Channel 4 notes this addition affirms its commitment to geographic diversity in its coverage.

“It will bring more authentic regional voices to our news coverage, deliver more opportunities to people in the region and help ensure we continue to provide the best news coverage for our audiences,” said Louisa Compton of Channel 4 News.

“ITN’s newsrooms are committed to reflecting the experience of people across the UK and our investment in Channel 4 News’ Leeds operation and the content teams based there will significantly deepen our roots in communities across the north of England and enrich our coverage for viewers right across the nation,” said Rachel Corp, CEO, ITN.

Operating from a temporary setup since early 2022, the transition to a permanent hub in Leeds city center represents a significant increase in Channel 4 News’ regional presence. Backed by a larger newsroom team and new broadcast studio space with windows overlooking the city, the expansion gives Channel 4 the latest in broadcast tools and a home for its FactCheck data journalism unit.

A remote production for Channel 4

A standout feature of the new Leeds studio is its incorporation of actual windows into the set, mixed with large LED display technology. This design choice necessitated ND window treatments to reduce glare with a series of vertical LED displays also helping block some potential sunlight. 

Simon Jago and the Jago Design team worked with Channel 4 on the new studio design, having also designed Channel 4’s London studio.

Broadcasts from Leeds and London are managed out of PCR 6 at the ITV Network Centre, with Vizrt’s Viz Multiplay utilized remotely to control the studio displays from London with tight integration in Vizrt’s automation platform.

To achieve connectivity between Leeds and the existing London facility, Channel 4 News is using Riedel’s Bolero for talkback, Ross Video’s Ultrix routing platform, and EVS’s Cerebrum for remote control routing.

The Channel 4 team, along with vendor ES Broadcast, has also made efforts to integrate cloud infrastructure for contingency planning. In the event of an issue, broadcasts from the Leeds studio can be produced via Grass Valley’s GV Ampp platform with TinkerList handling the rundown and script. 

The temporary studio and select broadcast technology will continue to see usage through a donation to the University of Leeds School of Media and Communication.

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Atlanta News First uses retired rival anchor to promote its launch

The centerpiece of the set is a 23-foot wide by 7-foot tall 1.4mm curved video wall from Neoti, designed to be used with a standing mobile pod-style desk from set designer Broadcast Design International.

This sits on a series of support elements in front of a wraparound wall with faux stacked stone and backlit, color-changing ribbons that serve as a nod to the station’s graphics package.

WANF also introduced new graphics and music with its new name.

BDI also designed a working weather center, with a 98-inch touchscreen positioned behind a curved presentation desk. The panel is mounted on a freestanding short wall flanked with frosted panels that separates the presentation area from the work area.

That workspace features computers as well as an integrated 55-inch video panel that can showcase branding and weather graphics and appears in the background of select weather shots.

Adjacent to this is an additional 75-inch touchscreen mounted on a gray and frosted wall that juts out dramatically from camera left of the work area.

Set Design

WANF

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Then, next to this is a 3×3 video wall created from nine 55-inch low-profile LCD panels, primarily designed for weather. All told, the weather area takes up nearly half the square footage of the studio.

On the opposite side of the space, camera right of home base, is a 55-inch vertical monitor on a movable cart with frosted panels featuring a segmented look with concentric circles.

This transitions to panels depicting the Atlanta cityscape and an additional 86-inch touchscreen that can also be used for standups.

The new set also includes an interview area with five vertically mounted 85-inch monitors and an option for a sofa and coffee table. 

WANF tasked BDI with creating a dynamic environment with flexible storytelling options and the opportunity for talent to move around the space and interact with each other on-camera.

This standup, which includes the anchor pointing to the inserted topical graphic that’s been layered on top of the cityscape, uses the same video wall as the primary anchor two-shot.

BDI maximized the station’s investment by ensuring the primary curved video wall could be used with or without the desk and in multiple talent configurations. 

In wide shots, BDI’s layered design approach makes it possible for the station to blend video wall graphics with hard scenery while still having a dynamic two-shot against the video wall with “ANF” branding prominently inserted between anchors.

The station’s on-set video wall graphics also blend a traditional cityscape with overlays, including the staggered rectangle motif from the graphics package as well as inserted frames of topical video and imagery.

