veridoly
Dorchester live studio specialists

Live television studios that stay on air

We design, fit out and hand over studios for news, interviews and live shows, with equipment, cameras, sound and lighting working as one documented system.

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Services

What we design, fit and hand over

  • Studio Equipment Integration

    We specify, wire and configure vision mixers, routers, monitoring and intercom into a single studio system. Every connection is labelled, tested and recorded so your engineers can trace a fault quickly.

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  • Camera Systems and Operation

    We help you choose cameras, plan robotic and pedestal positions, and coach operators for news, interviews and multi-camera shows. Shot sizes and moves are agreed before the first live programme.

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  • Acoustic Optimisation

    Acoustic Optimisation

    We measure the room, then treat it so speech is clean and talkback, gallery and floor stay clear of noise. Materials are chosen for the space and the budget, not for show.

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  • Lighting Design and Rigging

    Lighting Design and Rigging

    We draw LED lighting plots, rig the grid and set colour-matched looks for presenters, desks and interview sets. Fixtures are placed so faces read well on camera and the crew can reach them.

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  • Production Workflow Planning

    Production Workflow Planning

    We write run sheets, rehearsal routines and failover checklists that keep a live programme on air. The aim is a crew that knows what happens next when something goes wrong.

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  • Training and Handover

    Training and Handover

    We run hands-on sessions at your own desk covering daily operation, fault finding and routine maintenance. Your crew leaves with written notes and the confidence to run the studio without us.

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How we work

From first survey to a studio your crew runs

A studio project goes wrong when decisions are made out of order. We work in a fixed sequence, and each stage ends with something written down that you can read, question and approve. Nothing is wired before the plan is agreed, and nothing is handed over before it has been tested.

  1. Survey and brief

    We visit the space, listen to how your programmes are made and note the room, power, cable routes and existing equipment. We ask who operates what, and what has failed before, so the design starts from real use.

    What you leave withA written survey and a short list of requirements to confirm.

  2. Design and specification

    Daniel draws the signal flow, Priya plans cameras and lighting, and Tom sets the acoustic approach. We choose equipment to suit your crew and budget, and explain each choice in plain terms.

    What you leave withDrawings, an equipment list and a written quotation for approval.

  3. Installation

    We rig, wire and treat the studio in an agreed order, keeping disruption to any running service as low as we can. Cables, racks and connections are labelled as they go in, not afterwards.

    What you leave withAn installed studio with labelled racks and a record of every connection.

  4. Testing and rehearsal

    We test every path, then rehearse full programmes with your crew, including deliberate faults. Failover steps are tried for real so the checklists reflect what actually happens on the day.

    What you leave withTest records and a failover checklist your crew has already used.

  5. Training and handover

    We train your crew at the desk on daily operation, fault finding and routine maintenance. The documentation is handed over and walked through, so questions are answered while we are still in the room.

    What you leave withFull documentation and a crew trained to run the studio.

Our approach

Why a studio is planned as one system

Cameras, lights, sound and signal flow affect one another. A change to one often causes a problem in another. We plan them together, so the studio behaves predictably when a programme is live and nobody has time to investigate.

Equipment that fits the crew

A well-specified desk is no use if the people on it cannot operate it comfortably. We ask who works in the gallery, how many shows a week they produce and what they are used to. Vision mixers, routers, monitoring and intercom are then chosen and configured around that crew. Settings are recorded, labels are clear, and the layout makes sense to someone arriving halfway through a shift. The result is a gallery that is straightforward to run and straightforward to repair.

Light and sound are shared problems

Lighting rigs add heat and fan noise, and acoustic panels can block a lamp position or a camera path. Priya and Tom work from the same plan so these clashes are found on paper, not during rehearsal. We measure the room before treating it, because a studio that sounds clean to a presenter can still carry noise into talkback. Colour-matched LED setups keep skin tones steady across cameras.

Rehearsed, not just installed

Handing over a working studio is not the same as handing over a studio your crew trusts. We rehearse complete programmes, including run sheets and deliberate faults, so people have seen the failover steps work before they need them. Written checklists come from those rehearsals and reflect real behaviour. Training happens at your own desk, on your own equipment, which is where the questions arise afterwards.

