01904 797 0226 hello@newsymph.net Mon-Fri 9:00-17:30
newsymph

About

A small York consultancy that helps television networks and live event teams plan studios, camera control, lighting and sound, and keep their workflows steady from rehearsal to broadcast.

Our story

newsymph was founded in York in 2014 by Helen Whitaker, a studio designer who had spent years planning broadcast and rehearsal spaces. We advise television networks and live event teams on studios, camera control, lighting, sound and the workflows that tie them together.

A technical team reviewing a studio floor plan beside a camera and desk set
A technical team reviewing a studio floor plan beside a camera and desk set
newsymphFounded 2014Based in York

The company began with studio layouts. Helen was asked, again and again, to look at rooms where the equipment was good but the plan around it was not: cable runs that crossed walkways, desks placed where the sound bled in, lighting positions that nobody could reach safely. Fixing those problems on paper, before anything was installed, became the core of the work.

As clients came back with live events as well as studios, the team grew in a sensible order. James Fothergill joined to look after audio chains and mixing, Priya Nandra to plan lighting for stages and sets, and Callum Rhodes to set up camera control and signal flow for multi-camera shoots. Each person covers one discipline well rather than all of them thinly.

Our office sits in Walmgate Yard in York, and most of our conversations start with a phone call or an email from a producer or technical director who has a date in the diary and a set of open questions. We ask to see the space or the venue plan, the equipment list and the crew, then write down what we would change.

Alongside consulting we publish technical guides and run workshops, because a plan only helps if the crew can follow it at two in the morning during a load-out. Many of our guides began as notes written for a single client and were rewritten once we saw the same questions arise elsewhere.

We remain a small business and say so plainly. That means the person you speak to at the start is usually the person who writes your plan, and it means we turn down work that sits outside the five areas we know well, rather than stretch ourselves to cover it.

How we work

The principles behind every plan we write

Production work goes wrong in small, avoidable ways: an unlabelled cable, an unclear cue, a monitor mix nobody checked. Our principles exist to prevent those moments. They shape how we write, how we advise and how we hand work over to the crews who run it.

  1. Clarity

    Clarity means plans a tired crew can read. Our signal flow diagrams use consistent labels, run sheets name who does what and when, and guides avoid jargon where a plain word will do. If a producer cannot follow a document in a single sitting, we treat that as our error and rewrite it.

  2. Reliability

    Reliability is about choosing the dependable option over the impressive one. We favour rigs with sensible power margins, cabling that can be traced, and backup paths for the signals that matter most. Before a show we ask what happens when something fails, and we write the answer into the plan.

  3. Craft

    Craft shows in details nobody applauds: a studio laid out so cameras move freely, a lighting rig that is safe to work under, a mix that serves the room. We build these habits by doing the work ourselves, by reviewing each other's drawings, and by returning to our own guides when practice changes.

Background

What our experience is built on

Our experience comes from studios, rehearsal rooms, festival stages and one-off broadcasts rather than from theory. It is spread across four people, each with a clear discipline, and it informs the way we scope, write and teach.

Studios and spaces

Helen Whitaker has designed broadcast and rehearsal spaces for over a decade, and that history shapes how we judge a room. We look at acoustics, sightlines, cable routes and the movement of crew before we look at equipment. A good studio plan leaves room for the next change, because productions rarely stay the same size.

Live stages and sound

James Fothergill mixes live concerts and festival stages, and Priya Nandra plans lighting for stages and television sets. Between them they have worked with tight changeovers, shared power and crowded monitor positions. That experience makes us cautious about promises and generous with contingency, particularly where safety is concerned.

Workflow and teaching

Callum Rhodes sets up camera control and signal flow for multi-camera events, then trains the crews who will operate them. Teaching changes how you plan, because you notice which steps people forget. We now write handover notes and short workshops into most projects so the knowledge stays with the client.

Client voices

What people we have worked with say

The studio plan arrived with a cable schedule and a clear explanation of why the desk had moved. Our crew understood it immediately, and the first rehearsal week ran without the usual scramble to rearrange equipment. It was straightforward advice, written for people who have to use it.

Rebecca ThornleyTechnical manager at a regional broadcaster
  • The run sheets and signal flow diagrams were easy to follow, even for volunteers who joined on the day. We changed very little once the festival weekend began.

    Martin Ashby · Production manager, outdoor music festival
  • Callum trained our operators on the camera control setup over two afternoons. They now run it themselves and keep his notes beside the desk.

    Fiona Garside · Head of production at a theatre venue
  • Priya's lighting plan stayed within our power limits and still gave us a good look on camera. She explained every compromise before we signed off.

    Daniel Prescott · Series producer, independent television company
Who we work with

Our clients range from established broadcasters to small venue crews who put on a handful of shows a year. What they share is a production that has to work on the day. We describe them by sector, not by name, because each engagement is private.

  • Television production teams

    Producers and technical directors who need camera control, vision mixing and studio layouts planned so that a multi-camera programme can be set up and repeated reliably.

  • Broadcast studio operators

    Facilities managers who run studios and small production spaces and want clearer layouts, acoustics and cabling plans before they refit or expand.

  • Festival and event organisers

    Teams staging festivals and one-off broadcast events who rely on run sheets, signal flow diagrams and crew schedules that hold up under pressure.

  • Concert and theatre venues

    Venue technicians who need lighting and sound arrangements that balance look, safety and available power for visiting and resident productions.

  • Freelance and small crews

    Independent sound, lighting and camera crews who benefit from practical written guides and workshops that raise the standard of everyday audiovisual work.

  • Training and education groups

    Colleges and in-house training teams that want clear technical material and hands-on sessions to teach audiovisual production methods to newcomers.

Ask for a quote

Write to us: hello@newsymph.net

Clear guidance for broadcast and live production

Get in touch

01904 797 0226 hello@newsymph.net

14 Walmgate Yard, York YO1 9TX

newsymph