Our Work

The programmes we work on differ a great deal. A single-presenter news bulletin has little in common with a band on a festival stage, yet the underlying questions are the same: what must the viewer see, what must they hear, and what happens if something fails halfway through.

In a studio, much of our time goes on the room itself. Reflective walls, noisy air handling and mixed lighting cause more problems on air than most people expect. Ewan treats the acoustics and Isla plans the lighting before cameras are positioned, so the set suits the equipment rather than the other way round.

On location, the priorities shift to cable routes, power, weather and sightlines. A festival stage may give the crew a short rehearsal window, so camera positions and intercom channels are agreed in advance and written on the run sheet instead of improvised on the day.

Interviews and panel discussions ask for something quieter. Presenters and guests need to feel comfortable, which means soft, even light, microphones that stay out of the way and a director who cuts calmly rather than chasing every remark. The best result is a conversation the viewer forgets was staged.

Whatever the format, we keep the crew small and practised. Fewer people who know their roles tend to produce cleaner shows than a large team meeting for the first time on the day, and the communication on the intercom stays short and clear.