SMG Productions is built around a core team of broadcast and video professionals with hands-on experience across corporate video, live events, post-production and television. Every project is handled by people who have worked on real productions — not generalists learning on the job. Below you will find out who we are, how the team is structured, and what each discipline actually contributes to a finished production.
Who Makes Up the SMG Productions Team
The team covers every stage of the production pipeline in-house. That means a client brief moves from a producer to a director, through camera and sound, into an edit suite — without being handed off to subcontractors at each stage.
Current in-house disciplines:
- Executive producers and line producers
- Directors (single-camera, multi-camera, documentary)
- Director of photography and camera operators
- Sound recordists and audio engineers
- Video editors and online editors
- Motion graphics and VFX artists
- Broadcast engineers and live stream technicians
- Production coordinators and runners
This structure matters in practice. When a corporate client needs a same-day edit delivered during a live conference, the editor is already on-site and briefed, not being called in from a freelance pool.
Production and Editorial Leadership
The senior production staff at SMG carry broadcast credits across UK network television, corporate communications and international live events. This is not a team assembled from LinkedIn — these are people who have spent years in gallery environments, on OB trucks and in graded edit suites.
Key responsibilities at the senior level include:
| Role | Primary Responsibility | Typical Output |
|---|---|---|
| Executive Producer | Client relationships, budgets, final sign-off | End-to-end project ownership |
| Line Producer | Scheduling, crew management, logistics | Shoot-day delivery |
| Series Producer | Editorial direction across multi-part projects | Documentary series, branded content |
| Post Production Supervisor | Edit workflow, delivery specs, QC | Broadcast and digital masters |
The editorial leadership team is directly involved in creative development. Treatments are written by producers who will actually run the shoot, not handed to a separate sales function.
Camera and Lighting Department
SMG operates its own camera kit, which means the team knows the equipment. When a DP specifies a particular lens or rigging setup, it is based on what is in the kit room — not a hire quote that needs approving.
Current camera and lighting capabilities include:
- 4K and 6K acquisition on Sony and ARRI platforms
- Drone operation (CAA A2 CofC certified operators)
- Gimbal and handheld rigs for events and documentary work
- Portable LED lighting packages suitable for corporate interview environments
- Multi-camera setups up to eight cameras for live event coverage
For broadcast work, the team has experience matching to network technical specifications including BBC, ITV and Channel 4 delivery requirements. A corporate video shot for internal use and a package destined for broadcast go through different QC processes — the camera team is briefed accordingly from day one.
Sound and Audio
Poor audio destroys good footage. The SMG sound team works to broadcast standards whether the production ends up on television or on a company intranet.
Sound services covered in-house:
- Location sound recording (boom, radio mic, plant mic)
- Audio post-production and dialogue editing
- Music licensing and composition briefs
- Dubbing and narration recording
- Live event audio mixing and PA liaison
For live events specifically, the audio team coordinates with venue engineers before the day. A briefing sheet covering stage layout, running order, presenter mic requirements and broadcast feed outputs is prepared in advance — not assembled on the morning of the event.
Post-Production and Editing
The edit team works in a purpose-built post environment. Avid, Premiere Pro and DaVinci Resolve are all in active use depending on project type and delivery pipeline.
Post-production capabilities:
| Service | Detail |
|---|---|
| Offline editing | Assembly through fine cut, director's cut, client review |
| Online editing | Grade, conform, titling, broadcast master |
| Colour grading | DaVinci Resolve, calibrated monitoring |
| Motion graphics | After Effects, Cinema 4D for 3D elements |
| VFX | Compositing, green screen, cleanup |
| Audio mix | Stereo, 5.1, dialogue, M&E stems |
| Delivery | Broadcast spec (AS-11, IMF), digital (H.264, ProRes) |
Turnaround times vary significantly by project type. A conference highlight reel might be delivered within four hours of an event closing. A documentary series requires a structured post schedule with locked picture before audio begins. The post supervisor manages both simultaneously when required.
Live Events and Broadcast Operations
Live production is a separate discipline. The team members who work on live events have gallery and OB experience — they are comfortable operating under transmission pressure.
SMG's live event production covers:
- Multi-camera live switching (vision mixer, director, PA)
- Live streaming to web platforms and private networks
- Audience recording and simultaneous ISO recording
- Confidence monitoring and on-site playback
- Graphics playout (CasparCG, Viz)
- Hybrid events combining in-room and remote presenters
A hybrid conference with 400 people in a venue and 2,000 joining remotely involves a different technical brief than a purely in-room event. The team prepares two separate signal paths, separate graphics versions for the stream, and dedicated monitoring for both the live director and the stream director.
Corporate Video Specialists
A significant portion of SMG's work sits in the corporate sector — internal communications, executive interviews, product launches, training content and annual review films. The producers who handle this work understand that corporate clients have approval chains, legal sign-off requirements and brand guidelines.
Common corporate video formats produced by the team:
- CEO and leadership interview series
- Company culture and recruitment films
- Product demonstration and explainer videos
- Event highlight packages
- Training and compliance videos
- Investor relations content
The difference between a corporate video that actually gets used internally and one that gets shelved usually comes down to the brief stage. The production team spends time on the brief because it is faster than reshooting.
Showreel and Credits
The team's collective credits span broadcast documentary, commercial production, sports coverage, music video and corporate work at international scale. Individual showreels are available on request and reflect actual roles — not credits where someone was a runner on a production that is now listed prominently.
Selected production categories with broadcast credits:
| Category | Example Output |
|---|---|
| Factual documentary | UK network broadcast, series and one-offs |
| Live sport | Multi-camera OB, post-match packages |
| Corporate broadcast | AGMs, investor days, internal comms films |
| Branded content | Long-form content for digital and broadcast |
| Music and entertainment | Live concert recording, music video |
How the Team Works with Clients
The production process at SMG follows a structured workflow. This is not a creative agency model where the account team interprets the brief before passing it to production. The producer who takes the brief is the producer running the project.
Typical project stages:
- Initial brief and budget conversation with a senior producer
- Treatment or technical proposal submitted within an agreed timeframe
- Pre-production: scheduling, recce, casting or talent briefing, kit prep
- Production: shoot days managed by the line producer
- Post-production: edit, review rounds, sign-off, delivery
- Archive: masters stored and labelled for future versioning
Review rounds are agreed upfront. Most corporate productions work to two rounds of client amends after the first cut — additional rounds are scoped as change requests, which prevents the edit from drifting.
