veridoly designs and fits out live television studios, from equipment integration and cameras to acoustics and lighting, and hands each one over documented, tested and explained to the crew.
veridoly was founded in 2011 and operates from a business yard in Dorchester. We design and fit out live television studios for news programmes, interviews and live shows. Our work is documented, tested before it goes on air, and handed over with clear training for the people who will run it.
Every project begins with what the studio has to broadcast: a short news bulletin, a long interview or a multi-camera live show. From that we work out how many cameras, inputs and talkback channels are really needed. This keeps the specification honest and stops budgets drifting into equipment that the programme will never use.
Before anything is mounted, Daniel Prowse draws the signal flow and gallery layout so every cable, router path and monitoring point is accounted for. Priya Nair plans camera positions and lighting plots alongside it, and Tom Whitcombe assesses the room. Problems are found on the drawing board, where they cost very little to fix.
Each system is built, labelled and tested as a whole rather than piece by piece. We run rehearsals, check failover routes and confirm that talkback, gallery and floor can hear one another clearly. A studio only counts as finished when the crew has seen it behave properly under realistic conditions.
Handover means written documentation and hands-on sessions covering daily operation, fault finding and routine maintenance. The aim is that your own team can run the studio confidently, and knows what to check first when something misbehaves. We stay reachable afterwards, but the studio should not depend on us to stay on air.
Good live television depends on many small decisions made carefully and written down. These are the habits that shape how veridoly plans, installs and hands over a studio, whatever the size of the room or the programme it serves.
Vision mixers, routers, monitoring and intercom are specified together so they behave as one system. We configure each part to suit the programme rather than leaving defaults in place and hoping they suit.
Signal flow diagrams, patch lists and settings are written up as the work proceeds. Your engineers receive a record they can follow years later, without having to ask us what a cable does.
We rehearse with a real run sheet and check failover routes before handover. Faults found during rehearsal are cheap to fix; faults found during a live broadcast are not.
Priya Nair coaches camera operators through their first live shows, and our engineers sit with your crew at the desk. People learn the studio by using it, with someone beside them.
Installation is sequenced so that a working studio is disrupted as little as possible. We agree the order of work with you in advance and say plainly when something needs the room clear.
Tom Whitcombe balances clean speech against practical, affordable materials, and we say when a cheaper option will do or when it will not. You decide with the full picture.
A live studio has no second take. We choose proven arrangements, test failover routes and write checklists so the programme stays on air when something small goes wrong.
Documentation, quotations and training are written in plain language. Producers and technical leads should always know what has been installed, why it is there and how to operate it.
Neat cabling, careful labelling, well-aimed lights and properly treated rooms are visible in the result. We take the time to finish the details that nobody sees until they matter.
Our work suits people who run or are building live television studios and need the technical side to be dependable. The groups below describe the audiences our services are written for, from small newsrooms to production teams adding a new set.
Teams producing daily bulletins who need integrated equipment, reliable camera setups and workflow checklists that keep every programme on air.
Managers planning a new studio or refurbishing an old one, who need a clear specification, a realistic budget and a documented handover.
Producers who depend on clean speech, flattering lighting and quiet rooms so conversations come across clearly to viewers.
People responsible for the gallery who want tidy signal flow, proper documentation and training that helps them fault-find on their own.
Multi-camera productions needing robotic or pedestal camera setups, lighting plots and rehearsal routines that hold together under pressure.
Groups new to live television who need guidance from room assessment to rigging, and coaching for operators with little experience.
Studio design, equipment integration, acoustics and lighting for live television, planned in Dorchester and handed over with documentation and training.