Practical write-ups from our consultants on studio and live production. Each article deals with one subject, such as a lens choice, a cue list or a sync fault.
We publish about one article a day, covering camera configuration, stage lighting, audio synchronisation, control room routines and crew training. Browse the list below and open any piece that matches the problem on your desk.
Camera Setup
A practical guide to gathering the right details before a camera configuration review, so the written recommendations on lenses, settings and signal paths fit the way your studio really works.
Read moreChecklists
Before anyone writes a runbook, a few questions decide whether it will be used. A practical checklist for producers and technical leads weighing up live production workflow documentation.
Read moreControl Rooms
Most gallery problems begin as small planning gaps: unclear roles, crowded layouts, vague talkback habits.
Read moreTraining costs
A plain look at how half-day and full-day studio training sessions are priced, which choices raise or lower the cost, and what to settle before you ask for a quotation.
Read moreLighting case
Daniel Whitcombe tells how a written lighting plan helped a small studio team, led by a producer called Marcus, get depth and consistent skin tones on a set that always looked flat.
Read moreAudio Sync
Priya Chandran sets out what to test in your audio chain during these weeks, before longer evening shows and seasonal programming put every microphone, mixer and playout path under load.
Read moreCamera Basics
A plain-words explanation of back focus and flange distance, why they matter when we review a studio camera setup, and how to check them before blaming the lens or the operator.
Read moreDocumentation
A plain comparison of full written runbooks and short cue checklists for live production crews, with a recommendation on which to start with and when to add the other.
Read moreControl Room
A behind-the-scenes look at how we turn a vision mixing and talkback brief into a gallery layout and operating procedure that a crew can follow from the first rehearsal.
Read moreTraining
The question we hear most is what a half-day or full-day session really covers. Here is a plain answer, with what new and junior crew leave knowing and what stays for later.
Read moreCompany news
A note on how our Stage Lighting Design Advice is delivered: written plans for studio sets and live stages, with cue guidance that a crew can follow without us in the room.
Read moreAudio Sync
A look at the measurement tools, test signals and written methods we rely on when auditing audio synchronisation, from the microphone to the playout chain.
Read moreCamera Reviews
Before you ask anyone to assess your studio cameras, gather the right facts. This checklist sets out what to settle internally, so a review answers the question you actually have.
Read moreWorkflow
Runbooks fail in predictable ways: too long, out of date, or written by someone who never ran the show. Here is what goes wrong and how a crew can fix it.
Read morePricing
A plain account of how we price gallery layout and operating procedure work, which parts of a control room project change the fee, and what you can do to keep it predictable.
Read moreTraining Case
Daniel retells a full-day training session with a small production team, led by a producer called Marcus, and what changed in their studio routine over the weeks that followed.
Read moreLighting Advice
Shorter days, colder sets and heavier schedules change how lighting plans hold up. Helen Marsden sets out what to review before winter programming begins, from cue sheets to lamp stock.
Read moreA Lincoln consultancy and resource for studio and broadcast production: cameras, lighting, audio sync, control rooms and workflows, written for working crews.
