How our control room crews work, what we need from you before a show, and what happens on the day, set out for producers, venues and event organisers.
Producers, venues and streaming teams ask us much the same things before a first booking. The answers below cover scope, crewing, kit and how a production is planned with us.
We work on concerts, festivals, studio programmes and streaming shows. That can mean cutting a multi-camera show from our mobile gallery, running a fixed control room, or operating playback, replay and graphics for a team that already has its own crew. Tell us the format and audience and we will say plainly whether it suits us.
Either works. Some clients ask for a single vision mixer or video operator to join their team, while others want a complete crew with a technical engineer and a producer. We agree the crew size once we know the number of cameras, the sources to be routed and the running time.
Yes. Our control room design work covers desk layout, monitor walls, signal flow and comms. Callum Ashworth, our technical engineer, plans the routing so the room is practical for the crew who will actually sit in it, and the same people can then operate it if you wish.
As early as you can, particularly for festivals and multi-day events where crew and equipment need reserving. For a straightforward studio or streaming job, a few weeks is usually comfortable. If your date is closer than that, call us on 01305 264817 and we will tell you honestly what is possible.
We do. Priya Nandra produces our streaming work from planning through to the final live feed, including encoding, graphics and monitoring. We can run a stream on its own or alongside a broadcast feed from the same event.
We strongly recommend it, and our production management service includes coordinating rehearsals and schedules. A run-through lets the vision mixer learn the cues, the engineer check comms and signal paths, and the producer settle the running order. Where a full rehearsal is not possible, we agree a shorter technical check instead.
Use the contact form on the contact page, email hello@storylinki.info, or ring us during the working day. Send the date, venue, expected number of cameras and where the programme is going, and we will reply with questions and a clear outline of what we would provide.
A live show only feels effortless because the groundwork was done well. Most of what decides the result happens before the cameras roll, in the planning, the rehearsal and the clarity of the people in the gallery.
We ask for the running order, the venue layout and the number of camera positions as early as you can share them. From that we plan signal routing, comms and monitoring, and agree who calls the cuts. Rehearsals matter because they let the vision mixer and operators learn the show before the audience arrives. Early detail saves time on the day.
In a gallery, short and precise talkback keeps everyone together. Our producers and technical managers agree cue language with the crew before the show, so instructions are understood the first time. We brief camera operators, stage managers and graphics staff in the same way. When something changes mid-show, the team already knows how it will hear about it.
Live work leaves no room for a second take, so we build in checks. Equipment is tested before call time, backup routes are planned where the setup allows, and engineers stay on hand throughout. The aim is a show that runs smoothly from the first cut to the final feed, with problems caught quietly and early.
Write to us: hello@storylinki.info