How we scope, crew and deliver studio and live work, what we need from you, and how enquiries, quotations and payment are handled from first contact to invoice.
These are the questions producers and event organisers ask most often before a project begins. If yours is not covered, write to us and we will answer it directly.
We work on studio television, live broadcasts and media events. That covers multi-camera studio days, lighting design, audio capture and mixing, gallery operation on location, and the planning of ingest, graphics, playout and delivery. Projects range from a single studio day to a multi-day event, and we shape the crew around each client's brief.
Use the contact form on the contact page, or email or telephone us. Tell us what the programme or event is, where it takes place, the intended dates and how it will be delivered. We read every enquiry, ask follow-up questions where needed, and reply with a written quotation once the scope is clear.
Yes, in many cases. We can supply only the camera, lighting or audio element you are missing, or take on the workflow planning around your own people and kit. We would want to see a short list of what you hold so we can check that it fits together before the day.
We offer a lit studio space with camera and crew for interviews, presenter pieces and portrait sessions. It suits smaller, focused recordings. Tell us the number of people, the look you want and how the material will be used, and we will confirm whether the space and set-up fit the job.
Crews are assembled for each project. Helen Marsden leads planning and the client relationship, Daniel Thorpe designs camera and lighting, Priya Nair leads audio and Callum Reid builds the workflow chain. Which of them attend depends on the size of the job, and we tell you in the quotation who is allocated.
Prices depend on crew size, equipment, the length of the day and whether the work is in our studio or on location. The prices page gives starting figures for each kind of work. Your written quotation sets out exactly what is included and anything that would change the total.
Nothing is paid on this site. After your enquiry you receive a written quotation or confirmation, and once you accept it we issue an invoice, which is paid by bank transfer. The invoice states the amount, the reference to use and the date by which payment is due.
Tell us as early as you can, in writing. Cancellations and refunds follow our payment and refund policy, which explains what applies at each stage of a booking. Where a date can simply move, we will try to find a new slot with the same crew.
Most of the work that keeps a programme calm happens before the cameras roll. A clear brief lets us size the crew sensibly, choose equipment that fits and avoid surprises on the day. These are the points we find most useful to settle early.
Tell us what the programme is, who will watch it and how it will be delivered, whether live to air, recorded for later or streamed. Mention the number of presenters or guests, any graphics, and how many camera positions you picture. A rough running order is enough at this stage. We would rather ask questions early than guess and adjust late.
For location work, send the address, access times and anything you know about power, space and room acoustics. For studio work, tell us how much set you are bringing and when it can be built. We will confirm what a recce would need to cover, and plan rigging and load-in around the real constraints of the place.
Decide early where the finished material has to go and in what form. Callum Reid plans ingest, graphics, playout and delivery with you, so file formats, naming and storage are agreed before the shoot. That keeps the edit, the broadcast or the archive from waiting on questions that could have been answered weeks before.