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A PROVOST STUDIO PUBLICATION 5 BROADCAST / VIDEO insight series volume 01 FINANCIAL SERVICES EDITION 5 KEY FACTORS to a Successful Multimedia Studio for Financial Services Brands 5 KEY FACTORS Prudential Studio. Newark, NJ FAC TORSinsight series volume 01 | www.provost-studio.com 3 Planning a Successful Multimedia Studio for Financial Services Brands WHILE IN THE EARLY STAGES OF A NEW STUDIO, IT’S IMPORTANT TO CONSIDER THE FULL MAGNITUDE OF THE PROJECT. * Over the past several years our firm has seen a steady increase in both inquiries and built projects in the emerging area of corporate broadcast and video production facility design and construction. Technology has made the cost of entry into the world of broadcast production accessible to conpanies large and small looking to develop original content and communicate both internally and externally using the web. In particular, our studio provides design services to businesses that are often building their first broadcast facility. Even though they may be a Fortune 500 company with a well-seasoned facilities department, for many, broadcast facility and studio design is uncharted territory. To that end, we have assembled our most commonly encountered considerations and key factors facing our clients when planning corporate broadcast projects. We hope the information below proves useful and helps organize your approach to this exciting and emerging project type. A few clients we’ve helped.BY THE NUMBERS ONEinsight series volume 01 | www.provost-studio.com 5 1Project Budgeting Scenic Budget vs. Overall Project Budget While in the early stages of planning a new studio, it’s important to consider the full magnitude of the project, in addition to the scenic design and fabrication scope of work. Many clients undertaking their first project of this type underes- timate the total project cost when seeking to authorize funds for the project. In particular, base building modifications and infrastructure upgrades are budget line items that consistently consume a larger part of the overall budget than anticipated. The main components of an overall project budget typically include: scenic design, fabrication and installation, lighting design and equipment, A/V integration and equipment; furniture and props; and base building modifications and infrastructure upgrades. Typical Components of an Overall Project Budget Project Hard Costs (including, but not limited to): •Scenic Fabrication & Installation •Lighting Grid & Equipment •Lighting Control & Power Distribution •Broadcast Acoustic Treatment •A/V Equipment •Furniture/Props •Architectural Base Building System Upgrades •Power & Data •HVAC Project Soft Costs (Including but not limited to): •Scenic Design Services •Lighting Design Services •A/V Design & Integration Services •Acoustic Design Services •Architecture and Engineering Design Services •Owner Contingency Project Name PRELIMINARY PROJECT BUDGET WORKSHEET Broadcast Studio-Equipment + Build Line Items No.ItemNotes Primary Design Scope Responsibility Primary Build/Install Scope Responsibility Budget 1(Elect/Mech/Struct/Acoustics)A/E TeamGeneral Contractor $ - 2Lighting Grid ExpansionLighting DesignerGeneral Contractor $ - 3 Lighting-Soft cabling for power and data and expendablesLighting DesignerLighting Designer $ - 4Lighting-Fixture Package (Equipment)Lighting DesignerLighting Designer $ - 5Lighting-Fixture Package (Labor)Lighting DesignerLighting Designer $ - 6Lighting-Control/ Control InfrastructureLighting DesignerLighting Designer $ - 7 Lighting-Grip / hanging hardware / flags / arms etc.Lighting DesignerLighting Designer $ - 8FurnitureScenic DesignerScenic Fabricator $ - 9 Scenery (Including Flooring, Scenic Install & Shipping)Scenic DesignerScenic Fabricator $ - 10 Scenic AV & Technology Hardware (Equipment Only)A/V Engineer/ IntegratorA/V Engineer/ Integrator $ - Broadcast Equipment + Build Subtotal Broadcast Studio-Design and Consultant Line Items No.CompanySub-Contractor Fee 12Broadcast Scenic Designer Name $ - 13Lighting Designer Name $ - 14AV Integrator Name $ - 15Acoustic Consultant Name $ - Broadcast Design and Consultant Subtotal Broadcast Studio Total A/V Engineering/ Integration/ Installation Acoustics Broadcast Studio Consulting Scope Broadcast Scenic Design Broadcast Lighting DesignHOW YOU SEE IT TWOinsight series volume 01 | www.provost-studio.com 7 TWO 2 Scenic Design Approach There are many design considerations that go into developing an appropriate scenic environment for a client. These include understanding the targeted viewing audience and program format, studio layout and organization, aesthetic “look and feel” and on-air brand