Solutions for media and broadcast
Technical production for television capture and digital platforms.
What we do differently for a capture
Live forces decisions in advance rather than during. Three things follow.
Anything that stops the transmission is doubled
Power, switcher, uplink and main recording each have a backup, active rather than standby. Anything that does not stop the transmission gets repaired while on air.
We record more than we transmit
Every source is captured separately in addition to the mix. A missed shot or a muted mic can be rescued in the edit only if the track exists, and it costs almost nothing to record.
The delivery standard is set at the start
Frame rate, levels and colour space are locked across the whole chain before the first test. A conversion at the end degrades what was carefully captured.
What we bring in most often, and why
Audiovisual production
A capture needs cameras, clean audio, a control position and an uplink that hold together frame accurate. Contracted separately they synchronise badly, and lip-sync drift is noticed faster than any other fault.
Equipment rental
A broadcast production often needs more cameras for three days than for the rest of the year. What matters is a matched inventory available on the same dates, because two different models do not intercut in colour.
Technical support
A live feed degrades without warning and nobody on the floor sees it. Someone has to be watching the output and the recording rather than the set, from the first test to the last delivered file.
What a capture set needs
Browse the catalogueA matched inventory rather than an assembly: two different models do not intercut in colour, and grading live costs more than the right gear. Isolated recording of every source in addition to the mix.
A clean feed upstream beats any processing downstream. Dedicated microphones, power separated from lighting to avoid mains hum, and a press feed available to every journalist.
A set is lit on the monitor, not by eye. Flicker-free sources at the frame rate in use, one colour temperature on faces, and a background separated from the subject so the image survives compression.
A dedicated uplink, doubled by an independent path, tested under real load. The venue network serves guests, never signal, and failover to the backup happens without human intervention.