Practical articles on cameras, lighting, audio sync and control room practice, written by the inquirix team for working production crews.
New guides appear about once a day, each focused on a single technical question from studio or live production. Browse the list below and open any article to read it in full.
Training
A practical walkthrough for producers and studio managers on preparing a remote or on-site training session, from choosing what to cover to leaving the crew with notes they will use.
Read the articleAudio Sync
A practical list of what to gather, check and decide before asking for an audit of lip-sync, latency and clocking across your audio and video chain.
Read the articleLighting
Most problems in a studio lighting plot come from a few repeated habits. Here is what a design review usually finds, and how to correct each one before cameras roll.
Read the articlePricing guide
A plain look at how documentation work for production crews is priced, which parts of a manual or run sheet add effort, and what you can do to keep the scope sensible.
Read the articleCustomer Case
Sam ran a small regional news studio and needed advice on cameras, rigging and set-up. This short case follows how a written consultancy report shaped the decisions he made.
Read the articleControl Room
Daniel Foster sets out what gallery teams should review in mid autumn, from layout and talkback habits to run-sheet discipline, before the busy winter schedule begins.
Read the articleTraining
A plain-words explanation of signal flow, the term we use most in training sessions, and why a crew that can trace it calmly solves problems faster during live production.
Read the articleAudio Sync
Two common ways to carry audio through a production chain, compared on lip-sync risk, latency and ease of fault-finding, with a clear recommendation for most studio teams.
Read the articleLighting
A look at how we work through a client's lighting plot, from the first read of the drawing to the written notes on colour temperature, positions and camera levels.
Read the articleTechnical Writing
The question we hear most from producers and studio managers: what belongs in a run sheet, how long it should be, and who reads it. Here is how we write them for production crews.
Read the articleCompany news
A look at how our camera consultancy works on paper, from the questions we ask about your rig to the report you receive, and what it covers for studio and outside broadcast.
Read the articleWorkflow Methods
Helen Marsh describes the drawings, signal lists and run sheets behind our control room workflow planning, and why plain paper methods still catch most problems early.
Read the articleTraining
Questions to settle before commissioning a training session on studio signal flow and live production practice: who attends, what they already know, where it runs and what you want them doing
Read the articleAudio Sync
Lip-sync faults rarely have one cause. Oliver Banks walks through the audit errors that waste the most time, from trusting a single test to ignoring clocking, and how to correct each.
Read the articleLighting
A plain account of how we price a Stage Lighting Design Review: what the fee covers, which details of your studio and plot make it larger or smaller, and what to send us first.
Read the articleCustomer case
Oliver Banks follows one customer, Marcus, through a rewrite of the run sheets and operating notes his gallery crew used every week, and what changed once they were written for the people reading
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