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A typical green-screen setup takes up a lot of studio space. Multiply that by ten brands, multiple partners, and you’ll pass hundreds of square meters of studio, each one needing its own hardware, its own cabling, its own crew. That’s the math operators have been doing for a long time now: more brands meant more space. That equation is not needed anymore, and it’s because of the real-time video foundation underneath all of it, the same foundation we’ve been building since 2010.
The studios we’ve visited in Armenia, in Malta, and in different parts of the world look the same: several booths side by side, one per market, with different dealers speaking different languages and different branding on each feed. Live casino isn’t just growing, it’s going global, and a bigger footprint used to mean a flatter product, with one table and one background shipped everywhere. That’s reversing thanks to the live cloud-production workflow we build at nanocosmos. More brands now mean more personalisation, customisation and localisation, and that brings more monetisation opportunities to the same partner.
Localisation has been driving strong interest across the industry. Together with the personalised touch multi-branding already gives, operators now want a single table that speaks to each player in their own language, so a global game still feels like it belongs to them. Not a separate feed for every market: one feed, with AI transcription and translation running in real time, understood in multiple languages at once. It’s the same cloud logic as the branding: one source, many outputs, without multiplying the studio behind it.
By having Cloud-Based Chroma Key, a single green-screen feed becomes as many branded environments as an operator needs, composited in the cloud instead of on a second hardware unit sitting in the studio. That distinction matters more than it sounds. Once, one of our partners shipped a high-end green-screen computer to another country where he wanted to set up a green screen studio, and it ended up being held in customs for three months before it reached the studio it was meant for. Move that work into the cloud, and a new market doesn’t start with a shipment.
Personalisation doesn’t stop at the backdrop. Real-time captions and translation multiply market reach the same way: the experience that started with a different look for each market ends with the language a player hears the game in.
Live casino rounds get watched differently too. With multi-camera angles, a fast game like roulette gets cut live across several angles from one cloud workflow instead of a single fixed camera, making the game more engaging and fairer to watch.
There’s also game round recording for compliance. Instead of storing every session forever, or recording nothing, operators can reach back and pull exactly the round that matters, fast, for a regulator or a trainer building a reel.
We set out in 2010 to build for what we called the real-time space, and by 2015 we could get a stream around the world in under a second thanks to our patented H5Live. Technologies like Media over QUIC (MOQ) have only pushed this further since.
Latency won’t hit zero, and I won’t pretend otherwise. What we’ve kept to an absolute minimum since 2015 is the gap between the dealer’s hand and the player’s reaction, and everything above had to fit inside that constraint, or it wasn’t worth building: the branding, the recording, the camera angles. Someone told me recently that it’s all in the game, meaning the experience is still what wins or loses a player. Technology’s job is to stay out of the way of that, for more markets, in more languages, without asking for more latency or square footage every time.
If any of this sparks a different view, or you just want to talk real-time video and cloud production for multi-branding, find me at SiGMA World in Rome this November with Oliver Lietz, Antonella Lorenzetti Harder and Luuk Strijbosch.
