About us
How narravix came to run live production decks and control rooms, and the habits that shape every booking.
A small crew built around the live gallery
narravix was founded in 2012 in Salisbury. We started with a simple idea: live television goes better when the people in the gallery are experienced, calm and clear with one another. We have kept that idea at the centre of the work ever since.
Most of our work happens in the gallery, the room where cameras, graphics, replay and audio meet. A vision mixer cuts between cameras to the director's calls, a technical director holds the team together, and an operator may be running replays and graphics beside them. When those people know their roles and speak plainly, the programme feels effortless to the viewer.
We supply those people. Our operators cut multi-camera shows, direct galleries, run replay and graphics, and manage live streams for events and festivals. Helen Marsden, our Head of Live Operations, has directed live television galleries for over a decade and leads the operator teams on every booking.
Alongside crewing, we advise on how a control room is laid out. Signal flow, monitoring and desk positions all affect how a gallery works under pressure, and a written plan from us gives a team something concrete to act on. We also run workshops, because a gallery is only as strong as the operators sitting in it.
We have stayed deliberately focused. We do not try to be a full production house or a facilities company. We provide dependable people and clear thinking for the technical heart of a live show, and we try to do that well.
Clients tend to come to us when the stakes of a transmission are high and the schedule is tight. They want a crew that arrives prepared, communicates clearly and leaves the production in good order. That is what we aim to deliver.
What guides the way we run a gallery
A live show cannot be paused while the crew sorts out a misunderstanding. The way a gallery behaves in the minutes before and during transmission decides whether the audience notices the technology at all. These principles shape how we brief, communicate and deliver, and they show in the small habits of every booking.
Calm under pressure
Calm under pressure means a gallery that sounds the same when everything is going well and when something goes wrong. Our operators keep their voices level on comms, deal with faults in order of importance and avoid noise that distracts the director. Rehearsal is where we build that steadiness, so the live show feels familiar.
Clear communication
Clear communication starts before the day. We ask direct questions about the running order, agree who covers which role and keep cue sheets tidy so that anyone in the gallery can read them. On comms we use short, plain calls, and afterwards we tell you honestly what happened and what we would adjust.
Reliable delivery
Reliable delivery means a crew that turns up prepared and a backup that is ready before it is needed. We confirm scope and costs in writing, prepare second paths for streams and keep one lead contact for the whole booking. You should know who is responsible for what at every stage.
How the way we work took shape over time
Our method was not designed in one go. It grew from the work itself, from live shows where something small went wrong and the crew learned what to prepare next time. The habits below are the ones that have lasted and that clients meet today.
Founded2012
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Starting with the gallery team
From the beginning we crewed galleries with operators who had worked together or could quickly learn to. That taught us that a good team matters more than any single skill, and today we choose crews by how they fit the show.
Rehearsal as part of the job
Early productions showed us how many problems appear only when cameras, graphics and audio cues are tested together. We now treat rehearsal as essential, because faults found then can be fixed without anyone watching.
Adding streaming and backup paths
As events and festivals moved to live streams, we added streaming operations to our work. Priya Nair now designs the encoding and delivery paths and prepares a backup feed for each event, so one failure does not end the stream.
Passing on the craft
Training grew out of working beside less experienced operators and seeing how much a clear workflow helps. Our workshops now teach switching, comms discipline and fault handling on real equipment, and our advice on control room design draws on the same experience.
What clients say about the crews
The vision mixer had read the running order before rehearsal and kept to the script when the director changed two cues late. The gallery stayed quiet and organised, and the show went out cleanly. We have booked the same crew again.
Martin Aldous · Event organiser, outdoor music festivalOur festival stream had a backup path ready that we never knew about until the main feed dipped. It switched over and viewers did not notice anything at all.
Fiona Garrick · Head of operations, production companyThe written plan for our control room was practical and easy to follow. We moved two monitors and changed our talkback routing, and the gallery has run more smoothly since.
Tom Ellwood · Series director, live sport programmeThe replay and graphics operator kept a tidy cue sheet and was always a step ahead of the director. It made a busy live sports evening much less stressful for everyone.
