Who runs flairuni, how the company works and what has shaped its approach to live television production since 2014.
flairuni was founded in 2014 by Fiona MacLeod, who had spent her career producing regional news and live events. The company grew from a simple idea: live television goes better when planning, technical design and crew work as one team from the first meeting.
Fiona began flairuni after years of producing regional news and live events, where she saw how often problems on air began as small gaps in planning. The company was set up to close those gaps. From the start it paired a producer's view of the running order with a technical view of the equipment, so that decisions about the show and decisions about the kit were made together.
Callum Reid designs the signal chain for every project, whether it is a new control room or a temporary outside broadcast. Vision mixers, routing, monitoring and intercom are drawn and checked on paper first. That habit means problems show up at the desk, not in front of a live audience, and it keeps installations tidy enough for others to maintain.
Isla Campbell plans lighting and leads camera crews, while Ewan Gordon treats rooms and mixes sound. They work from the same plan, because a set that looks right but sounds boxy, or sounds clean but is poorly lit, still fails on air. Treating image and audio together is how we keep presenters and performers looking and sounding natural.
Every show we work on has a run sheet, a rehearsal schedule and a backup plan agreed in advance. We rehearse the transitions, the guest arrivals and the awkward cues, then adjust. Clients tell us the day feels calmer for it, and the crew spends the live hour watching the show, not hunting for the next instruction.
Clients rely on us when a transmission cannot be repeated. We check every connection and every fallback before the show, and we stay in the gallery to the end.
We write roles, cues and timings down and share them early. When something changes, the plan changes with it, so no one is working from an outdated sheet.
We care about the small things: a clean cable run, a well-judged frame, a microphone placed a few centimetres better. These choices add up to a calmer, better-looking broadcast.
We asked flairuni to rework our small studio control room before a run of live interviews. The signal chain was clearly drawn, the intercom finally worked in every position, and our own staff could run it unaided after the handover.
Duncan Ferguson · Event organiser for a Highland music eventThe run sheet and rehearsal schedule arrived well before the festival weekend. When a feed dropped on the first evening, the backup was already agreed and we were back on air in moments.
Rhona Mackay · Producer at an independent production companyThe lighting plot made our presenters look natural on camera, and the room sounded much cleaner after the acoustic panels went in. Communication was plain throughout.
Alasdair Grant · Venue manager, concert hallA calm, small crew who knew their jobs. They covered our concert with several cameras and the sound balance on air was better than we had expected.
flairuni plans and runs live television production from Inverness: studio integration, cameras, sound and lighting for news, interviews, concerts and festival stages.
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