reporton was founded in Shrewsbury in 2014 by Helen Ashworth, who had already spent years producing live programmes. The aim was simple: studios should be planned by people who understand what happens when the programme is on air. That outlook still shapes every project.
We begin by asking what the programme is, who appears in it and how long it runs. A fast news bulletin needs different cameras, lighting and talkback from a seated interview series. Only after that do we look at the room and the equipment, so that every decision traces back to the output rather than to a product list.
Equipment, cameras, sound and light affect each other, so we plan them together. A lighting rig changes camera exposure, wall surfaces change how a microphone behaves, and gallery layout changes how a director cues a shot. Our four specialists work from one plan, which avoids the gaps that appear when each trade is handled separately.
We leave a studio with written records: signal paths, settings, camera plans, rundown templates and rehearsal notes. This matters because live crews change over time, and a setup that lives in one person's head does not survive a holiday. Documentation lets your own team repeat, check and improve what we put in place.
A studio only proves itself on air, so we offer on-site support for live days and practical training for crews taking over. We watch how operators actually use the room and adjust accordingly. Our goal is for your team to run the studio confidently without us, and we measure our work by that.
Each project follows the same practical path, from a first conversation to a crew that is ready for air. The points below describe what you can expect along the way.
Helen, Daniel, Priya and Callum each lead their own area, so the person advising on sound or light does that work every week.
Before work begins you receive a written quotation describing what is included, what is not and what could change the cost.
We survey your actual space and work within its limits, rather than handing you a generic studio layout.
Rundowns, cues and camera moves are rehearsed in the studio, so problems surface on a quiet day and not during a broadcast.
We build studios and routines that behave the same way every day. Signal paths are tested, setups are documented and fallback steps are rehearsed, so a live show can recover from a fault calmly.
Clear sound, honest lighting and plain instructions run through everything we do. Our plans and cue sheets are written so that every member of the crew reads the same thing.
We care about details such as lens choice, microphone position and fixture placement. Careful work at that level is what makes a live programme look and sound settled.
They looked at how we actually make our programme before suggesting anything. The studio now runs smoothly, and my crew understands why every piece of kit is where it is.
Send your details through the contact page and we will reply with questions about your programme, then follow up with a written quotation.
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