Choosing a starting point

New studio fit-out or improving an existing one

Some clients are building a studio from an empty room, and others want a running studio to behave better. The two jobs share methods but differ in scope, disruption and where the effort goes.

Full studio fit-out

Starting point
An empty or stripped room, with equipment, cabling, acoustics and lighting all to be decided.
Design effort
Complete signal flow, camera plan, lighting plot and acoustic design drawn together.
Disruption to output
Little or none, as the room is not yet in use.
Documentation
Created from scratch for the whole studio.
Training
A full programme for a crew learning a new studio.

Improving an existing studio

Starting point
A working studio with known weak points such as noise, uneven lighting or unreliable routing.
Design effort
Focused on the areas that cause trouble, using what already works.
Disruption to output
Needs planning around transmission times so programmes keep running.
Documentation
Often has to be reconstructed first, as older records may be missing.
Training
Short sessions covering what has changed.

Many projects sit between the two. A short survey usually shows which parts need replacing and which can stay, and we talk that through before any quotation.

Questions we are often asked

These are the practical points producers and technical leads raise before a first conversation. If yours is not here, the contact page is the quickest way to ask it.

Can you work in a studio that is still broadcasting?

Yes, though it needs planning. We schedule noisy or disruptive work around your transmission times and agree in advance which systems must stay live. Changes to signal paths are tested before they replace a working route. Where a service cannot be interrupted, we build the new route alongside the old one and switch over once it has been proven.

Do you supply the equipment or only design the studio?

We specify the equipment and configure it as part of the integration work. The quotation lists each item so you can see what is included. We recommend what suits your crew and budget rather than a fixed range, and we explain the reasons so you can challenge them.

How do you decide what acoustic treatment a room needs?

Tom measures the room first, covering reverberation, background noise and how sound travels between floor, gallery and talkback. Treatment is then chosen to fix what the measurements show. We favour practical, affordable materials and explain why each panel sits where it does.

Will our crew be able to run the studio without you?

That is the purpose of the handover. Training takes place at your desk on your own equipment, covering daily operation, fault finding and routine maintenance. You receive written documentation and failover checklists that were tested in rehearsal, so your crew has something reliable to turn to.

Can you help with lighting if we already own the fixtures?

Yes. We can draw a new plot for fixtures you already have, adjust positions on the grid and set colour-matched looks for your presenters and sets. If something is unsuitable we will say so, and suggest a replacement only where it makes a real difference.

What do we need to prepare before a first conversation?

A short description of the programmes you make, the room you have and the equipment already installed is plenty. Photographs of the gallery and floor help, as does a note of any recurring faults. We will ask the rest during the survey.

How is a project priced and paid for?

Prices are set out on the Prices page. You send an enquiry through the contact page, we issue a written quotation, and once it is confirmed we invoice and you pay by bank transfer. Cancellations and refunds follow the payment and refund policy.

Do you only work with large broadcasters?

No. We work with studios of different sizes, from a single interview set to a multi-camera news floor. The method stays the same and the scope is adjusted to what the room and the programme actually require.

Journal

Recent writing from the studio floor

All posts
  1. Acoustics

    How to Measure and Quiet a Live Studio Room Before You Treat It

    A practical walk through measuring a studio room, finding where noise and reflections come from, and choosing treatment in a sensible order so speech stays clean on air.

  2. Equipment

    Before You Commit: A Checklist for Studio Equipment Integration

    Questions worth settling before a gallery build is signed off: signal flow, intercom, monitoring, documentation and spare capacity, so the system stays dependable once live programmes depend on it.

  3. Camera Systems

    Camera Mistakes That Cost Live Shows, and How to Avoid Them

    Priya Nair walks through the camera setup errors she meets most often in news and interview studios, from lens choice to operator preparation, and the habits that prevent them.

Talk to us about your studio

Tell us what your programmes need and we will plan from there

Send an enquiry through the contact page describing your room, your crew and the work involved. We will reply with questions and, where it fits, a written quotation.

veridolyContact
veridoly

Studio design, equipment integration, acoustics and lighting for live television, planned in Dorchester and handed over with documentation and training.

Get in touch

14 Icen Way Business Yard
Dorchester DT1 1EW
01305 248 617
[email protected]

Opening hours

Mon-Thu
8:30-17:30
Fri
8:30-16:00
Sat-Sun
Closed
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