A flooded road, a dead signal and a live link that held

Carys Llewellyn shot the pictures, and the weather made everything slower. The camera needed a rain cover, the cables needed raising off the wet ground, and the reporter's microphone needed shelter from wind that kept pushing the rain sideways. Megan set up the portable unit under a small awning, and the first thing she did was a quiet test transmission, well before anyone was expected on air.

Aled's gallery could see the test frame within minutes of it starting. Megan then ran a sound check with the reporter, because rain on a hood can ruin an otherwise clean interview. She moved the microphone lower and closer to the reporter's chin and asked Aled's engineer to confirm the levels at their end, so nobody was guessing.

The live segment ran for just under four minutes. Pictures were steady, the water was clearly visible behind the reporter, and the sound was clean enough that Aled did not need to cover it with captions. Afterwards Carys sent him the raw material from the morning, and I cut a short package from it for the evening programme, finished to his house style and delivered in the format his system expects.

Aled's note back was brief and practical. He asked us to keep the same crew available whenever the river rises again, and to send him the position notes Megan had written so his own team could use them. That is a good measure of a job done well: the producer wants to reuse the method, not just thank anyone for it.