We follow your signal from camera to control room to output, note where time and clarity are lost, and write up a practical plan your own team can carry out.
Written setup guides for studio and outside broadcast cameras. They cover rigging, colour matching and signal paths, so a new operator can reproduce a known-good configuration.
Lighting plots and advice for TV sets and live stages, from key light positions to dimmer patching, set out so a rigging crew can work from the paper.
We trace lip-sync and latency problems through the audio and video chains, measure where the offset appears, and document the fixes in order.
Briefing documents and training notes for vision mixers, sound operators and directors joining a production team, written from how your control room actually runs.
Our work is written down so that it outlasts the visit. Each piece of advice is tied to a specific camera, desk or cable run, and stated in terms your crew already uses.
Most faults we are asked about are not caused by a single piece of equipment. They come from the gaps between departments, where one team's assumptions meet another team's settings. Looking across those gaps is the core of our work.
A picture that looks wrong in the control room may be correct at the camera head. Colour matching, cable length, signal format and monitoring all play a part. We check each stage in turn and record the settings, so the next person can see what was intended and what was changed. Written guides let a crew return to a known starting point after a rig change or a busy week without guessing.
Lip-sync drift is rarely one fault. Processing in a vision mixer, a frame synchroniser, a monitor or an encoder can each add a little delay. We measure at several points along the chain, identify which device adds what, and explain how to compensate. The result is a short document the engineer on shift can follow without special tools.
Experienced operators carry a great deal in their heads, and new joiners often learn by watching. We turn that practice into briefing notes for vision mixers, sound operators and directors, written in the order a real production day unfolds. That reduces repeated questions during rehearsals and gives a producer something concrete to hand over.
Every job begins with a conversation about your studio and ends with something written you can keep. The steps below show what happens in between and what we ask of you.
These are the questions studio managers and engineers ask us most often before they get in touch. If yours is not here, the contact page is the quickest way to ask.
Describe your cameras, lighting, audio chain or control room team through the contact page, and we will reply with questions and a view on which service suits you.
