Sparkly Light

Sparkly Light Full-service broadcast partner delivering live events & corporate video with precision, creativity, and reliability.

From script to screen, we streamline projects, balance costs, and impress stakeholders with world-class short & long form productions! At Sparkly Light Productions, we do more than produce video… we deliver complete broadcast solutions that take your vision from script to screen with creativity, precision, and reliability. For over a decade, our team has been trusted to manage some of the UK’s most high-profile live events and corporate productions. With experience spanning global broadcasts, brand campaigns, and cultural projects, we know what it takes to create content that resonates with audiences and impresses stakeholders. What makes us different is our one-stop-shop approach. Unlike companies that only cover one part of the process, we bring together everything you need under one roof - scripting, direction, camera, lighting, sound, editing, and delivery. That means fewer suppliers, no wasted budget, and no risk of project bloat. We keep things streamlined, professional, and stress-free from start to finish. Our core strengths:

Live Broadcasting & Events - End-to-end support for conferences, launches, cultural events, and large-scale live productions. Corporate Video - Professional, polished content to communicate your message clearly and effectively. Creative Short-Form Content - Agile, impactful videos for digital campaigns, internal comms, and social media. Full Production Support - Script development, filming, crew, sound, lighting, editing, and project management. Whether you’re a corporate brand looking for consistent, cost-effective video production or a cultural organisation planning a large-scale live event, Sparkly Light brings the experience, creativity, and reliability to deliver results you’ll be proud to share.

📩 Ready to discuss your next project? Get in touch today and let’s create something remarkable.

17/09/2026

I borrowed angle grinder to keep two poles out of shot.

At Farnborough International Airshow this year, two poles on a scaffold tower were right in the middle of my shot. I could have moved the camera, but I would rather chop the scaffolding than settle for a worse angle. So I found a local builder with an angle grinder and had him chop the tops off.

A clean broadcast is held up by things like that, plus the parking passes, the accreditation, the air-con for the kit, and lunch for the crew.

P.S this is not Ai, this is real aircraft tech being showcased. Absolutely incredible, we are living in the future!

15/09/2026

The editor cutting your film usually wasn't in the room when it was filmed.

Filming and editing often sit with two different companies. What passes between them is a drive and a brief, and everything else stays behind, including which take had the moment in it.

It leaves you in the middle, describing the tone you want to a team who never saw the thing you're describing.

On the Almeida Theatre's trailers for OIL and THE TREATMENT, we handled filming, sound, creative direction and the edit. The people cutting them had watched the performances from a few feet away, so nobody had to be told what the moment felt like.

When you send a note, it goes to one place. No second supplier to brief, and no gap between two contracts where a question sits waiting.

That was our first job with the Almeida. Two more followed.

Want a streamlined quote with options? Ask us about our tiered approach for a promo trailer.

Training days that never leave the classroom, produce a team that can only plan a production in theory.The BBC asked us ...
13/09/2026

Training days that never leave the classroom, produce a team that can only plan a production in theory.

The BBC asked us for a classroom day. I pushed for the afternoon outside, because there is only so much anyone learns about an outside broadcast sitting behind a desk.

The teams walked a real site and wrote their own plan for it before going home.

Directing a child actor and interviewing a WW2 veteran ask opposite things of a crew.With the child you explain the scen...
11/09/2026

Directing a child actor and interviewing a WW2 veteran ask opposite things of a crew.

With the child you explain the scene again and run it again. With the veteran you set the room up beforehand, then stay out of his way and let him take as long as he needs.

On the Royal British Legion films we were doing both, sometimes on the same day, with school groups on site too.

The RBL asked us to make three films for the 80th anniversary of VE and VJ Day, for their education platform. Scripted drama built around interviews with veterans who were there.

Those interviews are primary historical record.

In twenty years they will be among the few first-hand accounts of the war that anyone can still watch, so the sound and the picture had to hold up long after we finished the edit.

And when someone is telling you something difficult, you do not ask him to repeat it for a better angle.

Six weeks to shoot and cut an hour of drama documentary. More than a million school-age children have watched them since.

Looking for a crew who treat every story with care and respect? Let's work together.

I (Ian) have been a series director across this years BBC Proms at the Royal Albert Hall and this year has been special....
09/09/2026

I (Ian) have been a series director across this years BBC Proms at the Royal Albert Hall and this year has been special.

I directed the Menken Prom, an evening of the music Alan Menken wrote for Disney, with the BBC Philharmonic under Sarah Hicks and performers from the National Youth Music Theatre.

Rarely have I seen an audience react so positively than in this years performances.

Since then we have been recording a couple more Proms for transmission this week.

One of them is Martha Argerich, who is 85 and remains a piano legend by any measure.

Another brings three musicians decades younger, Jess Gillam, Ben Goldscheider and Sheku Kanneh-Mason, with equal passion and incredible talent.

This season has programmed eighty-odd concerts across eight weeks, and occasionally the schedule hands you six decades of musicianship inside a few days and you are lucky enough to record all of it for transmission on the BBC.

