Straight answers, including the awkward ones.

There is a wide range, because a one-camera stream from a meeting room and a six-camera festival broadcast are different jobs sharing a name. The biggest drivers are camera count, crew numbers, day length, connectivity and what you want afterwards. We quote against the actual event rather than selling packages, and the estimator gives you a ballpark in about a minute.

Usually scope rather than margin. One quote may include a full crew and another assume your team is running things. One includes connectivity, another assumes the venue provides it. One stops when the stream ends, another includes a captioned recording and highlight cuts. Compare what is in them before comparing the totals.

No. Packages mean either paying for things you do not need or discovering on the day that something you assumed was included is not. We quote what the event actually requires.

We build a realistic day into the quote rather than pricing an optimistic running order. If an overrun becomes significant we raise it on the day, rather than letting it appear as a surprise on the invoice.

Where a venue has a dedicated, tested line we will use it, and it is often the best option available. What we will not do is put a broadcast on shared guest WiFi, which is specified for browsing rather than live video. Bonded 4G and 5G across multiple carriers plus Starlink travel with us either way.

The director cuts away, the operator swaps to a spare body and the show continues. We carry spares because the kit is owned rather than cross-hired, and the operators know the equipment well enough to diagnose quickly.

Yes, and it matters. If a recording is only a capture of the outgoing stream, anything that interrupts the stream also damages the archive. We record on a separate path, so a connectivity problem does not become a permanent gap in your record of the event.

Yes. Fields, car parks and historic buildings with no usable signal are all workable. It takes planning and it is not the cheapest approach, but it is well within normal for us.

For live events we crew the job. Equipment set up by someone who has never used it is where most live event failures start, and on something that only happens once that risk is not acceptable. Tell us what you have in-house and we will advise honestly on what makes sense.

We work with a regular network of freelancers, which is standard in an industry where the work clusters into a few months of the year. The distinction that matters is that they are the same people repeatedly, not whoever was available.

Where the job warrants it. For a known venue or a straightforward single-room job, a conversation with the venue's technical contact usually covers it. For unusual, historic, outdoor or multi-space events we would rather come and look.

Yes, and it is often the most sensible approach. Where sound, staging and screens are already handled, we take the broadcast layer and work from the existing desk feed. Subcontract work for agencies and other production companies is routine for us.

The running order, a technical contact at the venue, brand assets for graphics, correct name spellings for anyone appearing on screen, and the slide deck ahead of the day. We issue a full list once the job is confirmed.

As early as you can, particularly for September to November, which is AGM and conference season. We pick up short-notice work regularly, often when venue internet turns out to be unusable during rehearsals.

UK-wide, from a base in Ashington, Northumberland, travelling fully self-contained. Travel and accommodation for distant jobs appear as separate lines on the quote rather than being buried in the rate.

Public liability of five million pounds and employers' liability of ten million, placed with Liberty Mutual. Certificates come with the quote or on request, along with risk assessments and method statements as standard. We can complete venue-specific compliance forms directly. Full detail is on the corporate responsibility page.

Yes. Live captions, in-vision BSL and captioned recordings. We handle the production side and coordinate specialists through established suppliers. Raise it at quote stage, because interpreter availability is the tightest constraint rather than budget. More on the accessibility page.

Yes. Unlisted links, password protection, registration or ticketed access are all available, and recordings can be delivered privately rather than published. Private delivery is the default for events involving children, vulnerable adults or bereaved families.

The full recording as standard. Edited highlights, social cuts, individual clips and captioned versions are all available and should be specified at quote stage, because they are post-production work rather than a by-product of the live job.

Yes. Jobs where the budget cannot support what is being asked for, jobs where the date is too tight to deliver properly, and occasionally jobs better served by a different kind of supplier. We would rather say so at the start than deliver something disappointing.