At the heart of that creative effort was Dumiru Jayasekara, a 20-year-old university student and Founder of Mozes Studios, who joined AsianMirror as their Broadcast Graphic Visualizer.
A year later, Dewmini from Mozes Studios sat down with Dumiru to reflect on how it all began, how he managed to pull off a complete broadcast graphics system in just two days, and how that night changed the creative direction of Mozes Studios.
Dumiru, the AsianMirror election stream is still remembered for its professional look and design quality. How did this opportunity come to you?
It started unexpectedly. I was attending one of my university lectures when I got a text from Mr. Pubudu Indika, a videographer and live streaming expert I had connected with previously on SLVLOG’s Presidential Election stream. The message simply said, “If you’re free, join us on election day.” Later that day, Pubudu called and explained that AsianMirror needed someone to create and manage their election broadcast graphics for YouTube. The stream was happening in just two days. I didn’t hesitate for a second. I was only in my third or fourth month at university, but this was exactly the kind of opportunity I had dreamed about.
That’s a fast turnaround. What did those two days look like for you?
Intense but incredibly exciting. The next day, I went to AsianMirror’s studio and met the team, including Mr. Supun Jagodage, their CEO. We discussed their vision and the type of graphics they wanted, something that felt like a television broadcast but optimized for YouTube. I stayed in the studio that night, working continuously with the team to build and test the full broadcast graphic pack. I left around 3 a.m., got a few hours of sleep, voted in the election the next morning, and went straight back to the studio to present the final designs. Everyone was genuinely impressed. The graphics brought the stream to life, and seeing their reaction made all the hard work worth it.
You handled a huge amount of live election data. How did you manage that?
That was one of the most challenging aspects. We used Google Sheets as a live data source linked directly to vMix. I designed the graphics so that every element updated automatically when the data changed, eliminating manual updates during the live broadcast. Mr. Pramuditha automate the data entry and synchronization, while I managed how the visuals responded. Every vote update or seat count reflected on screen within seconds. Structuring the data properly and testing every connection in advance was crucial. It wasn’t just about technology; it required coordination, discipline, and contingency planning.
Big TV stations usually handle this kind of coverage with large teams and expensive systems. How did your small team achieve the same professional quality?
That was the most exciting part. We had just a few people, but everyone knew their roles clearly. Pubudu managed live direction and stream stability, Malith handled visual composition, Ruwan assisted in the control room, Pramuditha managed the live data feed, and I controlled all graphics and animation updates. We did not have expensive studio hardware or massive servers like TV stations, but we maximized software tools like vMix, pre-optimized templates, and careful planning. When everyone is focused and passionate, even a small team can achieve results comparable to larger networks.
You were the youngest on the team, just 20 years old. How did that feel?
Surreal. I was surrounded by professionals with years of experience. Being the youngest came with excitement and pressure, but also pride. They trusted me to handle an important role, and once the work started, age did not matter. The moment my first graphic went live during the results gave me goosebumps. It was a mix of adrenaline, responsibility, and joy all at once.
What techniques did you use to maintain such a polished look for the broadcast?
The goal was to create television-quality visuals on a digital budget. I focused on consistency across color schemes, fonts, and motion rhythm, keeping designs simple and readable even on mobile screens. All visuals were automated to respond to live data. We also optimized layers and pre-rendered elements to avoid lag during the live broadcast. Smooth animation transitions and well-timed effects made the stream feel professional and engaging.
Many mainstream media outlets still rely on high-cost methods for election coverage. Why do you think that is, even when software like vMix is available?
It is mostly mindset and legacy. Large networks invest in expensive systems because they have always used them. They equate cost with quality, but with the right knowledge, software like vMix can achieve the same high-quality results. The challenge is knowing how to design effectively and manage resources smartly. Many are unaware of how low-cost solutions can produce professional results. But this thing is not valid for huge TV productions with modern 3d graphic technologies like augmented reality and virtual reality.
How can small studios use vMix to produce high-end results without a big budget?
Planning is key. Knowing exactly what graphics, camera angles, and transitions are needed helps save time and resources. Hardware can be optimized even if it is mid-range, and pre-built templates allow quick deployment during live streams. Connecting live data sources ensures smooth automation, and careful attention to lighting and camera color balance enhances the overall quality. With these practices, even a small team can create a polished and professional broadcast.
Reflecting on the whole experience, how was it for you personally?
Life-changing. It tested my creativity, patience, and technical knowledge under real pressure. Staying up late, solving problems on the fly, and being part of a 24-hour continuous stream taught me how real media productions operate. It also gave me a clear vision for Mozes Studios, showing that small teams can deliver big results when creativity, technology, and dedication come together.
Finally, what does this project mean to you a year later?
It means everything. It was a turning point in my journey. It gave me confidence, real-world experience, and a sense of direction for Mozes Studios. Thinking back to that night at AsianMirror, seeing the stream go live, and feeling the impact of our work, I realize it was more than a project. It was the start of a vision, proof that passion, preparation, and teamwork can achieve incredible things.
Thank you, Dumiru. This story perfectly captures what makes Mozes Studios special, from creativity to courage and dedication.
Thank you, Dewmini. That project will always be a defining memory. It reminds me that great things can start with one message and a willingness to take the leap.