Anchors can also join the weather team at the weather presentation desk to discuss the day’s weather, which is branded under the “First Alert” name. The neighboring weather wall and touchscreen area were also laid out with talent interaction and movement in mind.

Talent interaction and bumps can be captured with a grid-mounted overhead robotic camera.

WANF officially changed call signs Oct. 3, 2022, but the brand soft-launched Sept. 30, 2022.

Project Credits

• Set design by Broadcast Design International
• Fabrication by Broadcast Design International
• Lighting design by Angry Badger Productions
• LED technology from Neoti and DesignLED
• Promoting from CueScript
• Lighting gear including Litepanels Gemini, Litepanels Astra, De Sisti, Chauvet Pro, ETC and Pathport

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WMAQ, which has studios inside the NBC Tower in downtown Chicago, retooled its existing space with a look that, like other NBC-owned stations, is dominated by video walls and color-changing elements. 

Home base remains in front of a large, curved video wall, but with the addition of an internally lit frame and rippled white panels installed above and below, inspired by the waves of the Chicago River and Lake Michigan, according to designer Jack Morton Worldwide. 

On either side of the LED wall are glass and metallic columns, a nod to the skyscrapers the city skyline is known for. 

There’s a new trapezoidal anchor desk with a backlit front featuring an NBC peacock mounted above the word “Chicago” and banding near the floor. The entire front of the desk can change color, with a light and deep blue used through late afternoon into evening and orange-yellow for mornings, for example.

In addition, the peacock and each of its feathers can shift colors independently, enabling it to be both a subtle white or multicolor version. It’s also easy to see how these elements could be mixed up for various holidays or special coverage, such as a mix of red, white and blue for elections.

The L-shaped video wall installation that had been installed in the studio previously remains, but where it was simply black above and below, it now boasts a matching frame and textural panels. Above, there’s a custom rendition of the four distinctive six-pointed stars that appear on the city flag in a simulated stone carving.

This area, as it was before, is used for both anchor standups and sports and is typically shot in a way to take advantage of the 90-degree angle where the two arrays meet. The addition of hard scenic around it ties it in with the adjoining anchor area, allowing the station to shoot cohesive tosses to the space as well. 

On the opposite side of the space is an additional curved video wall, also with a lit frame and rippled panels, that’s primarily used for weather and traffic, but also can be used as an alternate anchor area. This is possible because the weather presentation desk has been removed, allowing talent to move around freely in front of it.

Camera left of this is a new area with an interactive touchscreen installed in front of a series of vertical louvers with a color-changing wall behind it. This too can be used for anchor standups, including in combination with the larger one to the right.

Connecting all of these spaces are multiple wood-toned areas with gray borders, many of them curved. 

The floor becomes an especially prominent element when the camera left video wall is used for weather or traffic. In these segments, the entire video wall is shown — the far right filled with a blue vertical bar with the Storm Team logo. This approach is common on on-set video walls used for weather and often helps keep the weather graphics’ aspect ratios more consistent. 

During morning newscasts, the station alternates between using the video wall and key wall for weather and traffic. During other dayparts, weather is done using chroma key and the video wall. 

Like sands through the hourglass, ‘NBC News Daily’ continues ‘Day’-driven motif

When the video wall is used for weather, WMAQ has had an anchor join the forecaster in front of it for a toss of sorts. During the debut of “NBC News Daily,” WMAQ’s two cut-ins also had the anchor join the forecaster there to lead with the weather. Later in the briefs, the anchor moved to the L-shaped array.

Both of these video walls are also used in bump shots, typically showcasing either a branded graphic, skyline view or a combination of the two.

The primary anchor background has, at least following the Sept. 12, 2022, launch of the set, remained live camera feeds from various points across the city. In fact, on tight anchor two-shots and one-shots, the set ends up looking nearly identical to the old one — with the desk’s glass-topped shape being the only clue that something has changed. 

In coordination with the new set, the station has also started using different push-in and pull-out shots at the start or end of blocks, often ones that incorporate a robotic boom move along with the zoom. These are used at both the anchor desk and for bumps.

The new set feels a bit larger and more open than before, even though it essentially occupies the same footprint in a space that was previously part of the station’s newsroom. 

Earlier this year, Jack Morton replaced sets at KXAS in Dallas and KNTV in San Fransisco, which both have newer and larger studio facilities than the one WMAQ uses for its newscasts.

