External Display

Plug an HDMI adapter into the iPad, or AirPlay to a TV, and the display shows the live program picture and nothing else — no panels, no chrome, no touch controls. The iPad keeps the switcher.

Use it as a talent confidence monitor, a director’s large-screen program, or a venue display.

There’s nothing to set up. Connect the display and it takes over.

What you get

• Program only. The live output, full-screen.
• Undelayed. The display shows the same instant the encoder gets — not the operator’s local monitor delay, which exists to match headphone latency at the operator’s seat. What the room sees is the show, not the show a beat late.
• Letterboxed to your canvas. A vertical or 4:3 project on a 16:9 panel is centred with a black surround, never cropped or stretched.
• Drawn at the display’s own scale and at your project’s frame rate.
• Overlays included. Lower thirds and graphics are part of the program composite, so they appear on the confidence monitor too.
• The iPad stays awake while a display is attached, and goes back to normal the moment you unplug.

What it isn’t

• There’s no clean feed switch — the display shows program with overlays, the same as your audience.
• There’s no source picker and no PREVIEW on the external display. It’s program, always.

Unplugging mid-show

Plugging or unplugging the display doesn’t disturb your session. The external display window carries no session state of its own — your operator window stays the only one that does — so a cable knocked out at the wrong moment costs you a picture on the wall and nothing else.

A second pMix window

pMix runs one switcher over one live production. If you open a second pMix window — the + in Stage Manager, for example — it closes itself and tells you why, rather than vanishing silently.

That’s deliberate: a second window is a second set of switcher controls over one live show, and closing either window would tear down the live session. For a second screen showing program, use an external display as above.