No tiers, no add-ons, no upgrade prompts. This is the complete list of what is in Skynat Live, and every line is in the version you download today.
The gallery itself — what goes to air and how it gets there.
Line up the next shot while the current one is live, then Take.
Instant change, no transition.
Cross-dissolve with an adjustable duration.
Directional transitions with soft-edge control.
Five 3D transitions rendered on the GPU.
Drop in a branded animation and set the frame where the cut happens.
Give it your logo and brand colour and it builds the animation.
Save a whole layout — sources, positions, graphics — and recall it in one click.
Drag, scale and layer sources on a canvas with snapping.
Every input, preview and programme on one screen.
A separate output for the people on camera.
Up to four sources on screen together.
Keeps a moving presenter centred without an operator.
Every switching action bound, and re-bindable.
Everything you can put on screen.
Any camera the operating system can see.
HDMI and USB capture devices, including multi-input cards.
Share a single window, a display, or a region.
MP4, MOV and more, with in-point and loop control.
PNG, JPEG and WebP, with transparency.
A list of clips that advances on its own, shuffled or in order.
Point any encoder at this machine and it appears as a source.
Low-latency contribution over an unreliable connection.
A free companion app turns any phone into a wireless camera.
A guest anywhere scans a code and joins as a full input.
NAT-PMP and UPnP negotiate the port so a remote guest just works.
Detects Tailscale and ZeroTier and uses them when a router will not cooperate.
Tells you when your connection cannot accept an inbound guest, before the show.
See and hear a guest privately, set their levels, then put them to air.
Cameras, media and remote feeds in any combination.
Eight phones connected at once, each individually controlled.
Skynat Cam — the free companion app that turns any handset into a camera that talks back.
Any phone becomes a wireless camera on the desk. iOS and Android, no charge per handset.
The desktop app broadcasts on the network; the phone lists it. No IP address to read off a screen.
Type the key shown on the studio and you are on the desk.
A contributor outside the building scans a code and connects over the internet.
Steps down when the encoder reports drops, and climbs back when the network recovers.
The operator sees the moment their shot goes live.
Send a line of text from the studio to the phone screen.
The operator can ping the studio when they have a shot worth taking.
Full quality written to the handset while it streams, so a dropped connection does not lose the angle.
Back, front, and ultra-wide or telephoto where the phone exposes them. Plus torch.
The handset warns its operator at 15 per cent.
Each one a full input — graded, mixed and recorded like any other camera.
A phone, a browser or another studio joins from anywhere; small in the wings, sharp on Preview, full quality the instant it is on air.
The desk and the remote operator can talk; the operator hears the desk until they are on air.
Pair a friend’s studio once, or hand out a 24-hour code by WhatsApp.
Faders, mutes, grades and Enhance for a studio you have access to, from any phone or browser, free — no video is carried.
A look or a voice preset travels from one studio to another over the console.
Remote cameras draw on credits in your dashboard, with a grace line that never cuts a running stream.
A phone can watch the room for the presenter’s position only, and never go to air.
A full mixing desk, not a volume slider.
Every input on its own fader.
Ride a whole group of microphones on one fader.
Kill a set of channels with one button.
Listen to a channel without it reaching the output.
Drawn over the live spectrum so you can see what you are cutting.
Closes the microphone between sentences.
Evens out a presenter who moves toward and away from the mic.
Holds a usable level without anyone touching a fader.
Takes the harshness out of sibilance.
Independent control over low, mid and high.
Opens the mic of whoever is talking, closes the rest.
Watches for the ring and pulls it down before the room hears it.
Effects buses with per-channel send levels.
See the whole mix as a spectrum.
A remote guest hears everything except themselves.
Speak to the crew without it going to air.
Save an entire desk state and recall it for the next service or set.
Keeps the programme within broadcast loudness targets.
Sends silence rather than nothing, so platforms do not drop the stream.
Every microphone recorded separately for the edit.
Catches the spike when somebody shouts or a singer belts a line, then lets go again.
Separates the voice from the room and keeps only the voice — amp hum, earth-loop buzz, fans and crowd are stripped out.
Smooths and thickens singing voices so a small team sounds like a group that rehearses.
Tune any band by hand or by number, on any channel, the way a hardware desk lets you.
A grading suite for people who have never graded.
Lift, gamma and gain, per camera.
Master and per-channel.
Change one colour without touching the rest of the picture.
Load the looks you already use.
See exposure as a broadcast engineer does.
Spot a colour cast instantly.
Check skin tones against the line.
Highlights and shadows at a glance.
One click gets a camera close, then you refine.
Match every other camera to the one you like.
A final look across the whole output.
Exposure and focus aids on the preview.
Title and action safe guides.
One switch: the face found and lit, the shadows opened, noise calmed, skin kept true — automatically, on every camera.
A face is lifted only as far as the light was short, with its colour carried up — never pushed to one grey.
The colour of the light is read off the skin and corrected there first: a green or magenta cast comes off the face.
The person lit, the room around them a touch darker — a studio light where there is none.
