Why the autumn weeks matter for on-screen graphics
Most organisers start thinking about screens and streams only when the first rehearsal is a week away. By then the names, logos and running order are rarely settled, and the graphics operator ends up typing late changes into a template while the director waits. These weeks of mid autumn are the best moment to start, because the winter calendar of indoor concerts, school events, charity nights and seasonal shows is still taking shape.
I run lower thirds, scoreboards and instant replay for live shows, and the pattern is familiar. Shows that go smoothly have a short list of names and titles agreed early, a single person who approves spellings, and a clear idea of when each graphic should appear. Shows that struggle often have none of these. Starting the conversation now costs very little and saves a surprising amount of stress on the night.
- Agree who approves names, titles and spellings
- Collect logos in a usable file format early
- Decide which moments of the show need a graphic
Lower thirds: names, titles and the darker light of winter
A lower third is the caption that sits across the bottom of the picture, giving a speaker's or performer's name and role. In winter, venues tend to be dimmer and stages more heavily lit with coloured light, so the contrast between text and picture needs thought. Pale text on a dark band usually holds up well, while thin fonts over a busy, bright stage can vanish on a small screen.
Send us the full list of names as you want them printed, including any who are added late. A misspelt name on a large venue screen is remembered far longer than a good song. We build the captions in advance, check them against your list, and keep a few blank templates ready so that a last minute guest can be added in seconds rather than minutes.
- Keep captions to two short lines at most
- Choose strong contrast for dim or coloured stage lighting
- Supply names in the exact form you want shown
Scoreboards and timers for indoor and evening fixtures
Autumn and winter bring indoor competitions, quiz nights and school tournaments, many of them streamed to families who cannot attend. A scoreboard graphic only works if someone owns the numbers. Decide before the event whether scores come from an official table, a referee or a runner, and how the operator will receive them. Guessing from the stands leads to corrections on air, which no one enjoys.
Timers need the same care. A countdown that drifts from the real clock confuses viewers, so we agree a single source of truth and test it during setup. For shorter days, early evening starts also mean less natural light in the hall, so we check that the scoreboard colours remain readable against the camera feed once the venue lights are set for the event itself.
- Name one person responsible for the official score
- Test timers against the real clock during setup
Instant replay: what it can and cannot do
Replay lets the operator mark a moment as it happens and play it back moments later, often in slow motion. It suits sport, but it also helps at concerts and ceremonies, for example to show a presentation or a solo again on the venue screens. It works best when the director knows in advance which moments are worth capturing and agrees a simple call to the operator.
Replay has limits. It depends on the angles your cameras already cover, so a single wide camera cannot produce a close up afterwards. It also needs a short gap in the programme to play. We talk through these limits at the planning stage, so you know whether to add a camera, adjust the running order, or accept that some moments will simply be shown once.
- Replay relies on the camera angles you provide
- Plan short gaps in the programme where clips can run
- Agree a simple call between director and operator
Building a graphics brief before the first rehearsal
A useful brief is shorter than most people expect. It lists the sections of the show, the graphic needed in each, the text for every caption, and who signs off the final version. If you have a style guide, send it. If you do not, tell us your main colours and which typeface appears on your printed material, and we will match it as closely as we can.
Ask for a proof of the graphics on a screen at roughly the size viewers will use. Phones and venue walls reveal very different problems. We usually run the captions through the show script once without the audience, so that timing is checked and any awkward wording is caught. The earlier this happens, the more calmly the real event unfolds.
- List each section of the show with its graphic
- Share colours and typefaces if there is no style guide
- Review proofs at both phone and large screen size
A simple timeline for the coming months
Working backwards from your event date keeps things manageable. Several weeks out, confirm the running order and the people who need captions. Two weeks out, send final text and logos. In the last week, approve proofs and agree who will be reachable on the day for changes. On the day itself, we arrive early, load the graphics, and rehearse the key cues with the director.
If your event falls in the busiest part of the season, book crew and kit sooner rather than later, since dates fill as the holidays approach. A short call with our production manager is a good first step, and you can reach us through the contact page with the date, venue and the kind of show you have in mind.
Good graphics and replay rarely come from clever software alone. They come from early decisions, tidy lists of names, a clear owner for the scores, and an operator who knows the show before the doors open. Use these quieter weeks to settle the details, and the winter events will run with far less rushing. If you would like to talk it through, get in touch with a date and a rough outline.