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Drift Symphony 2
Burning Tires, Broken Boundaries

When Nappy Boy Automotive (yes, that T-Pain) asked if we could livestream a full-day drift event to his Twitch channel, we said what we always say:

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Yeah, we got it.

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Then we found out what “it” really meant: A massive drifting event, 8 camera feeds, drone ops, in-car POVs, live hosts, on-the-fly interviews, an LED wall on site, and a full karaoke finale to wrap it all up. 

 

All managed from a pressbox, by a two-person team with enough automation to make a NASA launch look manual.


Still: we got it.

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The Mission

Nappy Boy’s team came to us with a rough plan—some beats, a few logos, and a big vision: a livestream that captured the scale and energy of the event without losing the authenticity and flexibility of Twitch.

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We stepped in early to consult on the show flow, integrating broadcast logic into a live environment that didn’t have the bones of a typical production.

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What we built was a fully automated, studio-grade broadcast system designed to respond in real time to chaos—just the way we like it.

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*concept layout for broadcast

 

The Setup

This wasn’t plug-and-play. It was engineered. And every decision we made had one goal: maximum control with minimum crew.

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Video Control

  • ATEM Extreme ISO for camera routing and multiview output

  • A 4-box camera layout was fed into OBS via Camlink with a chroma key setup

  • That input was duplicated and cropped in OBS, allowing us to animate transitions between 2-box, 3-box, and 4-box setups on the fly

  • All transitions and cam layouts were automated using Bitfocus Companion, Stream Decks, and the Move Transition plugin

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Audio Management

  • Focusrite Scarlett 18i20 brought in commentary mics, stage audio, and karaoke feeds

  • ASIO plugin in OBS allowed individual mic routing and live mixing for every source

  • OBS filters and Companion macros gave us precise control with minimal handoffs

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Signal + Show Routing

  • DJI transmission gear brought in drone and roaming cam feeds from third-party crews

  • A/V signals to and from the LED wall were managed through fiber lines run by the on-site AV team

  • Our final output fed directly to both Twitch and the on-site wall with no sync or delay issues

  • All of this ran off one laptop, two operators, and a full system packed in a single carry-on case

“We don’t think like a TV truck. We think like a Twitch channel—fast, flexible, reactive—and then we engineer backwards from there.”

The Tools

This is the kind of setup you’d normally throw a 12-person crew and a semi-truck at. We packed it into a Pelican 1510 and made it sing.

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Key gear included:

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  • Blackmagic ATEM Extreme ISO

  • OBSBot Talent

  • DJI RS2 and DJI Transmission

  • Focusrite Scarlett 18i20

  • Dual Stream Decks

  • OBS with custom scripting and layout automation

  • Camlinks, portable monitors, SSDs, a tailored cable kit

  • GliNet router + TP Link 16-port switch

  • All of the Decimators

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*control booth located in the pressbox

 

"We don’t do big for the sake of big. We do smart for the sake of better."

The Outcome

We ran a 10-hour stream with zero dropped frames, full audio fidelity, and synchronized dual outputs. Viewers stayed locked in from the first burnout to the final karaoke mic drop.

  • 10+ hours streamed live

  • 706 average viewers / 968 peak

  • 7,413 total hours watched

  • Full ISO recordings delivered for post-production and archive

  • Simultaneous broadcast to Twitch and the on-site LED wall

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The Takeaway

Bad Guys Studios turned a high-speed, high-chaos motorsport event into a clean, cinematic livestream—without ever losing the soul of Twitch.

“We don’t just show up with gear. We build ecosystems. Then we run them like a damn heist.”
Want your stream to hit like this?
Let’s build the machine that makes it all work.
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