Two angles. One clock.
Change the angle
without breaking the sync.
Put a camera at each baseline and the switcher appears by itself. Players tap it courtside, or your operator cuts from the Director Hub — and because every camera runs through that one hub, both ends stay frame-aligned. No lag between angles. No awkward jump when you cut.
✓ Appears automatically on multi-camera courts✓ Switch mid-match, live
COURT
| Johan / Lisa | 6 | 5 | 6 |
| Ilham / Abdul | 4 | 6 | 6 |
0 msdrift between angles
2+cameras per court
1hub they all run through
Autoswitcher appears by itself
The difference that matters
Most multi-camera setups drift.
Ours can't.
Two cameras only feel like one production if they share a clock. Where the video is combined decides whether they do.
CAMERA → CLOUD
Each camera on its own
Every camera uploads its own stream straight to a cloud server. Each one negotiates its own connection, its own buffer, its own retries. Nothing on site is holding them together.
Result: CAM1 and CAM2 land seconds apart. Cutting between them jumps the rally.
CAMERA → DIRECTOR HUB
Every camera on one clock
All cameras on the court feed the Director Hub on site first. The hub timestamps and aligns them before anything leaves the building, then sends one synchronised production out.
Result: cut whenever you like. The rally continues exactly where it left off.
What drift looks like
The same smash, on three timelines. Through the hub, CAM2 sits exactly where CAM1 does. Through a separate cloud path, it slides — and every cut replays or skips part of the point.
How it works
Plug in a second camera. That's the setup.
There is no multi-camera mode to buy, enable or configure. The court either has one camera or it doesn't.
1 — Mount camera two
At the opposite baseline, looking back down the court. The same view your first camera gives — from the other end.
2 — It joins the hub
The camera connects to the same on-site Director Hub as the first. That's what puts them on one clock.
3 — The switcher appears
CAM1 / CAM2 buttons show up on the Live Video screen. Picture in picture or Picture by picture mode also supported.
4 — Cut mid-rally
Players or the operator switch angle live. The stream and the recording follow instantly, still aligned.
Who does the switching
Your operator, or the players themselves.
A tournament final deserves a director. A Wednesday-night mabar just needs a button the players can reach.
OPERATOR
Director Hub
Your staff cut angles from the same screen that runs scoring and streaming. Watch both feeds, pick the moment, switch. Best for finals, showcase matches and anything you're streaming to an audience.
PLAYERS
Glass court panel
Mounted at the court. Between points, a player taps the end they want on their own stream — usually the camera that has them front-on rather than the one filming their back.
What it changes
One end is half the story.
Two is the whole match.
With one camera, one pair is always in the foreground and the other pair is always two small figures at the far end. A camera at each baseline fixes that permanently.
- Both teams get the close-up — whoever is far on CAM1 is right in front of the lens on CAM2. Cut once and the far pair becomes the near pair.
- Nobody is permanently the small pair — the team defending the far end still gets recognisable footage of their own points.
- Back-glass play reads properly — the rebound off the wall behind CAM1 is exactly what CAM2 is pointed at.
- Highlights get variety — the same point from two angles is two clips, not one.
- Streams hold attention — a viewer who never sees a cut leaves faster than one who does.
The part competitors can't copy easily
Sync isn't a feature you switch on — it's a consequence of where the video is combined. Systems that send each camera straight to the cloud are stuck with whatever delay each connection happens to have that night.
Because SATUSPORT aligns the feeds on site, at the hub, before anything is uploaded, the angles are already locked together by the time they leave your venue.
Where venues use it
Four nights it earns its keep.
🏆 Tournament finals
Run it like a broadcast. Follow the serve from behind the server, then cut to the other end for the return.
🎾 Community mabar
Players pick the angle where they can actually be seen, then share that clip instead of a far-end dot.
📊 Coaching review
Two synchronised ends of the same point — see each pair front-on instead of guessing from the back of the court.
✂ Highlight clips
One rally, two usable versions. Your social account gets twice the material from the same night.
🤝 Sponsor visibility
Each camera faces the opposite wall. Switch ends and both sets of sponsor boards get screen time.
📺 Venue screens
Put the far end on the lounge TV while the court screen keeps the near view.
How it behaves
Built to be used mid-rally.
⚡ Instant cut
The switch happens live. No reload, no gap in the stream, no restarting the match view.
🔗 Locked to the hub
Every camera on the court runs through one Director Hub, which is exactly why the angles stay aligned.
🪄 Easy configuration
One camera, no switcher. Two cameras, the switcher appears. Nothing for your staff to set up.
➕ More than two
Three or four angles on a showcase court work the same way — every extra camera joins the same clock.
🏷 Overlay follows
Score, player names and your venue logo stay burned in whichever angle is on screen.
📼 Recording follows too
The cut is in the saved match as well, so the replay looks the way the night looked.
Ready when you are
Show the match from both ends.
Tell us how your court is laid out and what camera you already have. We'll work out where the second one goes and get the switcher live.
Capture the play, share the smile.