OB trucks
Full production units, single or multi-truck compounds with tie-lines and shared resources.
Twenty years and counting as Engineer in Charge on OB trucks and flypacks — live sport, entertainment and events. I design, commission and run hybrid SDI and ST 2110 IP facilities, then hand them over to a crew that knows how they work.
Usually somewhere between the system drawing and the transmission — the part of a production where signal flow, timing and the people operating it all have to agree.
Technical ownership of the facility from load-in to wrap: readiness, escalation, and the final call when something has to be decided fast.
PTP timing, NMOS discovery and connection management, multicast and network design, and the SDI/12G islands that still have to live alongside them.
From block diagram to proven facility — build supervision, HDR/WCG and colour pipeline setup, test plans, and sign-off you can hand to a client.
Router configuration, control-system logic, panel and multiviewer layouts, tally and intercom — built so the gallery can work without thinking about it.
Diagnosis under time pressure, in the compound and on the floor — packet captures, timing analysis and a calm read of what is actually failing.
A live facility is only as good as the moment it fails — and how quietly it is put back.
IP has not made broadcast simpler; it has moved the complexity into places you cannot see with a waveform monitor. My job is to keep that complexity understood, documented and owned — so the crew on shift can concentrate on the show rather than on the infrastructure underneath it.
That means clear signal flow, honest test results, realistic redundancy, and a handover that includes the people, not just the paperwork.
Compounds, arenas, studios and temporary rooms in buildings never meant to carry a broadcast.
Full production units, single or multi-truck compounds with tie-lines and shared resources.
Racked systems flown in and built on site, often on tight schedules in improvised rooms.
Long camera counts, host-broadcast interfaces, world feeds and unforgiving kick-off times.
Shiny-floor and arena shows where lighting, audio and video timing all have to hold together.
Festivals and one-off live occasions where there is no second take and no tolerance for risk.
Reading the production brief against the facility: signal flow, timing domain, network capacity, redundancy, and an honest list of what will be tight.
Bring-up, configuration and proving — measured, not assumed. Faults found in the build are faults that never reach transmission.
Technical cover through rehearsal and transmission, then documentation and training so the resident crew owns the system after I leave.
Dates, venue, facility and what you are trying to get on air. If it is a fit I will say so quickly — and if it is not, I will usually know someone.