Short articles on live switching, streaming, control room fit-outs and the practical side of running broadcasts at venues across the south of England.
We publish about one article a day. They cover how live shows are run, what we learn on site and how to prepare a venue for switching, streaming or a new gallery.
A step-by-step walk through taking a live event from the stage to an online audience, covering the signal path, audio, graphics and the monitoring that keeps a stream steady.
Helen Marsh
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Priya Nair walks through the questions worth settling before you commit to filming or relaying a music event: venue, signal, rights, crew and the screens your audience will watch on.
Priya Nair
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Most problems in a new gallery room are planned in on day one: bad sightlines, cramped desks, tangled cabling. Five common fit-out mistakes, and what we do differently.
Tom Whitcombe
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A plain walkthrough of how a technical director's day rate, camera count and rehearsal time shape the cost of switching a live show, so you can budget before you ask for a quote.
Tom Whitcombe
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A short account of one customer's evening concert, a stage that opened an hour late, and how careful crew planning and a revised run sheet kept the live stream on air.
Tom Whitcombe
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Tom Whitcombe walks through what to settle with your graphics and replay operator before the darker months bring carol concerts, indoor shows and early evening starts.
Tom Whitcombe
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A plain-words explanation of the term monitored stream: who watches the outgoing feed, what they check, and why it matters when your event goes out to an online audience.
Tom Whitcombe
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Both options use the same cameras and crew at a music event, but the control desk, the data link and the risks differ. Priya Nair compares them and says which she would pick.
Priya Nair
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Daniel Pritchard walks through how a small control room goes from an empty space to a working gallery, from the first survey and signal drawing to cable runs, monitor wall and handover.
Daniel Pritchard
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The question we hear most from organisers is what happens in the gallery while the show runs. Helen Marsh explains how vision switching works, from the script to the cut.
Helen Marsh
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A look at how our production management work is organised these weeks: who is booked, what travels in the van, and how a run sheet is built before anyone reaches the venue.
Tom Whitcombe
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A look at the graphics machines, replay servers and checking routines our operators rely on during a live show, and why we keep the setup deliberately simple.
Helen Marsh
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Before you commit to streaming your event, go through these questions on connection, audio, graphics, monitoring and backup, so the broadcast is planned rather than hoped for.
Tom Whitcombe
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Most trouble at a music event is planned in, not caused by the weather or the band. Helen Marsh walks through six common coverage mistakes and the simple habits that avoid them.
Helen Marsh
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A plain look at how a gallery fit-out is priced, from the survey to the final test, and which choices make the figure rise or fall for a venue or production company.
Helen Marsh
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A short account of how a three-camera feed for a village fête was cut live in mid autumn, told through Anna, the organiser who asked us to switch it.
Priya Nair
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Short days, earlier load-ins and winter weather change how a live broadcast gets staffed and scheduled. Here is how we plan crews, kit and run sheets as the season turns.
Helen Marsh
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