A camera operator and sound recordist go to the scene to film developing stories for your bulletin. They work to your brief, stay in contact with your desk and send material back as the story moves.
Raw footage is edited into broadcast-ready packages and checked against technical specifications. We deliver in the format your newsroom asks for, so files can go straight into your system.
Lit studio interviews and portrait shoots for guests, experts and presenters. Lighting, sound and framing are set up to broadcast standard before the recording starts.
Practical help with ingest, file naming and hand-over routines. We look at how footage reaches your editors and agree simple habits that stop material getting lost or delayed.
Portable live-feed kit and a trained crew for reporters filing from outside the studio. We set up on location and test the link before your reporter goes on air.
Short sessions for your staff on framing, lighting and sound for fast-moving news stories. Callum leads the practical work, using your own kit where possible.
Have the location, a contact on the ground, your preferred file format and your delivery deadline ready when you get in touch, so the quotation can be written quickly.
Fiona plans coverage with the brief in front of her, so each crew knows what the story needs before it leaves Stirling. We agree locations, contacts, timings and deliverables in advance. A short plan prevents wasted hours on site and avoids the usual confusion about who is shooting what. If the story changes, the plan changes with it, and your desk hears about it straight away.
Footage is reviewed against what was asked for and against broadcast specifications before it leaves us. Editors look at picture, sound levels, format and file naming. If something does not match, we fix it or tell you plainly. Nothing is described as ready until it has been checked, because a clean file that arrives slightly later is more use than a rushed one that has to be returned.
Every newsroom has its own ingest routine, naming system and delivery method. We follow yours rather than asking you to follow ours. Where the routine is causing delays, our workflow support can look at it with you and suggest small changes. The aim is footage that arrives in the right place, labelled correctly, ready for your editors to use.
The camera operator frames the scene while the sound recordist monitors levels. Both work from the agreed brief and keep an eye on safe positions around the story.
Editors work through the rushes, pick the strongest material and build the package to the length you asked for. Picture and sound are checked as the cut takes shape.
Lights are placed to flatter the guest and keep the background clean, then adjusted on camera. A well-lit studio interview saves time in the edit.
Portable equipment goes up on a tripod outdoors, with a microphone and a tested connection. The crew checks the feed with your gallery before the reporter goes live.
Footage arrives at a desk where files are copied, named and logged. Clear naming means editors can find a clip in seconds rather than searching through folders.
Staff practise framing, lighting and sound on a tripod with an instructor beside them. Short exercises use real news situations rather than theory slides.
Send the details through the contact page: the story, the location and your deadline. We will reply with a written quotation covering camera crews, editing, studio work, live links or training.
