About us
A Lancaster company that has designed, equipped and run live production galleries since 2013.
How newsfoti came to be
newsfoti began in 2013 with a simple aim: to make live television galleries calmer places to work. We started small, building and running control rooms for local productions. Today we still do the same, with a wider range of clients.
We noticed early on that most live problems are not about equipment. They come from unclear plans, rushed rehearsals and crews who are not sure who is calling what. So we began each job by writing things down and agreeing them with the people involved.
From that habit grew a way of working. We plan the gallery around the show rather than the other way round, rehearse until cues feel ordinary, and keep talkback short and clear. It sounds modest, and it is, but it is what keeps a live broadcast steady.
Over the years we have added services as clients asked for them. Vision switching came first, then control room design and fit-out, followed by streaming, graphics and playout, training and remote production. Each grew from real jobs rather than from a plan to sell more.
Our team brings together directing, vision mixing, systems engineering and streaming. Because the same people plan, build and operate, nothing is lost between the design and the live day, and the documentation we leave behind is written by those who used the system.
We are based at Lancaster and work with broadcasters, online channels, production companies and event organisers. Some want a full crew, others only a well-built gallery and a day of training. We are happy with either, and we say plainly what we think a job needs.
What guides the work in the gallery
Live television leaves little room for second attempts, so how a crew behaves matters as much as what it owns. The principles below shape how we plan, rehearse and operate. They come from years of running shows and learning what actually keeps a gallery steady.
Calm under pressure
We keep our voices level and our decisions simple. Fallbacks are agreed in planning, so a fault on air is a matter of following the plan rather than reacting. Rehearsal gives the crew time to settle, and the director hears one clear message at a time.
Clear communication
Short, precise talkback, written running orders and plain documentation mean everyone knows their part. We explain choices to clients in everyday language, confirm agreements in writing and say early when something looks risky rather than hoping it resolves itself.
Careful craft
We build and operate with care, from labelled cables and tidy racks to checked graphics and tested links. Systems are documented so your crew can run them without us. Small details done properly are what let a live show run to the second.
How our approach took shape
newsfoti
- Founded
- 2013
- Today
- 2026
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Listening before planning
Every job still starts with a conversation about the show, the venue and the crew. What we hear decides the gallery layout, the kit and who needs to be in the room.
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Writing things down
Briefs, running orders, signal diagrams and cue sheets are written and shared early. Agreements on paper prevent most of the misunderstandings that surface under pressure on the day.
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Rehearsing until it is ordinary
We run the show through with the full crew, including fallbacks. By transmission, the cues feel familiar and the talkback is short, which keeps everyone steady.
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Planning the same team through
People who design a gallery also operate it, so intentions are not lost between drawing board and live day. Priya's documentation is written by those who built the system.
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Teaching as we go
Training is part of the work. Daniel coaches new operators during real jobs, and workshops give clients' crews the confidence to run their galleries themselves.
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Reviewing after every show
We go through what worked and what to change, then keep brief notes. The next production starts from those notes rather than from memory.
What clients say about working with us
These comments come from people who have worked with our crew on live productions. They describe, in their own words, how the days felt from their side of the gallery.
“The rehearsal made the difference. By the time we went live, everyone knew their cues and the gallery was almost silent. Our director said it was the least stressful transmission she had run in a long while.”
“We asked for a gallery fit-out and received something we could actually run ourselves. The documentation was clear, the racks were tidy, and our own operators were confident within a short session.”
“Our streamed conference had several rooms and a small crew. The remote support kept us informed throughout, and when one link wobbled the fallback was already in place. We barely noticed it on air.”
“The workshop was practical from the first hour. We worked on our own equipment, and the trainer was patient with the newer members of the team. They now cut shows with far more confidence.”
- 2013 Founded
- 6 Service areas
- 4 Team profiles
Talk to us about your production
Get in touch through the contact page and we will reply with questions or a proposed plan, then send a written quotation once we understand the show.