It started with a GoPro on a tripod.

Two reasons, both honest. When I started I knew nothing about broadcasting or video production. In programming, "monkey code" is what you call the mess a beginner writes before they know better. I was the monkey. The other reason is what I was working toward: once the stack is built and tested, game day is almost boring. Everything is automated and synced, so running the broadcast is mostly pushing the right buttons in the right order, simple enough that a monkey could do it. The name keeps me honest about both: where I started, and how dialled it has to be before I'll put it on air.

More than 60 federation meets later, I work with the national federations for powerlifting, Olympic weightlifting, and bodybuilding. Around a dozen meets a year, and growing, with fifteen booked for 2026. Mostly Belgium and Germany, plus other federations within reachable driving distance. Being a lifter first means I know what a meet feels like from the platform: where the tension sits, which attempt matters, what an athlete's family watching at home actually wants to see. That isn't something you pick up pointing a camera at a sport you don't understand.

Federations are price-sensitive. This isn't soccer. There's no broadcast budget waiting to be spent. One operator keeps it affordable while still delivering a broadcast-grade service. That works because the whole stack is built to run from one desk: scoring, graphics, and referee lights all read from the same state, so nothing falls out of sync and there's no crew to coordinate mid-meet.

I'm not a production house, and I'm honest about it. I don't handle ticketing, athlete coaching, federation officiating, or sponsor sales. I don't bring a four-camera ENG crew or a large-format LED wall. The stack is sized for a single operator running a clean federation broadcast, not a televised event with a control truck. If your meet needs more than that, I'll say so up front and point you toward the right partner.