London Sports Awards 2024
In March 2024, I played a central role in the production and broadcast of the London Sports Awards, one of the capital’s most celebrated community events recognising the achievements of local athletes, grassroots organisations, and volunteers. While the awards had been thoroughly planned by the wider team in advance, the decision to livestream the ceremony came very late in the process. Originally, there were no plans to take the event live, which struck me as a missed opportunity. After speaking with the organisers, I volunteered to take on the responsibility of bringing the awards online for viewers at home, ensuring the hard work of nominees and charities could reach a much broader audience.
Within two short weeks, and with only two days of in-person preparation, I stepped into the role of Broadcast Manager and Livestream Quality Controller. My job was to ensure the technical reliability of the broadcast as well as its overall presentation standard. I quickly familiarised myself with the hardware setup, which included the Blackmagic ATEM Mini and a larger ATEM Vision Mixer. These devices were responsible for routing camera feeds and visual overlays to OBS, the software platform used to handle the actual livestream. The ATEM Mini essentially functioned as an external video card, which allowed us to output a stable signal via USB directly into OBS and then onwards to YouTube.
Despite limited time and resources, I implemented a system that prioritised both stability and professionalism. I created fallback graphics and apology cards in advance, which were prepared to display in the event of stream failure or downtime. Thankfully, we never needed them, but having that redundancy in place reflected our commitment to quality. From frame rates to frame composition, I monitored every part of the signal’s journey from camera to screen, making real-time decisions to preserve the viewer experience.
One of the most critical moments came just hours before the show, when it became clear that the venue could not provide us with a reliable internet connection. With under three hours to go before broadcast, I sourced and set up an alternative connection to ensure we could still stream the event. That crisis could have jeopardised the entire livestream, but through calm problem-solving and proactive communication with venue staff, we were able to go live exactly as scheduled. The experience underscored the value of adaptability, forward planning, and trust in one’s technical foundations.
Sound Oversight and Live Adaptation
Sound can often be overlooked in live productions, yet it is one of the most important elements for delivering a professional audience experience. During the London Sports Awards, I worked alongside a professional external sound company responsible for the venue’s audio output. While their team was highly skilled and experienced in live sound reinforcement for physical events, they had not previously worked in a broadcast context, which introduced some unforeseen challenges.
Specifically, their mixer was sending a signal to us that was far louder and more dynamic than what would be considered suitable for a livestream audience. Without a dedicated sound interface or volume control hardware provided by the university, I had no independent means of attenuating or balancing that signal before it reached OBS. This created a difficult scenario, as sudden increases in music volume or overly strong mic levels could have shocked online viewers or distorted the broadcast’s final recording.
To resolve this, I intervened diplomatically at the event’s midpoint and had a constructive conversation with their lead sound technician. I explained the issue and asked if they could take greater care in ensuring audio consistency, particularly when switching between speakers and music cues. They were receptive to the feedback and made noticeable improvements for the second half of the evening, resulting in a more balanced audio experience for the stream.
This kind of live problem-solving is something I take pride in. It involved not just technical awareness but also social skill, negotiation, and a collaborative mindset. I remained calm under pressure, acted professionally in the face of a limitation, and preserved the event’s quality on behalf of both the university and the wider production team. In the end, it was a good example of how different departments with separate priorities can come together successfully, provided there is respect, clarity, and a shared understanding of the desired outcome.
Documentary Films for the Charity Winners
As part of the broader London Sports Awards project, I was also involved in producing two documentary-style films showcasing the stories behind the winning charities. These were Mind in Croydon, a mental health service centre, and Cycle Sisters, a community cycling group based in Osterley that empowers Muslim women to get active. Each organisation was profiled in a short video that played at the awards ceremony and later formed part of the promotional material for the event.
For the Mind in Croydon piece, I acted as sound recordist, interviewer, and contributor to the editorial development of the film. I managed audio both for on-camera subjects and for those who preferred to share their stories anonymously. This required a tactful, sensitive approach, especially in a mental health setting where safeguarding and dignity are paramount. We made every effort to ensure that all participants felt safe and respected, and we were careful to ask permission at every stage of the recording process.
On the second film for Cycle Sisters, I took on a more comprehensive role, serving as director, cinematographer, interviewer, sound technician, and editor. From initial planning to the final cut, I was responsible for the shape and delivery of the film. This was a more physically active shoot, including outdoor coverage and tracking shots of group rides through Osterley Park. We worked quickly and effectively to produce a dynamic and uplifting piece that highlighted the organisation’s energy and sense of community.
Both shoots were completed within budget and on time. Our team was lean, with just three core members, yet our synergy and shared creative outlook allowed us to operate with impressive efficiency. We liaised respectfully with each charity and made clear from the outset that while they were nominated for awards, we could not reveal they were winners. This required diplomacy and tact, particularly when some participants expressed doubt about the value of their time. Through friendliness, reassurance, and careful timekeeping, we maintained a positive atmosphere and left both organisations happy with the experience and the outcome.
Collaboration, Compassion and Team Culture
A defining strength of the entire London Sports Awards project was the quality of collaboration between people. Whether managing the livestream or filming on location, I consistently found myself in team environments that rewarded empathy, patience, and open communication. I always try to be someone that others can come to for technical help, creative advice, or simply a morale boost, and I found that my contributions to the project reflected that mindset.
During the livestream phase, I often acted as a point of reference for my peers. Having spent time researching how the ATEM switchers and OBS should be configured, I was in a strong position to troubleshoot setup issues and guide others through new processes. Colleagues would regularly approach me with questions or ask me to verify their work, and I responded with the same clarity and respect that I would expect from others. It became a space where learning was collaborative, and where people trusted each other to solve problems together.
In the filmmaking process, the chemistry between myself and my teammates was natural and positive. We were a neurodivergent group, and rather than this being a challenge, it actually became a core strength. Our different ways of thinking complemented each other and led to efficient, conflict-free collaboration. We shared a creative language and a sense of mutual support that made the production process enjoyable and focused. There were no ego clashes, no arguments about vision — only clear communication and a shared aim to make the best possible films.
In both settings, I was acutely aware of how our presence could impact others. At Mind in Croydon, for instance, we took extra care to protect the identity and emotional wellbeing of service users. We gave people the chance to speak without being on camera, avoided filming anyone who had not given direct permission, and ensured the final edit was reviewed by the charity’s leadership before submission. In doing so, we demonstrated not only ethical filmmaking practice, but also respect for the lived experiences of those we were documenting.
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