A dark camera’s grain calmed across time where nothing moves; a moving hand never smears.
Every amount as a slider, starting from what automatic chose; automatic says in words what it did.
Everything that sits over the picture.
Six designed styles, ready to use.
Build your own from your fonts and colours.
Scrolling text across the bottom.
A clock to the start of the show, on screen or on stage display.
Your mark in the corner, with opacity and position control.
Full-frame branded frames and holding slides.
Animated graphics that stay sharp at any size.
A catalogue built in, searchable, with your own imports.
Green screen removal with spill suppression and edge control.
Twenty-two rendered sets built in, or use your own.
No green screen needed.
Every clip, still and graphic in one browser.
Top and tail the show without touching anything.
Import PowerPoint or Keynote and drive them from the switcher.
Including CCLI-formatted text.
Three translations, offline, with voice callout.
A separate output carrying just the words.
Stand in a broadcast studio that is really a green sheet in a spare room.
Green screen removal with spill suppression and edge softening.
See the matte itself, so you can fix a problem before it reaches air.
Twenty-two rendered sets built in — standing, desk and lounge, each with its screens marked — and any set you import works the same way.
The set behind you can move, including screens playing content.
Works on an ordinary room with no green screen at all.
Cut yourself out without a cloth behind you.
Keeps a natural contact shadow so the presenter does not float.
Save the key, the backdrop and the framing, and recall it next week.
The set becomes a room you stand in: a desk in front of you, your shadow on its floor, a zoom that moves the desk more than the wall. As far as we know, only available commercially in Skynat Live.
A real pan, tilt or zoom — a PTZ head or an ordinary camera — moves the room with it.
One measurement of the room and the presenter is placed at their real size, at their real distance.
Any number of ordinary cameras — a phone at the side of the room — follow the presenter across it; the set keeps them the right size and in the right place.
The shadow you cast on the green screen is cast onto the set at the angle its light would throw it.
The set’s light falls on the presenter and along their edge; the presenter takes their own shape in relief.
Walk around a real room once with a phone and stand in it, with the camera free to move.
Scan a code and run the whole production from any browser.
Opens on any phone or tablet. No app, no account, nothing installed.
Scan what is on screen and you are controlling the show.
Change camera from the back of the room or the stage.
Lower thirds, tickers and holding slides, from your hand.
The person speaking advances their deck from the lectern.
A speaker finds and displays a passage themselves, live.
Without walking back to the computer.
Flag a moment as it happens, for export afterwards.
Operator on cameras, presenter on slides, somebody else on chat.
Getting it out, and keeping it out.
Sign in and go, or paste a key.
Pages and groups.
Vertical-native output.
Direct.
Any platform that takes a URL and a key.
For contribution links that must not drop.
Every platform fed from a single encode, so your machine does the work once.
See which platform is struggling, not just that something is.
A destination that drops comes back on its own.
Drops quality rather than dropping the stream.
Put a gap between the room and the internet.
One show, two shapes, at the same time.
Uses the GPU so the processor stays free.
Tells you what is wrong before you are live, not after.
Know what your connection will actually carry.
A record of what happened on the stream, afterwards.
What you keep.
Record at full quality while streaming at a lower one.
The file stays playable even if the machine does not.
Pause the recording and the gap is cut out of the file, not left in it.
Up to twelve cameras, each to its own file, for the edit.
Up to thirty-two microphones on separate tracks.
Resolution and bitrate under your control.
Jump back and roll it again, at speed or in slow motion.
Mark a moment and it is exported as a clip, landscape and vertical.
Grab a frame as a photograph.
Cut the recording into one clean file afterwards, from several segments.
The whole show — settings, graphics, media — exported as one file.
Run it from something other than the mouse.
Drive the whole application from your own software.
Physical buttons for every action.
With learn — press the control, assign the action.
Talks to X32 and M32.
Faders on the desk move the mix in the software.
MMC and MSC, so QLab and lighting desks can trigger it.
Scan a code and run the switch from a phone, with nothing installed.
Advance slides from the stage.
Pan, tilt, zoom and presets over VISCA.
Feed the programme into Zoom, Teams or Meet as a webcam.
The people watching.
Comments from every platform in a single column.
Hide, block and pin without leaving the application.
Put a question on air as a graphic.
Generated on this machine, no cloud key and no per-minute charge.
On the picture, or as VTT and SRT files.
Concurrent viewers across platforms, live.
How it behaves.
Including Intel Macs back to 2013.
Not a subscription.
No tiers, no features held back.
Including a dark gallery look for a dim control room.
Save a whole window layout per operator or per show type.
Anything you set up once can be saved and recalled.
If it crashes mid-show, it comes back where it was.
Nothing here needs the internet except the stream itself.
Told when there is a new version, installed when you say so.
Nothing matches that. Try a different word.
Or $19 a month. Affordable, and no feature on this page costs extra; Max adds the heavy GPU features for $599 a year.
The account is free. The licence is issued as soon as you buy, and you can be live the same day.
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