As previously announced by the network, “Balance of Power” host Annmarie Hordern is set to join the television version of the program with current host Tom Keene shifting back to radio. Keene helped launch the “Surveillance” franchise on Bloomberg Radio in 2008, anchoring various television versions of the show, including the current version, which debuted in 2020.

Keene is also set to launch a new weekly program, part of the franchise, later this year.

For the revamp, the network has invested in a new broadcast studio for “Surveillance,” designed by Clickspring Design, and located at the network’s headquarters in New York City.

The new studio incorporates large LED display technology and hints of architectural detail, with a flexible design to accommodate the various outputs Bloomberg produces. The space is wrapped in a skyline view of New York City, with a curved LED providing the primary background.

The space includes subtle nods to Bloomberg and the financial market, including a backlit Bloomberg Terminal logo on a wall panel.

Designed to shoot basically in the round, the layout includes multiple presentation positions and a hub desk with Terminal’s included.

Current editions of the program broadcast from the studio initially launched for the network’s political program, “With All Due Respect.”  

Jonathan Ferro will continue to lead the television version of “Surveillance,” alongside Lisa Abramowicz and Hordern. Meanwhile, Kailey Leinz is set to co-host “Balance of Power” with Joe Mathieu, marking a shift in the presentation team for this program.

Simultaneously, Bloomberg Media has announced changes in its anchor lineup.

“Bloomberg Technology,” helmed by Caroline Hyde and Ed Ludlow, is slated to shift its broadcast time to the 11 a.m. ET hour. “Bloomberg Markets: European Close,” which previously occupied the 11 a.m. ET slot will be discontinued.

The daily feature from Bloomberg Television’s weekend program “Wall Street Week,” anchored by David Westin will now be featured at the 10 a.m. ET hour. However, the main “Wall Street Week” program will maintain its regular airing time on Fridays at 6 p.m. ET.

“Bloomberg ETF IQ,” which airs on Mondays, “Bloomberg Crypto” on Tuesdays, and “Bloomberg Real Yield” on Fridays, will all be moving to the noon ET time slot on their respective airing days.

“Bloomberg Markets” is set to move to a new time at 12:30 p.m. ET daily. 

In the afternoon lineup, “Bloomberg Markets: The Close” is scheduled to air from 3 p.m. to 5 p.m. ET. The show will be hosted by Romaine Bostick, with Alix Steel joining in the 3 p.m. ET hour and Scarlet Fu contributing at 4 p.m. ET. 

The post Bloomberg updates television schedule, adds new studio for ‘Surveillance’ appeared first on NewscastStudio.

WNBC moves into its half of the newly-split Studio 3B

The noon eastern hour of “Chris Jansing Reports” on Jan. 8, 2024, was branded as “How to Win 2024” and anchored by Katy Tur while using the network’s Decision 2024 look and music.

NewscastStudio confirmed that Tur anchored from Studio 3B West, which will become the home of NBCUniversal-owned WNJU later in 2024. WNBC moved into the east half of the space in November 2023.

For the special, which came at the 7-day mark before the Iowa Caucuses, MSNBC brought in the wide, curved desk outfitted with stars along the bottom front that it frequently uses for political and election coverage.

The Telemundo set did not have any visible Telemundo branding on it — unlike the NBC peacock outlines installed on the backlit walls next door, though it’s also possible they were either removed or not installed yet. 

Much of the rest of the studio also appeared, including a plentiful amount of seamless video walls and backlit panels as well as circular LED columns — something that isn’t found on the WNBC side. 

MSNBC took advantage of all those LED pixels to showcase familiar imagery — including a simulated view of Rockefeller Center’s facade as the primary background behind Tur.

Also appearing during the space was another video wall camera right and a trio of tracking video panels on the opposite side. Both of these elements were used for remote interviews.

A separate area featuring a taller LED video array next to two video walls meeting at a 90-degree angle was also shown.

MSNBC’s design team used a bit of a different approach on the circular LED columns, borrowing the star outline from the Decision 2024 look but switching to deeper blue and red along with vertical colored accents.

The studio floor was also decked out with a stars and stripes themed decal. 

As a testament to the space’s flexibility, MSNBC ended up having Tur stay put on the same set — rather than running down the hall — to anchor her normal hour of “Katy Tur Reports” immediately following the special and fed the “MSNBC Reports” virtual set extensions to the video walls.

