The latest of these fundraising extravaganzas was broadcast live from Studio D on Friday 16 November 2018

The 2018 appeal show saw a record breaking £50.6m raised during five hours of live transmission. The action took place in our 11,800 sq. ft. Studio D at BBC Elstree Centre.

The Children in Need Appeal Show presenters

The Children in Need Appeal Show presenters

The scale and complexity of the show meant that the set build and the many other aspects of the studio set-up took over a week to align. This included the configuration of 10 cameras, the arrangement of six lighting desks for the 170+ pieces of lighting that illuminated the set and a hefty comprehensive audio rig for the many presenters, contributors and crew.  Once the show had finished and the 500-strong audience had departed, we expertly de-rigged the set within 24 hours, ready for Studio D’s new production.

With regards to post production, on the night of the Appeal Show live feeds from multiple UK locations featuring fundraising and regional stories were managed in the multiplexer, a bespoke build for the production in our Elstree Post Production Village, that intercut with performances from the studio. EVS XT3 servers recorded this content onto a new Avid Nexis system. All Fundraising, Thank You and Appeal Film VT content were played into the studio from the Multiplexer during transmission. Highlights montages were also cut for inclusion into the live programme.

However, not all the post production action took place on the night of the Appeal Show. Activities began in late October 2018 and ran up to the live show, as our Avid Symphony suites cut material for multiple live show features, with Avid Pro Tools used for dubbing and voice overs.

On set: the record breaking £50.6m being announced live in Studio D

Talking of the 2018 Appeal Show, Andrew Breaks, Studio Resource Manager said: “Children in Need transmission day is probably the busiest day of the year for me and the rest of the team. We have to ensure everything is working seamlessly and in unison, from the fast turnaround post production, servicing both studio and multiple OBs, to safeguarding stage lifts for contributing talent on the main set. It’s a highly complex project, but I’ve got the very best team around me and this year was our most successful yet.”

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