We make the show

Pre-production. Format and run-down, schedule, budget, venue selection and technical survey, crew booking — and the permissions and insurance nobody thinks about until the week before.

The stage. Set design and build, lighting, and the table itself: our own broadcast poker table with the RFID layer and LED rail built in, rather than a rental with a camera pointed at it.

Capture. Multi-camera coverage designed around poker specifically — the angles that make a hand readable, the ones that protect hole cards, and the difference between them.

The card system. RFID card tracking, hole-card graphics, and the delay and access model that keeps card data off the live feed. The system is Final Table Technologies’ — the company that invented the category in 2004 and still builds the hardware.

Graphics and data. Real-time broadcast graphics, live odds, player stats and leaderboards — driven by the game itself rather than typed in by an operator between hands.

Delivery. Broadcast-standard output, streaming to any platform, multi-destination, recording and archive. Clips and highlights cut on the day when the schedule wants them.

We design it. The set is drawn as a parametric model, dimensioned against your venue and your camera plan rather than sketched and adjusted on site. It exports as STEP for the fabricator and DXF for shop drawings, so the build starts from a real model — and a changed dimension regenerates the drawings instead of triggering a redraw.

Others build it — and we specify and manage them. Fabrication, LED supply and installation run through vetted partners. You get one contract and one accountable party; we carry the coordination, the schedule and the site integration. That is how production design works everywhere, and it is more honest than a company claiming a scene shop it does not own.

LED, properly. Wall supply, rigging, processing and installation, specified for the room and the camera rather than by square metres. Content and playout are a separate question, and we will tell you which of the two you actually need.

Lighting is part of the set, not the technical package. Set dressing is discretionary; the light that makes a table shootable is not. Quoting them together is how lighting quietly gets cut and the show ends up looking like a card room.

And the table itself. Our own broadcast poker table — RFID layer and LED rail built into the build rather than added to a rental with a camera pointed at it.

Say so early. Scenic is routinely the largest single number on a poker quotation and the one clients are least prepared for. We would rather show you that in the first meeting than in the third.

A one-off event. An invitational, a charity final, a sponsor activation. Built set, full crew, one show day, delivered as a broadcast master and as a stream.

The whole field, not one table. We track up to nine tables at once — every hand, every stack, every player — with stats and graphics generated live from all of them. In most events that is the entire playing field. In a large-format tournament it is the days that actually matter, covered properly rather than sampled by pointing a camera at the feature table and hoping the story is there.

A recurring series. The second show costs a fraction of the first, because the set is designed to travel and the crew already knows the format.

A streamed cash game. Lighter crew, faster turnaround, built for a platform audience rather than a network slot — and for the delay rules a live-streamed game needs.

Your production, our technology. If you already have a production company you trust, we supply the card system, graphics and integrity layer and integrate with them. That is a different conversation — and a better one, if you have a team you like.