Calm control rooms for live television and streaming
What we do in the gallery
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Multi-camera vision switching
Experienced vision mixers cut live multi-camera programmes for studio shows, events and streamed talks. We rehearse the cues with your director first, so the cutting stays quiet and accurate.
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Control room design and fit-out
We plan and build gallery layouts, monitor walls, racks and signal routing around the way you actually produce. Every system is documented so your own crew can run it with confidence.
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Live streaming production
Encoding, graphics and delivery for live streams to the platforms you choose. A technician monitors the stream throughout the broadcast and keeps the links steady.
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Real-time graphics and playout
Lower thirds, replays and playout operated live by a trained operator. Items are built and checked beforehand so the show keeps to time and nothing surprises the director.
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Crew training and workshops
Hands-on sessions for operators, directors and producers on how a live gallery runs. We work on your own kit where possible, with practice runs rather than slides.
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Remote production support
Remote contribution and monitoring so a small crew can produce a show from several locations. We check each link in advance and keep a fallback ready for the live window.
How we work
From first conversation to a steady live show
Every job starts with understanding the show you want to make. We listen first, then plan the gallery, rehearse with the crew and stay close during transmission. Each step ends with something written down, so everyone knows what has been agreed.
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Discuss the production
You tell us about the show, the venue, the cameras and the audience. We ask about running order, crew size and anything that has gone wrong before, and note what the gallery has to handle.
What you leave with
A short written brief that both sides have read and agreed.
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Plan the gallery and signal flow
We draw up the layout, sources, routing and communication lines. Where equipment is needed, we list what is hired, what is yours and what has to be installed or tested before the day.
What you leave with
A plan with a kit list and a signal diagram.
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Rehearse with the crew
We run the show through with the director, mixer, graphics and technicians. Cues, camera moves and fallbacks are tried until the crew is comfortable and the talkback is clear.
What you leave with
A marked-up running order and a checked cue sheet.
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Run the live broadcast
Our crew operates the gallery or works beside yours during transmission. Someone watches the signal and the clock throughout, and problems are handled quietly through talkback.
What you leave with
A completed transmission and a log of any issues.
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Review and hand over
Afterwards we go through what worked and what to change next time. If we built or modified a system, we leave documentation so your team can operate it without us.
What you leave with
Written notes and system documentation for your team.
Multi-camera vision switching, step by step
Agreeing the shot plan
Before the day we go through camera positions, key moments and how the director likes to call shots. This avoids guesswork in the gallery and keeps the cutting consistent with what you want.
Rehearsal and line checks
We test every source, the switcher setup and the talkback before anyone is on air. A rehearsal lets the director and mixer settle into a shared rhythm.
Cutting the live programme
The mixer follows the director's calls, handles transitions and keys, and keeps a steady picture. Calm, short instructions over talkback help the whole crew stay relaxed.
Notes after the show
We share a short note on what went well and what could be adjusted for the next production. If you want your own operators to learn, we can build that into the session.
Frequently asked questions
These are the questions we hear most often before a first job. If yours is not here, send it through the contact page and we will reply in writing.
What kinds of productions do you work on?
We work on studio shows, live events, streamed talks and multi-camera programmes for broadcasters, online channels and production companies. The size varies, from a small panel with three cameras to a larger show with graphics and several feeds. Tell us about yours and we will say honestly whether it is a good fit.
Can you work with our existing equipment?
Usually, yes. We begin by looking at what you already have, how it is connected and where the weak points are. If something needs adding, we explain why and what the options are. We do not ask you to replace kit that is working well for your productions.
Do you provide the crew as well as the equipment?
Both are possible. We can supply vision mixers, graphics operators, streaming technicians and a director, or we can support your own team with design, training and advice. We agree the split in writing before the job so nobody is unsure who does what.
How do we ask for a quotation?
Send an enquiry through the contact page describing the show, the date and the services you are interested in. We reply with questions if needed, then send a written quotation. Work is confirmed in writing and invoiced afterwards, paid by bank transfer.
Can you help if we only have a small crew?
Yes. Many of our clients run lean teams. Remote production support and a clear gallery plan let a few people cover several locations or roles safely. We keep workflows simple and documented so the crew is never guessing.
Do you offer training for our own operators?
We run hands-on workshops for operators, directors and producers, ideally on your own equipment. Sessions are practical, with real running orders and rehearsed cues. We can focus on a single role or bring the whole gallery crew together.
What happens if something fails during a live show?
We plan for it. Fallback sources, spare links and agreed responses are set up during planning and tried in rehearsal. If a fault occurs on air, the crew follows the plan calmly over talkback and the director is told clearly what is happening.
Where are you based and where do you work?
Our office is at 14 Lune Mill Court, Lancaster. We can work from your venue or studio, and remote support can be arranged for productions elsewhere. Call 01524 360184 or write to [email protected] to talk through your location.
Notes from the control room
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Remote production
Planning a Remote Production So a Small Crew Can Cover Several Sites
A practical walk through setting up remote contribution and monitoring, from the first site visit to the last check before going live, written for small crews working across locations.
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Control rooms
Before You Commit to a Control Room Fit-Out: A Checklist
Helen Marsden sets out the questions worth answering on paper before any gallery is designed or built: productions, space, signal flow, crew and the order of works.
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Live graphics
Real-time graphics and playout: six slips that catch out live crews
Lower thirds with the wrong name, replays cued late, a playout list nobody has read twice. Daniel Whitaker walks through the common graphics and playout mistakes and the habits that prevent them.
Tell us about your next live show
Send a few details through the contact page. We will reply with questions or a proposed plan, and a written quotation follows once we understand what you need.
Contact