NBC first announced plans to split 3B, which had been one of the larger sized spaces on the third floor, back in 2022. It will eventually move WNJU from New Jersey after it completes building a new shared newsroom for WNJU and WNBC.

The various studios inside the complex, along with the control rooms, are all interconnected and hot swappable, allowing shows to move between studios or control rooms quickly. This allows flexible in production and adds redundancy.

The post Telemundo 47’s new home debuts — but on MSNBC appeared first on NewscastStudio.

The coverage will be broadcast from a sweeping temporary set at the Fountains of Bellagio from Feb. 5 to Feb. 11, leading up to the Super Bowl on Feb. 11. The extensive coverage plan includes contributions from CBS Sports, CBS News and CBS Entertainment, as well as CBS Media Ventures.

News programming like “CBS Mornings” and “CBS Evening News” along with entertainment programming including “Entertainment Tonight” and “The Talk” will take up residence in Sin City for the occasion. 

CBS Sports

• “The NFL Today” – CBS Sports’ pregame show with host James Brown and analysts Phil Simms, Bill Cowher, Nate Burleson, Boomer Esiason, JJ Watt, and lead NFL insider Jonathan Jones will count down to kick-off of Super Bowl LVIII with detailed game analysis, features and interviews, with the spectacular fountains serving as the backdrop.

• “Super Bowl Live” – Host Adam Zucker will be joined by a rotating cast of analysts including Matt Ryan, Charles Davis, Kyle Long, Amy Trask, Trent Green, Kevin Carter and Jonathan Jones each night, offering news and analysis. Reporters Aditi Kinkhabwala, AJ Ross and Tiffany Blackmon will also contribute to SUPER BOWL LIVE and additional CBS Sports shows.

• CBS Sports HQ – CBS Sports’ free, 24/7 streaming sports news network will provide coverage all week, including more than 40 hours of programming, culminating with an extended Super Bowl LVIII post-game show. Notable daily programming that week includes the PICK SIX podcast and SportsLine’s best bets shows, as well as CBS SPORTS HQ SPOTLIGHT.

• “NFL Monday QB” – Adam Schein, along with Matt Ryan, Trent Green and Jonathan Jones, will break down all of the quarterback action heading into Super Bowl LVIII.

• “That Other Pregame Show” – Host Adam Schein, analysts Amy Trask, Kyle Long, Brock Vereen and Jonathan Jones will offer opinions, analysis, predictions and interviews, with appearances by analysts from THE NFL TODAY.

• “We Need to Talk” – CBS Sports’ all-women sports show will air a special episode, hosted by AJ Ross, Aditi Kinkhabwala, Andrea Kremer and Amy Trask.

• “The Jim Rome Show” – The afternoon radio show, hosted by Jim Rome, is live Monday through Friday and simulcast on CBS Sports Network. Rome offers compelling commentary on the day’s hottest topics, along with high-profile guests and signature callers weighing in on the day’s biggest sports news.

• “Time to Schein” – Adam Schein hosts the hour-long weekday talk show, covering the world of sports with interviews and commentary. 

CBS News

• “CBS Mornings” – CBS’ award-winning morning news program will broadcast live from location in Las Vegas on Thursday and Friday, delivering original reporting, breaking news, top-level newsmaker interviews and artful storytelling with co-hosts Gayle King, Tony Dokoupil and Nate Burleson.

• “CBS Saturday Mornings” will be live from Las Vegas, with co-host Dana Jacobson on-site.

• “CBS Evening News” – Norah O’Donnell will broadcast live from Las Vegas, bringing viewers all the action from Super Bowl LVIII, including the latest breaking news from across the country.

• CBS Stations – CBS Owned Television Stations and Affiliates covering Super Bowl LVIII will broadcast from the Bellagio during their local newscasts.

CBS Entertainment

• “The Talk” – CBS’ Daytime Emmy Award-winning talk show will broadcast live Monday through Friday. Hosts Akbar Gbajabiamila, Amanda Kloots, Natalie Morales, Jerry O’Connell and Sheryl Underwood will welcome celebrity guests and highlight the happenings in Vegas.

CBS Media Ventures

• “The Drew Barrymore Show” – Hosted by Drew Barrymore, the show will tape “Drew’s News” and field segments throughout the week leading up to the Super Bowl.

