Practical writing on live television production: studio layouts, camera work, acoustics, lighting and the routines that keep a programme on time.
A new article appears about once a day, written by the people who plan, wire, light and operate studios. Each piece is practical and built around a real production problem.
Workflow
A practical walk through writing a rundown, cue sheet and rehearsal plan so a live programme starts on time, keeps its pace and finishes cleanly, with no one in the gallery guessing.
Studio Integration
Priya Nair sets out the questions worth answering on paper before any vision mixer, monitor or intercom panel is ordered, so the gallery works as one system from the first rehearsal.
Training
Taking over an existing studio is rarely as simple as inheriting a key and a manual. Helen Ashworth sets out the mistakes we see most often during handovers and training, and how to avoid each.
Lighting Design
A plain account of how lighting design is priced for a small live studio: what the fee covers, which choices raise or lower the total, and what to settle before a quote.
Case Story
Priya Nair recalls Tomasz, a producer who ran a weekly panel from a small room, and how a revised camera plan settled the shots, the lenses and the movement.
Acoustics
Cold weather changes how a studio room behaves. Priya Nair explains what to check, measure and treat now so presenters and guests stay clear through the dark months ahead.
Live workflow
A plain-words guide to the rundown: the running order that every person in a live gallery works from, what belongs on it, and how it differs from a cue sheet.
Equipment
Two sensible ways to build a small live gallery: a fixed, fully wired rack or a movable cart system. We compare day-to-day running, cost of change and fault finding, then recommend one.
Behind the scenes
A behind-the-scenes account of what on-site support actually involves, from the first walk-through to the final handover, and how crews taking over a studio are trained.
Lighting Design
The question we hear most about lighting design: does switching to LED panels improve how presenters look? A straight answer on colour, placement and camera sensors, from the studio floor.
Camera work
How we place cameras, choose lenses and plan movement for two-person interviews and panel discussions, and what our camera setup and operation service covers for studios taking on more live work this
Acoustics
A look at the microphones, test signals and panel materials we rely on when a studio sounds hollow, and how each measurement decides what goes on the walls.
Live Workflow
A working list of questions to settle before you sign off a rundown, cue sheet and rehearsal plan, so a live programme holds its running time on the night.
Studio Integration
Most live-day failures in a studio gallery trace back to decisions made during integration. These are the mistakes I see most often when systems are joined up, and the habits that prevent them.
Costs
A plain account of how we price live-day support and training for crews taking over a studio, and which parts of a booking raise or lower the figure.
Customer Case
Helen Ashworth tells how Marcus, who runs a small regional news desk, worked through a lighting redesign in the weeks before the dark months, and what changed on camera.
Camera Advice
Short days, heavier news weeks and new guests change how a studio shoots. Our lead camera director sets out what to check on positions, lenses and movement before the colder months.
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