A Cambridge consultancy for studio and broadcast production
We advise television and live media teams on cameras, lighting, audio timing and control room routines, drawing on engineering experience and a habit of writing things down clearly.
How the company came about
eventulu was founded in 2014 by Helen Marchetti, who had spent years in television engineering. She saw that many studios struggled less with equipment than with how it was configured and used. The company grew from that observation.
Helen's early career was spent on studio floors and in galleries, where she watched capable crews lose time to avoidable problems: cameras that did not match, lighting that fought the picture, audio that drifted from the vision. Most of these were not failures of equipment but of planning and documentation.
When she founded eventulu in 2014, the aim was modest and practical. She wanted to offer studios an experienced second pair of eyes, someone who would look at the whole chain from camera to transmission and say plainly what needed to change and in what order.
The company began with studio design and workflow audits, and the range has widened as clients asked for more. Camera configuration, lighting plans, audio synchronisation reviews and crew training now sit alongside the original work, each led by a specialist who does that job themselves.
Today the team is small by design. Four people cover design, cameras, audio and lighting, which means the person who advises you is the person who will visit your studio. We are based on Mill Road in Cambridge and work with clients across the UK.
We also publish practical guides on the same subjects we advise on. They are written for engineers and managers who need to solve a problem before the next transmission, and they reflect what we see in real studios rather than what manuals suggest.
A studio runs well when everyone can see what the system is doing. My job is to make the signal paths, the settings and the routines clear enough that nothing depends on luck.
Helen Marchetti, Founder and Lead Consultant
What guides our work in the studio
Broadcast work leaves little room for guesswork. A picture that looks fine in rehearsal still has to hold up on transmission, and a crew has to trust its equipment under pressure. These principles shape how we advise, what we write down and how we leave a studio.
Clarity
Clarity means that our findings can be read and acted on by the whole team. We write reports in plain language, name the part of the system each point refers to and rank recommendations by importance. We would rather explain a signal path simply than impress with jargon. Operators, engineers and managers should each be able to see what we saw and why we advise what we do.
Reliability
Reliability is the test we apply to every recommendation. A setup that works once is not enough; it has to behave the same way on every transmission. We favour documented settings, sensible power loads and routines that crews can repeat. Where a clever option carries risk on a live show, we say so and propose a steadier alternative.
Craft
Craft shows in the detail of the work: a camera matched carefully, a lighting plot that suits the lenses, a timing check traced to the exact device causing drift. Our specialists do these jobs themselves, so advice comes from practice. We take the time to get small things right, because on air small things are what viewers notice.
The habits that shaped how we work
Our way of working was not planned in advance. It grew from repeated visits to studios and galleries, and from noticing what helped crews and what did not. These stages describe the habits we built, each one a response to something we kept seeing in the field.
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Starting with observation
Early studio visits taught us that watching a crew work reveals more than any equipment list. We began every engagement by observing a normal session, and we still do. It means recommendations fit the people using them, rather than an idealised version of the studio.
Writing everything down
Clients told us that verbal advice faded by the next production. We began delivering written reports with measured findings and prioritised actions. Those documents now serve as a reference for engineers and as a record when new crew members join the studio.
Widening the specialisms
As studio design and workflow audits led to further questions, we brought in specialists for cameras, audio synchronisation and lighting. Each handles one discipline in depth, so clients get advice from someone who configures that equipment regularly rather than a generalist covering everything.
Teaching alongside advising
Reports help most when a crew understands the reasoning behind them. We added on-site training on live routines, signal flow and fault finding, and began publishing practical guides, so that what we learn in studios becomes useful to teams we may never visit.
Ask for a quote
- Phone
- 01223 480162
- Write to us
- [email protected]