Six areas of broadcast consultancy, how an engagement runs from first enquiry to delivery, and what we need from you to begin.
eventulu covers the technical side of television and live production, from the studio floor to the control room. Each service can be booked alone or combined with others on the same site.
We plan the layout and equipment of television studios, from floor plans to cable routes and control room placement. The aim is a space the crew can work in without tripping over its own infrastructure. Drawings are written so an installer can build from them.
We set up and match studio and field camera chains, covering colour, framing and monitoring. Daniel works with your operators so every camera reads the same on the gallery wall. You receive notes on the settings used, so the setup can be repeated.
We draw lighting plots for studio sets and live stages that balance the look, the power available and what the cameras need. Tom keeps rigs practical and loads within safe limits. The plot is a document your electricians and operators can follow.
We check lip-sync, timing and signal paths across mixers, embedders and playout chains. Priya traces where delay enters the chain and measures it, rather than judging by eye. The result is a written account of each path and what to change.
A written review of how your gallery team, vision mixer and graphics systems work together. We observe a working session and note where information or cues are lost between roles. The report ranks the findings so you can act on them in order.
On-site workshops for crews on live production routines, signal flow and fault finding. Content is built around your own equipment and the faults your team actually meets. Sessions suit mixed groups of operators, engineers and producers.
How it runs
Every engagement follows the same sequence, so you know what to expect before anything is agreed. We begin by listening to what the site needs, then agree the scope in writing. Work happens on your premises or from your documents. Nothing starts until the quotation is confirmed.
You describe the studio, the equipment and the problem as you see it. We read it, ask follow-up questions by e-mail or phone, and say whether the work suits one of our services. There is no obligation at this stage.
What you leave with
A shared understanding of the question and which service fits it.
We set out the scope, what the price includes and what could change it. You check it against your own plans and ask for changes. Work begins only after you confirm the quotation in writing.
What you leave with
A written quotation you can accept, amend or decline.
A consultant visits the studio or works through your drawings, signal diagrams and logs. We measure and observe rather than assume. Your staff are asked questions while the equipment is running.
What you leave with
Notes and measurements gathered from your real setup.
We write up what we found and what we advise, in plain language with the technical detail behind it. Findings are ordered by importance. We go through the report with you and answer questions.
What you leave with
A written report with ranked recommendations.
After delivery we send an invoice, paid by bank transfer. Questions about the report remain welcome afterwards. Cancellations and refunds follow the payment and refund policy.
What you leave with
An invoice and a report you can hand to installers or managers.
A consultancy works faster when the basics are on the table. None of this needs to be polished. Rough drawings and honest descriptions of problems are more useful than tidy summaries.
Gather any floor plans, signal flow diagrams, equipment lists and cable schedules you have. Old or incomplete versions are still helpful, and we will mark where reality has drifted from them. If a drawing does not exist, say so and we will build a rough one on site. Include the model names of key equipment where you know them. A photograph of the rack or the gallery desk often answers several questions at once.
Tell us who runs the studio day to day and who can authorise changes. We often need ten minutes with the operators who feel the problems first, since they describe faults in ways logs do not. Confirm how we get into the building and when the space is free. If the studio is in use for transmission, agree a quiet window for any measurement that interrupts signals.
A clear question shapes the whole engagement. It might be that the picture looks different on each camera, that audio drifts late in long shows, or that the crew struggle during busy cues. Write down what happens, how often, and what you have already tried. Mention constraints such as budget limits, power capacity or fixed dates. We would rather know the limits at the start than discover them in the report.
These answers cover the practical points that come up before a first engagement. If yours is not here, ask us through the contact page.
Send a few lines through the contact page. We reply with questions or a view on which service fits, and a quotation follows once the scope is clear.
ContactUse the contact form to describe your site, equipment and question.
We confirm scope, inclusions and price in writing.
Once you confirm, we book the visit or start the document review.