Journal
Practical notes on studio design, camera work, lighting, acoustics and gallery workflows for live television, written by the people who build and run these setups.
The journal publishes about one article a day on how live television studios are planned, lit, wired and operated. Each piece sticks to one practical subject you can use on your own production.
· Crew SupportHow to Brief a Live Show Crew So the Day Runs Smoothly
A practical guide to preparing a technical crew for an interview, panel show or live event: what to send beforehand, what to settle on the day, and what to agree afterwards.
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· Studio DesignA checklist to work through before you commission a studio build
Before drawings are signed off, a producer can settle the questions that decide how a new television studio behaves for years. Helen Marsh sets them out in the order we ask them.
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· Studio AudioSix Acoustic Mistakes in Television Studios and How to Avoid Them
Daniel Okafor walks through the errors we meet most often when studios are treated and wired for sound, from foam in the wrong place to talkback left until last.
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· Camera systemsWhat Drives the Price of a Live Studio Camera Package
A plain walk through the choices that move the cost of studio cameras, robotic heads, prompters and vision mixing, so a producer can budget before asking for a written quotation.
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· Customer CaseA Gallery Rebuilt Around One Regional Programme: Anna's Case
Anna produces a weekly local affairs programme. This is how her gallery, intercom and playout were laid out, wired and rehearsed together before the first live transmission.
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· LightingLighting the Studio Through the Darker Months: An Autumn Checklist
As daylight fades and schedules fill, studio lighting deserves a proper check. Daniel Okafor sets out what to review on LED rigs, control desks and set backgrounds before winter broadcasting.
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· Trade TermsWhat a Call Time Really Means for a Live Show Crew
A call time is not the hour the broadcast starts. Tom Fletcher explains what the term covers, why crews arrive when they do, and how it shapes a day on a live interview or panel show.
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· Studio DesignRebuild the Room or Convert One: Choosing a Studio Fit-Out Route
Two honest options for a new live studio: convert an existing room or build to a purpose-drawn plan. Daniel Okafor compares them on cabling, noise and handover, then recommends one.
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· Behind the scenesHow a Studio Wall Becomes Quiet: Acoustic Treatment on Site
A walk through how we measure, treat and test a room's acoustics, from the first clap in an empty studio to the last talkback check before rehearsal.
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· Camera SystemsWhich Studio Cameras Do You Actually Need for a Live Interview Set?
The question producers ask us most: how many cameras, which heads and what vision mixing a small live set really needs, answered plainly with the reasoning behind each choice.
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· Company newsTesting the Gallery as One System Before the First Live Show
Control room layouts, intercom, graphics and playout are wired and rehearsed together at fameova before a studio goes on air. Tom Fletcher explains how that joint testing runs.
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· LightingThe Fixtures and Methods Behind a Calm Lighting Rig
A look at the LED fixtures, control desks and measuring habits we rely on when lighting news and interview sets, and why each choice keeps faces natural and studios cool.
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· Crew SupportBefore You Book a Technical Crew: A Checklist for Live Shows
Questions to settle before hiring a crew for an interview, a panel show or a season of live programmes, from roles and rehearsal time to handover and cover.
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· Studio BuildSix Studio Fit-Out Mistakes We Keep Finding, and How to Avoid Them
A camera operator's view of the errors that surface when a television studio is planned and built: layout, cabling, furniture and handover, and the simple habits that prevent each one.
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· CostsWhat Acoustic Treatment and Audio Costs, and What Moves the Price
A plain look at what sits behind a quotation for studio sound treatment, microphones, mixing and talkback, and which choices make the figure rise or fall.
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· Customer CaseRebuilding a Regional Panel Show Around Four Cameras and One Mixer
Marcus runs a weekly panel programme from a converted hall. This is how we chose his cameras, prompter and vision mixer, and what changed once the first live show was on air.
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· Gallery WorkflowPreparing Your Gallery for the Darker Months of Live Broadcasting
Autumn brings longer schedules and fewer second chances. Helen Marsh sets out how to test intercom, graphics and playout together in these weeks, so the first live show of winter runs calmly.
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