News and notes from the control room
Short articles on live switching, gallery communication, streaming reliability and control room practice, written by the people who do the work.
Our articles appear about once a day and cover the practical side of live production, from cue sheets to backup streams. Browse the list below and open any piece that interests you.
How to Plan a Live Stream So the Audience Stays Connected
A practical walk through the encoding, platform feeds and backup paths we set up before any event stream goes live, so that one fault never takes the whole picture off the audience's screens.
Continue reading →Before You Book a Vision Mixer: A Checklist for Multi-Camera Shows
A working list of questions to settle with your producer and director before choosing who will cut your live multi-camera show, from camera count to rehearsal time and talkback.
Continue reading →Six Common Mistakes in Live Broadcast Direction and How to Avoid Them
Most trouble in a gallery starts long before transmission. These are the habits that unsettle a live show, with plain ways to keep a direction team steady from rehearsal to the last cue.
Continue reading →What Control Room Design Advice Costs and What Moves the Price
A plain account of how a control room review is priced, which parts of the room and the brief change the fee, and what you hold in your hands when it is done.
Continue reading →Learning the switcher on live kit: how Jamie's team found its footing
A short account of a two-day workshop with a small events crew, and how hands-on time at a real switcher changed the way they talked to each other on comms.
Continue reading →Replay and Graphics Before the Dark Evenings: Autumn Preparation
Callum Reid sets out how replay and graphics operation should be prepared for the coming months, from earlier light and busier schedules to cue sheets that hold up on long nights.
Continue reading →What a backup path really means on a live stream
A plain-words explanation of the backup path: the second route a live stream takes to the audience, what it protects against, and how a crew decides when to switch to it.
Continue reading →Two Ways to Cut a Concert: One Mixer or a Shared Desk
A comparison of cutting a multi-camera show with a single vision mixer or a mixer paired with a second operator on a shared panel, with a clear recommendation for each kind of show.
Continue reading →Inside the Gallery: How a Live Show Is Directed from Rehearsal to Air
A look at how our technical directors run a gallery team day to day, from the first rehearsal call to the last cue of transmission, and what keeps cameras, graphics and audio in step.
Continue reading →Control room layout questions we are asked most, answered plainly
Priya Nair answers the questions producers raise most often before a control room review: what we look at, what the written plan contains, and how long the work takes.
Continue reading →Our training workshops: what happens on the desk
A look at how narravix runs hands-on sessions in live switching, comms discipline and fault handling, and what operators can expect from a day on real production equipment.
Continue reading →The Tools Behind a Clean Replay and Graphics Desk
A look at the controllers, cue sheets and graphics templates our operators rely on to keep replays and lower thirds timed to the programme, from rehearsal to the last credit.
Continue reading →A checklist for choosing who runs your live stream
Before you hand a festival or event stream to a crew, work through these points on encoding, platform feeds, backup paths and rehearsal, so the audience stays connected.
Continue reading →Common Mistakes in Multi-Camera Switching and How to Avoid Them
Most errors in a live cut start long before transmission. Helen Marsden looks at the habits that cause missed shots and late cuts, and the simple routines that prevent them.
Continue reading →What Live Broadcast Direction Costs and What Moves the Price
A plain account of how we price a technical director and gallery lead for a live show, and which parts of the booking raise or lower the final quote.
Continue reading →A cramped gallery, a rearranged desk and a calmer Saturday show
Rosalind ran a small studio gallery where the vision mixer and the replay desk kept tripping over each other. This is how a written layout review changed the way her crew worked.
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