Night sixty should look like night one.

IMAG and video production across a full run. One plan, one crew, and a get-in that does not start from scratch at every venue.

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Arena dates on one tour

250+

Live events delivered since 2014

Glasgow to Cornwall, kit included

Every venue argues with the last one.

A tour is not one job repeated. Every building has different positions, a different loading dock, a different lighting rig in a different place, and a production manager who has never met you. Handled badly, that means a slightly different show every night and a get-in that starts from zero in each city.

What fixes it is a plan that travels. Positions and camera language decided once, adapted rather than reinvented, and a crew who already know where the moments are because they watched the same show last night. By the fourth venue that is worth more than any amount of kit.

We have run sixty dates on a single tour, including the O2. What made it work was not the camera count. It was that nobody had to explain the show again.

What travels with us

The plan is the product.

One plan, adapted Positions, camera language and cut style agreed once at the start of the run, then adjusted to each building rather than rebuilt from nothing.

A crew who know the show The same operators across the run, so by venue three they are anticipating the moment rather than reacting to it.

A get-in that gets faster Cases packed the same way every night and a rig the crew can build in the dark. The tenth get-in is quicker than the first.

Connectivity every night Bonded 4G and 5G plus Starlink travel with the tour, so a venue with no usable line is a planning detail rather than a lost broadcast.

Working to your schedule We fit the advance, the get-in slot and the changeover times you already have. Production managers rebook us because we are not the department they chase.

Flypack or trailer Whichever the run actually needs. An OB trailer keeps the gallery self-contained on the big rooms; a flypack is the honest answer on the smaller ones.

Questions tour managers ask.

Can you cover a whole tour rather than one date?

Yes, and it is where we do our best work. One plan carried across the run means the same camera language every night, a crew who know the show, and a get-in that does not start from scratch at each stop. We have done sixty dates on a single tour.

Does it cost less per night than booking individually?

Usually, noticeably. The planning is paid once, the crew already know the show, and the rig is packed to be rebuilt quickly. A run of dates is cheaper per show than the same dates quoted separately.

Can you join a tour part way through?

Yes, though earlier is better. If we can see one show before we start covering it, everything after that is easier for everyone.

Do you work to our production schedule?

Yes, and that is most of the job. We take the get-in slot we are given and we are rigged before your line check rather than during it.

What happens when a venue will not give us a position?

It happens, usually late. Because the plan travels, we have a fallback for each key angle rather than a single arrangement that only works in one building.

Can you feed the screens and a stream on the same run?

Yes. One production can drive the IMAG walls and a broadcast feed, which is cheaper and more consistent than adding a second supplier mid-tour.

When is a tour not worth crewing this way?

A short run in similar rooms with one simple output does not need a travelling plan. If a local crew in each city genuinely covers it, that is the cheaper answer and we will say so.

Routing something?

Send us the dates and the venues while the routing is still forming. We would rather be in the advance early than quoted in late.

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