Our Work

News rarely goes to plan, so we pack and plan for variation. Crews carry spare batteries, a small light, a second microphone and cards formatted in advance. Before leaving, the operator checks the location, access and likely sound problems, such as traffic or wind, and agrees a fallback position with the producer. When something changes on site, the crew phones the desk rather than guessing, so the editor and producer can adjust the running order while there is still time.

Viewers forgive a slightly soft shot far sooner than muffled speech or a face lost in shadow. We therefore set up sound and lighting before worrying about camera moves. In the studio that means a measured key light and a controlled background. On location it means finding the quietest usable spot and positioning the subject so natural light helps rather than fights the shot. These choices cost a few minutes and save a good deal of rescue work in the edit.

A good package can still fail at delivery if the file is in the wrong format, the captions are missing or the naming does not match the system. We confirm the delivery specification at the start and check the finished file against it before sending. Tom keeps a record of every format a client has asked for, so repeat jobs go out the way the desk expects. Copies stay in our archive for an agreed period in case a re-cut is needed.