A production loses its network and the day stops: dailies don't upload, the edit can't hand off, the perimeter that's meant to keep unreleased footage from leaking isn't there. Productions are high-value targets for script and asset theft, and they run on tight, immovable schedules — so the network has to deploy fast, hold up under harsh conditions, stay secure against a real threat model, and decommission cleanly when the production wraps. That's the standard we build to.
We can do this because we already do it. The engineering that runs a corporate network is the engineering that runs a production network — productions just need it faster, wider, tougher and more temporary. Our day-to-day corporate IT practice is the depth that makes the production work robust: the same Microsoft 365 admin discipline that keeps an enterprise tenancy clean is the discipline that runs a production tenancy for the length of a shoot, and the same standards, templates and gear let us mobilise in days rather than weeks instead of inventing a network from scratch each time.
Underneath it all sits our own carrier-grade network — AS45437, with multi-carrier interconnects and peering — so the transport into a remote location isn't a rebadged wholesale link but infrastructure we run ourselves, carrier-grade and scaling to the speeds enterprise and wholesale productions need. Where editors, VFX and exec producers need to see footage from elsewhere, we give them a zero-trust remote-access path with MFA, device posture and segmentation suited to the threat model. And production-day footage that absolutely cannot be lost lands on backup destinations we hold on infrastructure we own in our own Australian datacentres, with long-term copies in cloud object storage for durability and retention.
We've delivered network infrastructure for a major superhero film and a major Australian action film, alongside ongoing live event production work through our sister brands. The named productions sit under strict NDA — we don't trade on titles, but the capability is real and the case studies stand. We're comfortable working under NDA from first contact.
Where we sit in the Real World family
We're the network, firewalls, wireless and security layer. Our sister brands sit alongside us: Red Globe Productions handles live event audio, lighting, LED and staging, and Lux Imperium delivers venue-side entertainment technology, working with a large share of NSW's resident theatre venues and medium-sized venues. When a venue needs a permanent production-grade network, our work and Lux Imperium's intersect; when a film needs temporary infrastructure on location, that's us; when a live event needs audio, lighting and staging with a production network underneath, Red Globe and we work together.
Who this is for
- Film and TV production companies running multi-week or multi-month shoots
- Streaming and content producers with episodic and feature production pipelines
- Live event producers needing temporary production networks at festivals, conferences and broadcasts
- Performance venues transitioning to production-grade entertainment technology infrastructure
- Corporate event runners producing enterprise-grade internal events — town halls, product launches, conferences — where the production network has to hold up like any other enterprise network
What's included
- Temporary network builds for film and TV productions — typically multi-week, multi-site
- Production-grade wireless across sets, stages, basecamps and unit bases
- Firewall and security perimeter design for high-value, NDA-restricted content
- Secure remote access for production teams — zero-trust with MFA, device posture and segmentation
- Production-day backup and content protection — destinations for footage that cannot be lost
- Multi-link uplinks — fibre where available, 4G/5G where it isn't, SD-WAN tying it together
- Carrier-grade transport from our own Carrier Services backbone, scaling to enterprise and wholesale speeds
- Compatible with major production workflows — dailies, edit, VFX hand-off, asset management
- Rapid mobilisation — we can stand up a production network in days, not weeks
- Decommissioning handled properly — gear returns, accounts close, the network actually ends
Why it matters
Same engineers, different stage
The network skill that lets us run a 200-person corporate office is the same skill that runs a production basecamp with 200 crew. The firewalls are the same firewalls. The wireless is the same wireless. The Teams meeting is the same Teams meeting. We just deploy it on a stage instead of an office floor.
Production-aware, not just IT
Productions have specific needs that an office IT team would never think about — wireless that survives a stunt rehearsal, network capacity for dailies upload windows, a guest network that takes 80 visitors a day without an admin in the loop, a perimeter that holds against script leaks. We know this because we've done it.
From boardroom to blockbuster
Most of our business is corporate IT — and that's the engineering depth that makes our production work robust. The team that builds your office network is the team that builds a film production network. The only difference is the brief.
Honest about scale and NDAs
Some of our biggest production engagements can't be named. A major superhero film. A major Australian action film. We don't break NDAs to brag — but the capability is real and the case studies stand.
Technologies we use
- Real World (carrier backbone — AS45437, multi-carrier interconnects, peering)
- Enterprise Ethernet, business NBN, 4G/5G transports
- SD-WAN for multi-site production
- Production-grade firewall platforms
- Wireless — Ubiquiti, Aruba, Mist
- Zero-trust remote access for production teams (MFA, device posture, segmentation)
- Microsoft 365 production tenancies where needed
- Cloud Connect destination for production backup