// Studio & broadcast production
Control rooms that don’t miss.
Studios, control rooms, and flypacks built around how your crew actually works: racked, wired, commissioned, and signed off to spec, then supported for the long run. From a single rack upgrade to a full facility, it’s one build discipline.
// Pick your room
Every build is one of three rooms, until it is not.
Map yours first; the thirteen capabilities below assemble differently for each.
The broadcast control room
ROOM / 01
Switching, multiviewer, comms, and redundancy for stations, channels, and venues where dark is a headline. Redundancy is designed in, not bolted on. →
The production studio
ROOM / 02
Set, lighting, cameras, prompting, and the control room behind the glass, built as one system so the room works the day the paint dries. →
The flypack or truck
ROOM / 03
The same build discipline in a case or on wheels: production that travels to the event instead of waiting for one. →
// What this covers
Thirteen capabilities, one discipline.
Control rooms
01
The room where your show is switched, mixed, and monitored, designed around your actual crew count and commissioned on your own content before we call it done.
Production switchers
02
The heart of the room, specced against your inputs, your outputs, and the show you actually cut, not the biggest brochure.
Studio build-outs
03
Sets, cameras, lighting, and prompting arriving as one working space instead of four deliveries.
Master control
04
The last stop before air: routing, branding, and playout that keep the channel on without a hand on it.
Flypacks & flyaways
05
A control room in cases: packed, labeled, and wired to set up the same way every time.
ENG & field
06
Field kits that shoot, transmit, and hand off cleanly to the room back home.
Racks, wiring & integration
07
Clean racks, labeled looms, and documentation the next tech can actually follow.
Routing & multiviewers
08
Every source where it needs to be, and one glance to confirm it.
Tally & monitoring
09
Talent knows which camera is hot; engineering knows everything else.
Lighting
10
Studio lighting planned with the cameras, not after them.
Teleprompting
11
Prompters and controllers your talent can trust at full read speed.
Channel automation & playout
12
Scheduled programming that airs itself, with a human only when you want one.
Commissioning & sign-off
13
The system is tested, tuned, and proven on your content before we call it done.
// On air
A draw studio that cannot have a bad day.
A state lottery’s broadcast room runs three live draws a day on primary and backup TriCasters with Flowics graphics and Dante audio on a Yamaha DM3. Redundancy was the design brief, not an add-on.
// The gear behind it
Authorized changes what buying costs you.
Every line here ships with authorized pricing, a real manufacturer warranty, and a bench that can service what it sells. Below are a few of the lines this lane draws on; the full bench runs into the hundreds, and the right pick depends on your workflow.
plus TriCaster · HyperDeck · AJA · CueScript · ikan · Litepanels, and hundreds more
Already know your brand? Get a quote on any of it → · Authorized for hundreds of brands →
// Who leads with it
// More solutions
Where this lane touches the other eight.
Studio & Broadcast Production · YOU ARE HERE
What room-builders ask.
Can you rebuild our control room without taking us off the air?
Usually, yes. We phase the work around your production schedule, stage and pre-configure as much as possible off site, and plan the cutover for the window that hurts least. The plan for staying live is part of the design, not an afterthought.
Our crew is small. Can they run a room like this?
That’s a design input, not a limitation. We spec rooms for two-person and even one-person operation all the time: automation, presets, and layouts that put everything within reach. Then we train the people who will actually sit in the chair.
Do you handle the whole room, or just the gear?
The whole room. Design, racks, wiring, furniture coordination, configuration, commissioning, and training, by the same team that supports it afterward.
Can the build be phased across budget years?
Yes, and it often should be: the design carves phases that each stand on their own, financing partners exist for the rest, and the room never half-works in the meantime.
Can we keep our existing gear?
The audit answers that on merit. Most rooms keep more than their owners expect; what stays earns its rack space, and what goes is explained in writing.
What will the room cost?
It is quoted to the room and the workflow, not from a rate card. The design phase exists so the number you approve is the number the build honors.
// While the room is being built
Production cannot pause for construction.
Three ways shows keep happening during a build.
Rent the production
MEANWHILE / 01
TriCaster and 3Play packages, delivered configured, operators optional, for every show the calendar refuses to move. →
Book our studio
MEANWHILE / 02
A broadcast-ready stage with a working control room attached, by the day, minutes from Manhattan. →
Sit in the room first
MEANWHILE / 03
The East Rutherford demo studio runs these workflows live; compare options at the switcher before you commit the budget. →
// Ready when you are