We design and operate control rooms for concerts, festivals and stage events, handling multi-camera switching, streaming delivery and real-time video operation from our base in Durham.
Six services cover a live event from the first camera plan to the final programme output. You can book one of them on its own or combine several into a single managed production.
A vision mixer operator and a technical director cut your show live across several camera feeds. Shots follow the performance, the script or the running order, with clear talkback to camera operators. You get a calm, readable programme output.
We encode, monitor and deliver your event to the streaming platforms you choose, working from a dedicated control room team. Signal health is watched throughout the show. If a feed degrades, someone is already looking at it.
We plan, build and test a temporary or fixed production gallery for your venue or festival. That covers equipment racks, cabling, monitoring and intercom. Everything is checked before the doors open, so showtime is not the first test.
We cover stage performances from the camera plan through to the final programme output. The plan is agreed with you and the stage team beforehand. On the day, one crew keeps pictures and sound in step.
Live replays, lower thirds and on-screen graphics are operated in step with the show. Names, titles and sponsor graphics are prepared in advance and called up on cue. Replays are cut quickly so they land while the moment still matters.
Remote contributors and off-site feeds are brought into one managed production. We test each link before the event and keep a fallback ready. Your audience sees a single programme, whatever the source.
Every job follows the same route, so you always know what happens next. Each stage is agreed in writing before the next one begins.
You tell us about the event through the contact page: date, venue, expected audience and where the pictures should go. Hannah, our production manager, replies to confirm what we need to know.
Callum draws up the camera positions, signal paths and gallery layout, then walks you through them. Changes are cheapest here, before any equipment is allocated or crews are booked.
You receive a written quotation covering the crew, equipment and any travel. Once you confirm it in writing, we hold the dates and schedule the team.
We set up the gallery, check every feed and run through the show with the stage team. Problems found at this point are fixed while there is still time.
The crew runs the production from the gallery, with clear talkback and a calm running order. Afterwards we issue an invoice, payable by bank transfer.
Venues often ask whether to build a gallery for each event or install something permanent. The right answer depends on how often you broadcast and how much space you can give up.
Many clients start with a temporary gallery and move to a fixed room later. Tell us how often you expect to broadcast and we will talk through both options.
These are the questions event organisers ask us most often before booking. If yours is not covered here, send it through the contact page.
As early as you have a date and a venue. A multi-camera show needs a camera plan, crew availability and equipment checks, and festivals in particular need site visits. Shorter notice can sometimes work for smaller productions, so ask even if the date is close.
We plan the camera and signal requirements with you and arrange what the production needs. The quotation lists exactly what is included, whether that is crew only or crew with equipment. Nothing is left vague, so you can compare it with any other quote you hold.
In most cases yes. Daniel builds and monitors the streaming chain, and we test delivery to your chosen platform before the event. Tell us which service you use and who holds the account, and we will confirm what is needed from your side.
The gallery team watches every source throughout, and we plan fallbacks in advance, such as a backup path or an alternative camera. If something drops, the programme output carries on while the fault is traced. We cannot promise nothing will ever go wrong, but we prepare for it.
Yes. Our remote production support brings off-site contributors into the same programme as the live stage. Each link is tested beforehand, and the contributor gets simple instructions on what to set up at their end.
We are based in Durham and travel for concerts, festivals and stage events. Travel and accommodation, where needed, are shown as separate lines in the quotation. Tell us the venue and we will say what the logistics involve.
After your enquiry you receive a written quotation, and once you confirm it we invoice you. Payment is by bank transfer. Full details of what each service includes are on the Prices page.
For a venue build, we walk the space with you before the plan is finalised. On show day you are welcome to see the gallery during rehearsal, as long as it does not interrupt the crew. Ask Hannah to arrange a time.