alignment. Below are some of the typical questions we explore with our clients to better understand their project objectives relative to these areas of consideration. Audience and Program Format •Who is the target viewing audience and what are the specific intended demographics of the show? •What is the proposed show format? •Example: Formal “Hard news” or Informal “Magazine” format Studio Layout and Organization (Shooting Areas and Talent Positions) •How many shooting areas are needed and what type of seating configurations? •Example: Main Anchor Area with anchor desk for 2 hosts, Stand-up Area for 1 host with large moni- tor, Informal Seating Area for 1 host and 3 guests •What are the “on-air” relationships between these shooting areas? •Example: Are the shooting areas seen as discrete areas or will camera throw “over the shoulder” between the these areas on-air •360 vs. 180 Degree Scenic Environments •Traditionally, broadcast new sets were simple backdrops (1 to 2 shoot-off walls) behind the anchor’s head, only to be seen where the camera was tightly focused. Today, news directors are taking a more cinematic approach to programming and using dynamic wide shots in conjunction with cameras mounted on jib arms to convey the larger broadcast studio and newsroom environment to viewers at home (3 to 4 shoot-off walls). In order to accommodate this more dynamic approach, scenic designers are building scenic environments more like a “room” or whole space that can be shot from multiple vantage points. Cameras can pivot and have a 360- degree range of motion within the studio. These types of immersive scenic environments are informally known as “360 degree” sets versus the traditional “180-degree” sets. •Why “360 degree” Scenic Environments? •Design is approached more like a “room” or space vs. single wall “backdrop” •Greater shoot-off area (3-4 walls vs. 1-2 walls) allows more opportunities for shooting positions and overall studio re-configuration and flexibility •Most importantly, allows greater opportunity to communicate a differentiated branded “place” and identity for viewers to relate to at home, and thus set the broadcast programming apart from its peers Design Concept/ Aesthetic “Look and Feel” •Given the programming format, content and targeted audience demographics, what is the vision for the environment as it relates to finishes and graphics? •Example: Does the space feel “refined and sophisticated” or “gritty and unfinished”. On-Air Brand Alignment •Does the scenic environment reflect the brand stan- dards of the broadcasting media organization? Does it look as good, if not better, than other broadcasts in the overall show line-up? THE MEDIA DRIVEN STUDIO THinsight series volume 01 | www.provost-studio.com 9 THREE 3A/V Technology & Integration A/V technology and its integration systems have become an important scenic element in today’s broadcast environ- ments. With the exciting development in LED technology and monitor display systems, scenic designers are in- creasingly using A/V technology as a critical on-air visual element to define the look and feel of the studio. Using A/V technology on set is no longer relegated to a small monitor behind the talent’s head or an over the shoulder element. Below are a few questions for consideration when planning an approach to scenic A/V technology integration: Definition: •By “A/V technology” or “technology”, we primarily mean equipment used to display motion graphics and other dynamic digital content within the studio intended to be seen as part of the on-air broadcast. This technology can include computers workstations, handheld devises, large format display monitors and LED wall panel systems. What is the overall approach to technology and motion graphics? •To what degree will technology be seen and used on-air? (Technology can be used on set in a variety of ways from large scale media walls used as anchor stand-up positions to on-air feeds monitors inte- grated into the main anchor desk) •How will the talent use technology? How will they interact with technology as a presentation tool? (i.e. Many broadcasts are moving to handheld devices for anchors as presentation tools) •In general, is this seen as a “technology heavy” scenic environment? Typical on-air technology scenarios: •As an interactive presentation tool (For talent seated at the main anchor desk and/or stand-up positions) •As a large-scale dynamic graphic element (Often be- hind the main anchor desk displaying relevant topical content or as scenic “architectural” element, such as a window overlooking the city) •As a informational tool for on-air talent (Example: integrated on-air feed monitor integrated into the anchor desk) Next >