That likely put some restrictions on the design and ability to create the multiple venues with large swaths of colorful, backlit walls often adorned with oversized NBC peacock feather elements found at those stations. 

Some elements from those designs have been carried through to WMAQ, however, such as the video wall frames, banding motifs and use of glass to create sculptural elements. 

WMAQ had been using portions of the set first installed back in February 2012 that featured a small, 3×3 video panel array sandwiched between two backlit walls. By that fall, the entire back wall was changed out in favor of five vertically mounted video screens with a narrow metallic element between each, similar to the look that WNBC in New York had at the time.

The studio saw additional updates over the years, including the installation of integrated touchscreens, new scenery in the standup area and a low-profile array in the studio weather center.

NBC Chicago continues evolution of its set with seamless video wall upgrade

Throughout this entire time, the anchor desk has remained essentially the same, with only some minor cosmetic updates done over the years. Prior to its 2012 set, the station had used a newsroom set for nearly two decades.

Project credits

• NBC Chicago – Kevin Cross, Frank Whittaker, Jonathan Garratt, Joseph Schlitz
• Design – Jack Morton Worldwide
• Larry Hartman – Production Designer / Senior Design Director
• Doss Freel – Associate Designer / Senior Project Manager
• Chris Maroney – Senior Illustration
• Raeford Dwyer – Senior Graphic Design Art Director
• Nick Nocera and Derek Van Heel – Drafting
• Andre Durette – Design Leadership
• Tristan Howard and Ruth Shorten – Production Support
• Fabrication – Chicago Scenic Studios
• Lighting Design – The Lighting Design Group (LDG)
• Niel Galen – Lighting Designer
• Hannah Zucker – Project Manager
• AV Integration – NBC Engineering
• LED – Neoti

The post NBC Chicago unveils set filled with video walls and city references appeared first on NewscastStudio.

The set includes the latest in technology along with textures and imagery that reflect the Blue Ridge Mountains and surrounding areas, notes DDG.

“Creating more compelling newscasts for the local WYFF audience by utilizing a variety of flexible and adaptable, technology-driven venues, in combination with showcasing the beauty of the area, makes this scenic storytelling environment dynamic. The flow and engaging interaction between talent, adds incredible energy to every production,” said Kartik Dakshinamoorthy of Devlin Design Group.

Set Design

WYFF

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The WYFF team wanted a versatile set with a variety of storytelling venues able to accommodate both newscasts and special programming, such as debates.

DDG notes it was important for the design to create a visual connection with the community, which is achieved through nods to the natural surroundings, downtown Greenville and the Liberty Bridge.

The bridge, part of Falls Park, is a curving, sculptural and highly awarded pedestrian suspension bridge that symbolizes the community and is incorporated into the scenic design through the set’s header piece and anchor desk.

On the tech side, a seamless LED wall from Grant AV anchors the main desk talent shots. Presenters can walk and interact with video and graphic content displayed on the curved sweeping wall. The desk, an interpretation of the Liberty Bridge support beams, includes a backlit WYFF 4 logo, and is easily moveable.

The weather presentation area, anchored by a substantial weather desk, large enough to accommodate 2 meteorologists during severe weather, features a 3×3, 55” monitor array displaying the latest weather stats. An on camera working weather center, positioned behind sliding glass doors etched with Live Super Doppler 4 branding, is wrapped with 6 display monitors and 4 workstations.

Positioned next to the weather center, another presentation area features an array with two landscape 86” monitors, perfect for breaking news, additional severe weather coverage or for more intimate presentations.

Across the studio, another large multi-purpose area for visual storytelling and interviews includes a 6×1 array of 55” portrait monitors. A moveable platform can easily be added for seated conversations.

DDG’s design solution was inspired by the symbolism of the Falls Park on the Reedy Liberty Bridge, connecting the community. The curving studio layout emulates the curving sweep of the structure. The branding focal point, the main valance panel, combines a silhouette of the bridge and a large WYFF 4 logo over a stylized waterfall texture. The design was featured on a t-shirt given to the employees celebrating the launch.

The landscape surrounding Greenville, the heart of South Carolina’s Upcountry, surrounds the studio.

An RGB color changing mountain pattern, emulates the Blue Ridge Mountain vistas. Stacked stones commonly seen in the area, are used as a natural accent element. Stylized valance panels represent the many waterfalls the area is known for. Accent lighting throughout the scenic design allows for custom color cues to transform the look for dayparts or special programs.

