newstfy covers the technical side of a show from the first floor plan to the last handover note. Studio design, camera control, lighting, live sound, event coordination and workflow planning can be taken separately or combined, depending on what your production needs and how large your team is.
Floor plans, set layouts and equipment racks for television and online studios, drawn up around how your crew actually works.
Remote camera heads, vision mixing and control panels configured so a small crew can run a multi-camera show.
Lighting plots and rigging plans for studio sets, concerts and festival stages, balanced for camera and audience.
Front-of-house and monitor mixing, microphone planning and sound checks for live events and recorded broadcasts.
Coordinating video, audio and lighting teams for concerts, festivals and corporate parties from load-in to finish.
Written run sheets, signal flow diagrams and handover notes that keep every department working from the same plan.
Tell us what you already have in place and where the gaps are. We will describe which parts of the work are worth taking on and which you can safely keep in-house.
ServicesSignal paths, cue sheets and rack layouts are drawn so that someone new can read them. If a plan needs a long explanation to be understood, we simplify it before it reaches your crew.
We check cabling, backups and power before the doors open or the cameras roll. Plans include a fallback for the parts most likely to fail, and we agree who decides when something does.
Careful microphone placement, lighting that reads well on camera and tidy racks are small details that add up. We take time over them because audiences and viewers notice when they are missing.
Most projects begin with a conversation about what you are producing, who is working on it and what has gone wrong in the past. We ask about the space, the number of cameras and microphones, the people who will operate them and the time available to set up. That gives us enough to say what is realistic.
Next comes a written proposal. It sets out the scope, the equipment involved, who from our side will take part and what we need from you. If a site visit would help, we arrange one before anything is fixed, because a room often looks different from its floor plan.
Design work follows: floor plans, lighting plots, audio chains and signal flow diagrams. We share drafts early so that your crew can question them while changes are still easy to make. Hand-drawn sketches are fine at this stage; polish comes later.
On the day, we work to a run sheet that every department has seen. Sound checks, camera line-ups and lighting cues are timed in advance, and the sheet records who calls each change. If something shifts, the sheet is updated and shared rather than passed on by word of mouth.
Afterwards, we leave handover notes covering how the system was set up, what was changed during the job and what to check before next time. Smaller crews often use these notes to run later shows without us, which is usually the point.
Some clients need a space that works week after week; others need a one-off show to go well. The two routes overlap, but the planning differs, and it helps to know which one you are really asking for.
Many clients need a little of both, for example a studio that also hosts live audiences. Describe your plans and we will suggest where to begin.
These are the practical points most producers and organisers raise before getting in touch. If yours is not here, the contact page is the quickest way to ask.
No. Many of our clients are small production teams, online studios and event organisers with a handful of crew. The designs are scaled to the people who will run them, so a three-person crew gets a set-up three people can manage, not one that needs a full gallery.
Yes, and we usually prefer to. We start by listing what you have, check what still suits your plans and say plainly what needs replacing. Where new equipment is needed, we explain why and leave the purchasing decision with you.
For live events we coordinate video, audio and lighting teams, and our own engineers and technicians can take part. The exact make-up of the crew depends on the show and is agreed in the written proposal before work begins.
We are based in Chichester and work with studios and venues across the south of England and further afield when the job calls for it. Travel and any overnight stays are discussed during scoping and shown in the quotation.
Send an enquiry through the contact page describing the job. We reply with questions if needed, then send a written quotation. The prices page explains what each service includes and what can change the figure.
Useful items include venue plans or photographs, a list of existing equipment, the number of cameras and microphones you expect, the show format and any dates already fixed. Missing details are not a problem; we can gather them together.
Camera control and vision mixing set-ups come with hands-on training from our technician, so your crew can run them confidently. Written guides and handover notes support that, and we can answer follow-up questions after the job.
Changes happen on most productions. We update the run sheet and plans, tell every department and flag anything that affects equipment or crew. Cancellations and refunds follow the payment and refund policy, which you can read before you commit.
Lighting
A step-by-step guide to planning studio lighting on paper before anything is rigged: positions, heights, colour temperature and a plot your crew can read on the day.
Live Sound
Before you book a sound engineer for a live event or a recorded broadcast, work through these questions on the room, the microphones, the mixes and the check itself.
Event Production
Helen Marsh looks at the slips that most often unsettle a live event, from load-in to finish, and the plain habits that keep video, audio and lighting teams working together.
Ring us or send an enquiry through the contact page. We will ask about your plans, then follow up with questions or a written quotation.
Call us directly
01243 786421