relied on bulky, centralised racks, which housed substantial processing power. While those systems remain important, increasingly ambitious installations are encouraging a more distributed approach.

“There will always be applications where centralised server racks make sense,” comments Sadler, “but we’re definitely seeing adoption of more distributed architectures, particularly as projects become larger and more geographically dispersed.”

As Sadler explains, by distributing playback closer to the displays or projectors, you reduce long cable runs, simplify installation and improve the overall system resilience. “If a single playback node experiences an issue, it doesn’t necessarily impact the rest of the deployment – making the system inherently more fault tolerant.”

HIVE’s SDM-based architecture reflects that thinking, embedding playback closer to displays through compact Smart Display Modules while using synchronisation tech such as Beesync to maintain system-wide coordination.

“Customers place greater value on investment protection,” Sadler observes. “They want platforms that can evolve with changing technologies and project requirements rather than being locked into fixed hardware architectures.”

That flexibility is becoming especially important as productions continue to push pixel counts to unprecedented levels. No installation illustrates that better than the National Museum of Qatar, where HIVE’s distributed media server architecture uses more than 170 Beeblade media engines to deliver over 21 billion pixels across nine immersive galleries. It’s an example of how distributed processing is enabling experiences at a scale that might once have seemed almost unimaginable.

AI without the hype

As is often the case, artificial intelligence has inevitably inserted itself into the media server conversation, although perhaps with more restraint than some might expect. Though AI dominates headlines across countless industries (particularly in the arts!), media server manufacturers appear more interested in practical applications.

For Kohn, AI succeeds only when it solves genuine production challenges. One example is real-time background removal, which arrived in Modulo Kinetic Version 7.1.

As Kohn states: “It allows operators to isolate performers from live camera feeds instantly, opening up new creative possibilities without adding dedicated hardware or complex workflows.”

Beyond that, he thinks that AI’s role is also likely to develop alongside generative workflows.

“As these technologies continue to mature, we believe they will become valuable tools for both designers and operators alike.”

Sadler also sees AI becoming part of a much broader shift, sitting alongside IP connectivity, distributed processing and software-defined infrastructure.

“The next generation of media servers will be defined less by raw processing power and more by flexibility, connectivity and operational efficiency.

“Performers will always matter, but more than ever, users expect systems that are modular, scalable and capable of integrating with rapidly evolving production technologies.”

Server I need

We’ve talked about the tech, but what about examples of how it’s being used right at this moment? Let’s dive behind the scenes of Olivia Dean’s sold-out The Art of Loving arena tour.

Designed by FRAY Studio in collaboration with production and lighting designers 1826 Studio, the production demonstrates just how far live camera workflows have evolved.

Rather than relying on conventional IMAG screens positioned either side of the stage, the production projects live camera imagery directly onto large scenic drapes surrounding the performance, transforming soft fabric surfaces into an immersive visual canvas.

“The aim was to integrate cameras seamlessly, create beautiful grading and ensure each audience member experienced the energy on stage, no matter their seat,” says Daniel Richardson, designer at 1826 Studio.

At the heart of the system are three Disguise GX 3 media servers, supplied by Solotech, which process multiple live camera inputs while simultaneously applying real-time colour grading through Notch blocks and managing complex projection mapping across curved fabric surfaces.

Rather than simply enlarging what audiences can already see, the production uses live cameras creatively. Custom LUTs and Notch workflows give each song its own distinct cinematic look, while carefully choreographed camera moments between Dean and her backing vocalists become an integral part of the visual narrative.

“The most rewarding part of the project was working collaboratively across all departments to create a visually beautiful show,” says Kira O’Brien, video designer at FRAY Studio. “By choreographing moments with the camera director and lighting designer, we ensured the emotion and energy on stage was captured and reflected in the projection in real time.”

It’s an elegant demonstration of many of the themes affecting today’s media server landscape. In many respects, productions like Olivia Dean’s tour illustrate exactly what both HIVE and Modulo Pi describe: media servers are no longer supporting the show, they are helping define it.

the next act

Something that’s emerged from our conversations with two of the vendors actively innovating in the media server landscape is that there has been a clear shift in priorities. Raw GPU performance remains an essential component, but is no longer enough on its own.

“What truly differentiates Modulo Pi is our commitment to simplifying live production without compromising creative possibilities,” surmises Kohn. “Our integrated approach helps reduce the number of systems required on-site, which in turn simplifies workflows, lowers latency and improves overall reliability. Ultimately, we want production teams to spend less time managing technology and more time creating memorable experiences for audiences.”

HIVE is pursuing a vision that’s similarly focused on the future.

“Our goal isn’t simply to build faster media servers,” concludes Sadler, “but instead to develop a platform that gives the designers, programmers and operators greater flexibility while making increasingly complex productions easier to deliver.”

The future of media servers isn’t just about delivering the pixels any more. Instead, it’s about orchestrating cinematic experiences that feel both life-like and believable.

This article was first published in the Autumn 2026 issue of LIVE.