A 24-hour continuous live broadcast. Four countries. No production plan. Funny Hands built everything from scratch.

The production team behind a fishing TV app had a concept: 24 Hours of World Fishing Day Live. A continuous broadcast, going around the world in real time using live view units, throwing between locations in London, France, Australia and Singapore. A genuinely ambitious idea.

They found Funny Hands and got in touch.

In the early meetings it became clear that the team were brilliant at what they knew — the app, the fishing community, the content — and had almost no understanding of what a 24-hour live broadcast actually requires. Nobody had thought through how the feeds would come back to a studio, how the studio output would be vision-mixed and sent out, how presenters would need talkback so the gallery could steer them in real time, or what floor managers would need to do when guest contributors arrived. Nobody had done the crew maths for a 24-hour show.

Funny Hands started explaining. And kept getting more involved.

When the initial production cost came back, it was significantly over what the client had available. Funny Hands sat down with the team and worked through it properly.

The biggest saving came from the crew model. Rather than running three full crews across 24 hours, Funny Hands structured two overlapping crews: the first crew launched the show, went to rest, the second crew held it through the night, and the first crew came back to close it out. Same quality, a significant saving on the budget.

Funny Hands also introduced the client to Trickbox — a studio in London — and brokered the meetings between client, studio and production team to get everything aligned. When you don’t know the industry, finding the right studio and negotiating the right deal is its own full-time job. Funny Hands already knew everyone.

Funny Hands pulled together the entire production: floor managers, camera operators, director, sound operators, producers in the gallery. The whole team, from the same network, all used to working together.

Presenters were sourced too. The lineup included Gemma Scott — now founder of Loudspeaker — as one of the hosts, alongside experienced broadcast journalists and well-known faces who arrived with expectations of how a live show should run. Funny Hands managed that: how to brief talent, how to make them comfortable on a show that was entirely live, entirely unscripted, and running for a full day.

Because that’s live TV. That’s what the whole team does every day.

The technical challenge was real. Live view units running on 3G and 4G SIM cards in multiple countries, feeding back to a gallery in London in real time. When signal dropped — and it did drop — the gallery reacted instantly, cutting back to the studio before the viewer at home noticed. Most of the time, they didn’t.

There was also the client. Months of preparation, significant investment, and now the day had arrived. They were watching their vision come to life. Funny Hands managed that too — keeping communication clear, keeping the team calm, and keeping the show on air.

Twenty-four hours later, it was done.

World Fishing Day Live was one of Funny Hands’ earliest landmark projects. A 24-hour continuous live broadcast, built from a concept and a conversation, delivered successfully to a global audience.

It established something that has defined Funny Hands ever since: when a client has a big, complex, one-off live production and needs a team that already knows each other, already knows how to work together, and can hit the floor running from day one — Funny Hands is who they call.

Funny Hands doesn’t just turn up and press buttons. The team helps figure out what the show is, how to staff it, how to budget it, and how to make it work. Then makes it.