The studio design includes a new lighting package from Brightline with lighting design from Dan McKenrick.

The post Hearst’s WYFF News 4 in Greenville debuts new set appeared first on NewscastStudio.

Like many recent Nexstar sets, the primary anchor desk is centered in a corner of the studio with floor-to-ceiling seamless 3.9mm pixel pitch LED video walls from Neoti’s LE Series meeting at a 90-degree angle in the corner.

Set Design

WTTV

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The corner, however, is dominated by a two-faced LED column that runs the same height of nearly 10 feet, breaking up the two walls on either side and providing a key focal point between anchors on two shots, giving the station the opportunity to showcase its logo and “Your News Now” branding prominently but in a twist on the typical centered branding location.

This column features 1.8mm pixel pitch UHD Series LED from Neoti. 

Camera left of the anchor desk, which is fronted with additional video panels, is a 3×3 55″ Philips video wall mounted inside of a double internally-lit curved frame structure that looks a bit like an upside-down “U.”

This same element is repeated camera right in a wider format that frames out a 4×2 55″ Philips array which uses a TVOne Coriomaster wall processor with the LED display layered behind it. Both of these video walls are positioned so that they can be used in a variety of ways, including both from the anchor desk, in tosses or in standup shots.

An additional venue is found in a corner created to help disguise the studio entrance that features a freestanding, wild monitor unit.

A wide view of the new CBS 4 broadcast studio.

Continuing on past this space is another corner configured as a weather and traffic center that includes a presentation pod and a background featuring a stylized city roadmap and CBS-eye.

Four additional wall-mounted panels and another large-scale video wall of 49″ displays are used in this space for weather and traffic maps with a  frame wrapping the space. 

These back-lit structures are positioned in front of the structural walls that wrap around the set and are finished in a variety of ways — including faux stone or brick, blocky textural panels, backlit panels and the occasional solid wall.

Digital Video Group worked with the station on additional studio technology upgrades including Philips, Sharp and NEC displays. The studio also features CueScript teleprompters and Ross Video CamBot robotic pedestals.

The post CBS 4 Indianapolis debuts new set with layers of LED, scenery appeared first on NewscastStudio.

The station had used space inside the mixed-use development adjacent to the American Airlines Center as its primary studio since 2007. The station opted to consolidate all operations to its Young Street facility which also had a studio that could be used instead of or in conjunction with the Victory Park location.

By mid-December 2021, the station was anchoring newscasts from a modified version of its newsroom standup location as it overhauled the main studio space. The approximately one month gap was needed because some LED display technology from Victory Park were brought over to Young Street and reused.

Following the station’s “arrow” logo and design element, it’s perhaps appropriate that the primary home base is situated in the corner of the studio, creating a multitiered wedge-shaped loft balcony above it.

For the 6 and 10 p.m. newscasts, the station’s “winged” Tegna style anchor desk from the old studio was brought over and placed in front of a wide video wall remiscient of the primary background at Victory Park, using it as a primary backdrop, though anchors and other talent frequently move around the space, including using a touchscreen standup area or “window” array on the other side of the space.

View on Giphy

Standing behind this were co-anchors Chris Lawrence and Cynthia Izaguirre. This video wall can also be used for single anchor standups when shot off axis and two person standups without the desk.

A working staircase

Flowing down from the balcony is a functional staircase that allows talent to move from one level to another.

The steps terminate in a dramatic, angled landing a few risers above floor level that’s used primarily for standups and would be an ideal place to implement standups enhanced with augmented reality.

The modern, open staircase is left open underneath, giving viewers a glimpse at a shootoff wall with an arrow motif, metallic support columns and an X-shape tension wire element that adds a bit of an industrial feel while also serving as a nod to the arrow shape.

Tucked up in the higher levels of the loft are shorter flights of stairs that connect to an upper level of the station, allowing an alternate entry point.

Set Design

WFAA

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This area also featured multiple large arrow accents on the walls and is equipped with a row of video panels and bar-style seating that went unused during the debut.

Floor to grid walls

While the balcony is the only space that talent can physically reach on the upper part of the set, the studio is essentially wrapped in scenery from floor to grid throughout the entire space.