This Saturday is the Last Night. I am not directing that one this year but I will certainly be in amongst it.



Image credit - Jennifer Hawthorn BBC

Thirty-five years ago I was the one being told where to put the tins.That was my Saturday job, stacking shelves for pock...
07/09/2026

Thirty-five years ago I was the one being told where to put the tins.

That was my Saturday job, stacking shelves for pocket money.

I spent a day in a warehouse full of tins again, this time filming a promo for Loveworks Food Charity , a food bank charity near me in Reigate. The charity manager is my sister-in-law, so when they asked, there was only ever one answer.

We did it for nothing, so I shot it on my own. One camera, two LED panels, a radio mic and a tripod, then the edit back at my desk.

What I had forgotten is how much I like the ordinary parts of it. Asking a volunteer to put the same tin into the same crate one more time, then explaining why I needed it twice.

The families who rely on the food bank can't be filmed, so the story had to come from the volunteers and the work itself. One day in the warehouse, one interview holding it together.

The film is on their website now, helping bring in donations and volunteers.

04/09/2026

You cannot ask an orchestra to play it again so you can get the shot.

In late 2024 we filmed Scott Dunn Orchestra conducting the Britten Sinfonia at Air Studios, for a series of clips promoting his work reviving classic 1950s and 60s film scores. We had two weeks from the first call to final delivery, on a small budget.

The orchestra was recording for a separate release, so we worked around them. Several takes of each piece, no replays on request, and no moving while they were playing.

That meant thinking about the edit while the music was still in the room. If a trombone solo carried a piece and we had not yet filmed the trombone section, that became the priority for the next take. Between takes, Ian and Glenn had seconds to reposition for the next angle they needed.

Getting close mattered too, and that came down to the players trusting them. They built those relationships mostly through gesture during recording and conversation over lunch. Glenn spent ten minutes with the percussion in the sound booth, and some of the best shots in the finished films came out of it.

Seven five-minute films plus social edits, finished inside the two weeks.

A small budget goes further when the crew has done this before, because the thinking happens on the day.

If your next project has a fixed date and a fixed budget, let's talk about what can be done inside them.

01/09/2026

A performance can be filmed and still be lost.

Early music lives in small things: the decay of a note on a period instrument, and the quiet an audience holds around it. Record that with static cameras and a crew that stops and starts the players, and what you keep is a flat version of the night that nobody plays again.

We have filmed the London International Festival of Early Music in Blackheath for five years, and staying out of the way is the whole craft of it. The concerts go out at broadcast standard, first through Marquee TV and now on LIFEM's own channel, so the recording has to be good enough to broadcast while doing nothing to disturb the room.

We direct and cut the cameras live from a portable mixing desk, so the filming follows the music instead of interrupting it. What the organisers kept telling us was that we were never in the way, and that we never once asked a musician to stop and start for the camera.

For an arts organisation, that is the difference between a recording that files an evening away and one people return to for years. And it costs less than you might expect.

Let's preserve your performance for future generations.

29/08/2026

At RATP's awards night, the cameras were on the winners before their names were called.

Two people covered that ceremony. Glenn and George had filmed it enough years to prepare properly.

They spoke to the organisers beforehand and had a camera ready on the tables where the likely winners were sitting. When a driver's name was read out, the shot was already there to catch the moment they realised it was them.

That mattered here more than usual. RATP's drivers are spread across depots all over London, most of their day spent on the road rather than at a desk.

For a lot of them, the awards night was the first time they had been recognised on a stage. Missing a reaction would have meant missing the whole point of the film.

We worked with RATP for five years, from 2014 to 2019, filming their management conferences, the Bus Driver of the Year competition, the Inspire Awards and the winner films shown on the night. The same two people every time. By the later years they could walk into a venue and know exactly how to set it up, which kept the days short and the budget steady.

When the two people have filmed your events for years, a small crew is the efficient choice.

You can commission a video that ticks every technical box and still watch it come back flat on screen.When that happens,...
27/08/2026

You can commission a video that ticks every technical box and still watch it come back flat on screen.

When that happens, the presenter gets the blame. Usually it is the room they were put in.

Across four years of live streaming at Cannes Lions International Festival of Creativity, we built the broadcast to full television standards, the same kit and experienced crew a presenter would meet on a national programme.

People stepped in front of those cameras, some for the first time at that level, and performed like it was normal.

A professional set tells the person in front of it that this is being taken seriously, and they rise to it.

Put the same person in front of a phone on a tripod in a meeting room and the setup tells them the job is minor, so that is how they play it.

That is why the environment belongs in the brief, next to the script.

The room your presenter walks into shapes what they give you.

Address

London
SL00NH

Website

Alerts

Be the first to know and let us send you an email when Sparkly Light posts news and promotions. Your email address will not be used for any other purpose, and you can unsubscribe at any time.

Shortcuts

Share

Category