REMI / Broadcast
Broadcast Crew for REMI Shows.
Engineer, TD, A1/A2, or Graphics.
Freelance positions for REMI sports and live broadcasts, worked from a dedicated remote control position or on site. Own vMix and broadcast audio kit when the show needs it. Day rate per show.
Networks my work has aired on
Who you're hiring
Matthew Easterday. 15 years in live production, most of it lately on REMI sports. I've worked engineer, TD, A1/A2, and graphics on air, and on small crews I've covered two of them in one booking. I work from my own control position or inside yours. Send the show format and dates and I'll confirm availability and a rate.
Positions I fill
On a small crew, two of these can be one booking.
Broadcast Engineer
Signal flow, comms, and backup paths
- SRT and LiveU contribution paths built and verified
- Comms and IFB between venue and control room
- Dante / AES67 audio routing
- Redundant paths, built and tested before air
Technical Director / Video
Switching the show
- Multi-camera switching in vMix
- Transitions and packaged elements
- Program and stream outputs to spec
- From your control room or a dedicated remote position
Self-directed on small crews, or under a director on larger productions.
Check availabilityA1 / A2 Broadcast Audio
Mixing program audio for air
- Announcer, nat sound, and effects mix
- Venue audio pickup and feed management
- Comms and IFB mixes for talent and producers
- DiGiCo, Behringer Wing / X32, Allen & Heath
Also available on site as A2 on larger productions.
Check availabilityGraphics Operator
Scores, lower thirds, sponsor elements
- Ross XPression and vMix graphics
- Live scoring
- Sponsor rotation and packaged bumps
- Template builds during prep, approved before show day
How a REMI show works
REMI (Remote Integration Model) is how much of sports television is produced today. Cameras, microphones, and announcers stay at the venue. The control room is elsewhere, connected by bonded cellular and SRT. I work these shows from a control room, often hundreds of miles from the field. Much of the job is preparation: building comms, verifying every path, and testing the backups before air.
Questions I get
Do you work remotely or on site?
Both. Most REMI positions are worked from a control room away from the venue. When a production needs someone in the truck or on site, I travel.
How do you bill?
Day rate per show. Prep days are quoted separately when a build is required. Series rates are available for multi-show runs.
Can you cover more than one position on a small show?
Yes. Engineer plus TD, or TD plus graphics, are common pairings. Send the show format and I'll confirm what's realistic for a single operator.
Do you have your own kit?
Yes. A vMix control position and broadcast audio package that can travel to a show or operate from a dedicated remote room. On larger productions, I work within your existing control room.
Check Availability
Call (727) 223-1237, email hello@mattheweasterday.com, or use the form.
What happens next
- Send the detailsWhatever you know so far is enough.
- Short callUsually about 15 minutes.
- QuoteOne flat number for the whole job.