Notes from broadcasters, organisers and production companies who have worked with our crews in the gallery and on site.
These are accounts from people who have booked our crews for live shows. They describe how the work felt on the day and afterwards, in their own words.
“We brought Priya's crew in for a two-day music festival with four stages and a screen feed. The cutting was steady even when the schedule slipped by an hour. Nobody in our team had to chase anyone for information, and the gallery stayed quiet from first cue to final fade.”
“Our studio broadcasts needed a vision mixer who could follow a loose script without panicking. Callum's team agreed the cue sheet with us a week ahead and kept to it. When a guest overran, the switch to the backup camera was handled so smoothly that viewers never noticed.”
“Hannah mapped out our streaming workflow before we had even settled on a venue. Encoding, graphics and monitoring were all explained in plain language. During the event she watched the stream health the whole time and told us about a dip before any viewer complained.”
“We asked Daniel to look at our small gallery, which was cramped and badly wired. He reworked the signal routing and moved the operator positions so people could sit through a long day comfortably. It is a much calmer room to work in now.”
Send us the format, the number of cameras and the date you have in mind. We will reply with questions and suggest whether switching, streaming or a full crew fits.
ContactAcross very different shows, the same few things come up when clients describe working with us. They are less about equipment and more about how a crew behaves before and during a broadcast.
Before a show we agree the running order, camera positions and cue points in writing. Clients tell us this is the part that saves the most stress later. If something is unclear, we ask early rather than guess on the day. Changes made close to air are noted and passed to everyone in the gallery, so the crew works from one shared plan.
A well-run gallery sounds calm. Our vision mixers and operators talk in short, agreed phrases and keep the intercom free for what matters. When something goes wrong, which it sometimes does in live work, the response is measured and rehearsed. Clients often mention that they could concentrate on their guests or audience instead.
After a broadcast we go through what worked and what did not, including our own slips. Clients value hearing this plainly. We note the settings, the routing and the timings so that the next show with the same team starts from a better position, rather than from scratch.
starlumki designs, staffs and runs live production decks and control rooms for television and streaming, from studio broadcasts to concerts and festivals.