Most of the upper walls, and much of the complete wall behind the stairs, are filled with an irregular array of rectangular panels set of by metallic frames. These panels are equipped with a mix of solid, edge lit and backlit elements with many of them featuring integrated color changing LED that allows them, like the space’s backlit headers and anchor desk segment to change color as needed.

The blocky collage of walls were featured on the Victory Park set, which was refreshed in 2018, and also draw on the metal framework that was featured in its original design. That look, in turn, was inspired by the modern metal and glass walls of the Victory Park development. 

Dallas station refreshes Victory Park studio, adds arrow to logo design

Faux windows

For 6 p.m. sports, the station used the “window” wall, a three segment wall with faux window frames backed with seamless LED, as a standup style area, showing a mix of topical and scenic graphics on them.

The window wall and other video panels throughout the studio were also used for “video on video” style shots with “floating camera” “walk and wander” bumps.

Forecaster Pete Delkus even moved over near this area to toss to the sports anchor after some brief crosstalk, before the camera pulled in tighter on just sports anchor Joe Trahan for his report. 

At 10 p.m., sports was done from the balcony level with a smaller wall mounted LED panel serving as a sort of OTS graphic and the home base video wall showcasing a topical graphic in the wide jib shot at the top of the block. The balcony was also used for a weather tease at 6 p.m.

View on Giphy

The “window” area was also used for a standing anchor position, with branded election graphics showing up on the panels behind the anchor before he tossed to a reporter on the balcony. The wide toss shot to the balcony showed the primary video wall with matching election graphics, as did the panel on the balcony array.

The studio also features multiple strong vertical lines, including wood and metallic fronted columns, some of which feature the station’s logo, that are dramatically uplit, a move that helps delineate the space visually.  

A different look for mornings

For the station’s morning news, home base shifted to the window wall thanks to a wild anchor desk. 

Most of the backlit surfaces were shifted to an orange shade, giving the space a brighter feel as compared to the darker, more dramatic look used in the evening.

The window wall, perhaps a nod to the old windowed studio, is topped by a large dark wall featuring an oversized version of the station logo, could showcase stylized cityscape photograph or realtime video feeds.

For most of the morning news, the wide nightside video wall was used for both traffic and “Speed Feed” segments, which are both presented by traffic anchor Tashara Parker. There’s also the opportunity for Parker to toss directly to weather, which is done from a working weather center with a curved presentation desk camera left of the primary evening anchor position.

Weather center

The weather center, also positioned in a corner, but without the diagonal video wall that the evening anchor area has, features a row of monitors showcasing various video feeds and also has workstations in addition to the presentation pod.

Given the severe weather expected in the region on debut day, both the evening and morning newscasts made heavy used of wide and toss shots between these two venues.

Both the weather center and window wall also boast floating internally lit header elements that help to visually “frame in” the segments shot here.

Other venues and camera shots

View on Giphy

The debut morning show on Feb. 2, 2022, also used the touchscreen area to provide winter weather tips, with the anchors tossing to the position via a wide, rotating shot to where reporter Cleo Green was standing by. This shot is located adjacent to the studio’s chroma key wall and portions of it showed up frequently in the background.

That’s a common theme with how the new set is shot — letting viewers see the behind the scenes. The station relies heavily on locked down cameras that can only pan, tilt, zoom and boom robotically, so given the wide, sweeping shots of the space that are commonly used, it would be hard to avoid having the studio’s floor cameras or jib from appearing in at least some shots, so the station appears to have opted to embrace that and not necessarily worry about it showing up on air.

That said, many of those sweeping shots are achieved by either using a traditional jib with teleprompter or a handheld camera operator, though its usage is mixed in throughout the newscast.

It’s not uncommon for the station cut from a locked down shot of the anchor desk, for example, to a handheld shot that’s wider and shows of the cameras before the view shifts to another part of the space. 

Project Credits

Set Design – Joe Lamberta Design

LED – Neoti

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“For the first time in a quarter-century, ABC-7 unveils a vibrant, completely new studio set today,” said Kevin Lovell, the station’s GM in a statement.

“Rich with color, desert landscapes, new monitors, lighting and flooring, this set provides a great backdrop for the already top-rated ABC-7 news team. We salute our ownership, the Bradley family in Missouri for investing in a product to better serve our Borderland viewers.”

The new set is a major tech upgrade for the station with multiple video walls included in the design.

