Event productions
The whole production, one team — even inside a 300-year-old church
Pre-production, electrical, video, lighting, and audio, through to broadcast and recording — planned and run as one production, in churches, castles, and other venues that were never built to host one.
Full scope
Every layer, planned as one production.
Most productions in difficult venues end up as several vendors improvising around each other. We run pre-production, power, video, light, and audio as a single plan, then take the result to air or to tape ourselves.
01
Pre-production
A venue survey before anything gets booked: what the building allows, what it doesn't, where the power actually is, and a schedule built around load-in windows a normal rider never accounts for.
02
Electrical
Load calculated and balanced across whatever circuits genuinely exist — not the ones a rider assumes — so nothing trips mid-performance.
03
Lighting
Rigs built around what can't be touched: floor-based and ground-supported when there's no grid, positioned to avoid the shadows and the drill holes a protected interior can't take.
04
Video
Camera, vision mixing, and recording built for tight sightlines and low, uneven light — not a purpose-built studio with a fixed set of angles.
05
Audio
Front-of-house and broadcast mixes tuned to the room's own acoustics, whether that's a stone nave, a great hall, or a space that has never once hosted a PA.
06
Broadcast & recording
A live feed out over AirCore OB1, or a clean recording, without a satellite truck or a multi-person crew competing with the event for space.
Why us
Historic buildings don't negotiate.
Churches, castles, and protected interiors don't come with a rigging grid, spare power, or a technical rider that fits. They come with rules, and the rules don't move for a production schedule.
"Don't drill into a 300-year-old fresco."
That instruction — or something close to it — is what we got for Paltaniemen kuvakirkko’s 300th anniversary, and it shaped the lighting rig, the power distribution, and where the cameras and speakers could stand.
It’s also the normal starting point for a job like this. No hard points to hang from. Wiring that predates the idea of a 36-fixture lighting rig. Surfaces, structures, and acoustics that can’t be worked around after the fact — only planned around from the start.
That’s why this isn’t a lighting company with a broadcast add-on, or a broadcast crew that also brings some lights. One team plans pre-production, power, video, light, and audio together, so the building’s constraints shape a single plan instead of getting discovered separately by three different vendors on the day.
No rigging, no drilling
Ground-supported rigs and floor-based positioning when the structure itself is off-limits.
Fragile or limited power
Load split and balanced across whatever circuits the building actually has, worked out on site rather than assumed on paper.
Acoustics no one designed for a PA
Sound reinforcement and mixes built for the room as it is — stone, wood, or vaulted ceiling — not the room a rider assumes.
Paltaniemen kuvakirkko — August 2026
Proof, not a promise
Paltaniemen kuvakirkko, live
36 lighting fixtures on a protected 1700s interior, sound for a cantata and a ceremony that needed almost opposite treatment, and a live broadcast to Radio Dei — run as one production, without a single new hole in three centuries of paintwork.
Read the full case studyProducing something in a place that wasn't built for it?
Tell us the venue and what you're trying to put on. We'll tell you what's possible, and what it takes to do it without leaving a mark.