Services
Six areas of live production work, from cutting a multi-camera show to building the gallery it is cut in. Use this page to compare them and see what shapes a proposal.
Live production work, from the gallery to the stream
newsfoti covers the whole chain of a live programme: vision switching, control room design and fit-out, streaming delivery, graphics and playout, crew training and remote production support. Each can be booked alone or combined, depending on how much of the show your own team already handles.
Multi-camera vision switching
Experienced vision mixers cut live multi-camera programmes for studio shows, events and streamed talks.
Control room design and fit-out
We plan and build gallery layouts, monitor walls, racks and signal routing that suit your productions.
Live streaming production
End-to-end encoding, graphics and delivery for live streams to your chosen platforms.
Real-time graphics and playout
Lower thirds, replays and playout operated live to keep your show running to the second.
Crew training and workshops
Hands-on sessions teaching operators, directors and producers how to run a live gallery.
Remote production support
Remote contribution and monitoring so a small crew can produce a show from several locations.
Tell us the format, the number of cameras and where the show will be seen. With that we can describe which services fit and what each would involve.
ContactWhat to weigh when choosing a service
The six services overlap, so the right starting point depends on your crew, your room and your audience. These points help you decide where outside support makes the biggest difference.
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Crew you already have
If your operators are confident, switching or graphics support may be enough. If they are new to a gallery, training first usually saves time on show days.
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Where viewers watch
Broadcast, a website player or several platforms at once each ask different things of encoding and delivery, which shapes the streaming work we plan.
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Graphics and replays
Lower thirds, clips and playout add operators and preparation. We separate what the show needs from what would only be nice to have.
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State of the room
A gallery with awkward routing or poor monitor placement slows every show. Design and fit-out fixes the cause rather than working around it each time.
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Frequency of shows
A single event suits a hired crew. A weekly programme often benefits from a documented system and trained staff of your own.
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Number of locations
Contributors in several places call for remote production support, with monitoring and links planned before the first rehearsal.
What is included and what changes the proposal
Every proposal is written after a conversation about your production. These are the points that most often decide its content, so you can come prepared and know what to expect in writing.
What a proposal covers
A written proposal names the services, the people assigned and the hours or days involved. It lists the equipment we bring and what we expect you to provide, such as the venue, power and network access. Rehearsal time is stated separately from show time. If part of the work is optional, it is marked as optional so you can compare it clearly against the core job.
What changes the price
The main factors are the number of cameras, the length of the show, the number of operators needed and how many locations are involved. Graphics complexity, streaming destinations and travel from Lancaster also play a part. For a fit-out, room size, the amount of cabling and the equipment chosen matter most. Prices are listed on the Prices page.
What we need from you
A run order or outline, the venue details and the platforms you stream to are the most useful things to send. A site visit or a call with your director helps us settle roles in the gallery. If you have existing equipment, a list of it lets us plan around it rather than replace it without need.
Use the contact page to describe your programme, your crew and your room. We will reply with questions or a written quotation covering the services that fit.