The anchor desk is backed by a five-panel vertical array while a standup area to the left of the anchor desk includes an 18 panel, 6×3 video wall. 

Dramatic angles create the different zones of the set which includes a breaking news area and multiple standup locations with technology.

The weather center, now known as the “alert center,” features a large work area along with a desk for live reports. Weathercasters also take advantage of the large video wall. 

Stone accents add local flair throughout the set along with a unique dura graphic that captures the Franklin Mountains that divide El Paso. 

This graphic, which can change color based on broadcast daypart, uses a tessellation pattern to create mountain forms in the weather and breaking news areas of the set.

Along with the set, FX Design Group also provided lighting design for KVIA with fixtures from Ikan. 

The post El Paso ABC debuts new set appeared first on NewscastStudio.

“With this upgrade our team will have the capabilities and the technology required in today’s high-tech world to best serve our viewers,” said Ted Fortenberry, WLBT VP and GM.

Set Design

WLBT

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The studio includes scenic design from FX Design Group with a variety of venues and video walls, with 41 monitors in total. The anchor desk features twin monitors its front with six vertical monitors behind.

Another area of the set includes an expansive V-shaped video wall comprised of 19 monitors in two 3×3 sections. Technology for the set was provided and integrated by Digital Video Group.

“For more than 60 years, WLBT has prided itself on delivering the news to you quickly and accurately,” said Mark Little, the station’s news director in a statement. “Technology upgrades like this one are instrumental in meeting that commitment to our viewers.”

The set’s weather center includes a pod desk with multiple screens for storm tracking with a large work area fronted by frosted plexiglass.

The studio includes an upgraded lighting grid with new LED fixtures. 

For cameras, the station has grid mounted a variety of Panasonic PTZs in the center of the studio with promoters hanging slightly above.

The post Gray’s WLBT overhauls studio with new set, lighting grid appeared first on NewscastStudio.

Throughout the pandemic, host Jane Pauley has used a virtual recreation of the show’s scenic design, which originally debuted during the 40th anniversary of “Sunday Morning” in 2017.

The virtual recreation of the “CBS Sunday Morning” set design.

The virtual space mimicked the real set, including a mix of faux vertical video displays and branded plexi panels. Earlier versions appeared to be created from actual photos of the set, while it would later introduce ones that appeared to be 3D models.

Set Design

CBS Sunday Morning

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The revised set for “Sunday Morning,” however, is significantly scaled back. Most of the physical scenic pieces are missing.

Gone are most of the panels, video technology and even the riser, which created an awkward height difference for Pauley.

“CBS Sunday Morning” back on a real set.

The show did return to its long tradition of topical decor, however, bringing in plenty of fall decor and even a dining table.

It’s unclear if the program will ever return to its now-former look. “CBS Mornings,” named after “Sunday Morning,” broadcasts from Times Square and could also be a future location for the program rather than its usual home in the CBS Broadcast Center.

Studio 45, which had been the home of “Sunday Morning” along with “Inside Edition,” was repurposed in September 2021 for “Inside the NFL” and a variety of Paramount Plus sports programming. 

The post ‘Sunday Morning’ back on set, albeit scaled back appeared first on NewscastStudio.

The upgrade coincides with the 2020 Summer Olympics in Tokyo, a time when many NBC stations take advantage of increased viewership to run additional promotional spots and debut changes. Scripps’ NBC in Tulsa and Kansas City also updated ahead of the Games with new logo designs. 

Studio A at WPTV has been completely overhauled, scrapping its set of nine years which saw updates to set technology in 2018.

The new design re-orients the studio space with the set placed opposite of the newsroom, while the previous used the newsroom as a background element for many years.

The set’s focal point is a 6×3 video wall and standing anchor desk with internal lighting. Back-lit RGBA graphics wrap the space adding flexibility and a bit of the ocean through a wavy pattern. Meanwhile, the set adds a pop of color through a narrow color-changing header.

The design also includes a six-panel vertical video wall and a large weather area backed by two additional monitors.

These spaces also incorporate cool grey stonework with integrated cove lighting and a deep-blue ripple pattern that continues the ocean theme.

Inside the studio, Ross Video CamBot robotic pedestals are in use along with CueScript prompters and JVC Pro cameras. 

Lighting design for the studio was handled by Dan McKenrick of TVLD, Inc.

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