• “Entertainment Tonight” – The Emmy-winning entertainment news show, hosted by Kevin Frazier and Nischelle Turner, will be with all the stars in Sin City leading up to and after the game.

• “Inside Edition” – The daily, syndicated newsmagazine, hosted by Deborah Norville, will originate from Las Vegas leading up to the game.

CBS has announced an exclusive residency in Vegas for Super Bowl LVIII, with The Fountains of Bellagio serving as the backdrop of the Network’s central broadcast location for CBS Sports, CBS Entertainment, CBS News & Stations and CBS Media Ventureshttps://t.co/1cVyvhOvtc pic.twitter.com/l922BfVdiL

— CBS Sports PR (@CBSSportsGang) January 8, 2024

This event represents a significant effort by CBS to provide comprehensive coverage of the Super Bowl across multiple platforms and formats, engaging a wide range of audiences through sports, news, and entertainment programming.

The post CBS to host weeklong Super Bowl LVIII festivities at Bellagio Fountains appeared first on NewscastStudio.

The pre-taped show hosted by Gayle King and Charles Barkley is running Wednesdays at 10 p.m. “through 2024,” though a special airing is planned for 9 p.m. eastern on Dec. 6, 2023. 

The show is produced from Studio 19Y at CNN’s Hudson Yards studios, with home base positioned opposite the side typically used for the “CNN This Morning” anchor desk.

The studio includes scenery on all four walls and originally debuted in 2019 for the network’s then-morning show “New Day.” 

The part used by “King Charles,” meanwhile, was originally home to “Cuomo Prime Time” until the show was canceled. 

Like the rest of the studio, this side is wrapped in faux brick walls and metal columns as well as multiple seamless video walls designed to appear as windows.

“King Charles” does not use the grid-like scenic element that was previously part of Cuomo’s background, but does make use of the vertical LED video tower that was previously placed behind that movable scenic element. Dimensional lettering with Cuomo show title that could be flown in is likewise not used.

The show uses a bold, condensed sans serif font for its logo with gold and violet used extensively throughout its look. Select elements make use of a rippled glass texture, often placed in front of other elements, including bright lights.

The words “King” and “Charles” are stacked on top of each other, with “King” in gold and “Charles” in violet. King’s first name is tucked in above her last name in smaller type, while Barkley’s surname gets similar treatment below.

The simulated glass is also used on the studio’s video wall “windows” to partially obscure the cityscape behind it, which has been tinted violet and gold in places.

Also included in the video wall graphics are simulated mullions, including ones splashed with violet light.

The LED video tower is used to display both topical and branded graphics. 

Likewise, the studio lighting has been shifted toward a violet and gold scheme, with the brick tinted purple and integrated accent lighting shifted to yellow.

King and Barkley both sit on chunky armchairs in matching gold and violet fabric. King sits on the gold one, matching the color her name uses in the show graphics, while Barkley is on the violet one.

Additional matching armchairs can be brought in for guests and positioned in an alternating pattern. 

The home base is set up on top of the studio’s square riser with inlaid video tiles. The three segments of the installation feature gold glints to the left, a neutral center with the initialism “KC” and violet on the right. That arrangement puts King on top of the gold floor and Barkley on the violet.

View on Giphy

The show’s opening sequence is in a mix of black and white and color with violet and gold tints applied. It includes King and Barkley mingling with crowds in Hudson Yards with brief snippets of current event and pop culture conversations incorporated. 

King and Barkley are introduced along with a preview of the upcoming guests, whose names and photos are integrated into city-inspired surfaces such as a taxi topper, near a crosswalk and subway station walls in an approach similar to late night talk shows. 

View on Giphy

The two-toned approach is carried through to the show’s animated elements, including bumps in the same scheme with the names “King” and “Charles” similarly placed in separate colored segments. The words “Gayle” and “Barkley” are also used in larger form as a sort of accent element.

View on Giphy

When “CNN This Morning” launched in 2022, it used Studio 19X down the hall. At the time, the network said that show would eventually moved to its own set, but that never happened and the show moved back to 19Y. 

“King Charles” should not be confused with the current British monarch of the same name. Barkley is sometimes referred to as “Sir Charles” in popular culture. 

The post ‘King Charles’ uses color to showcase two big-name hosts appeared first on NewscastStudio.

The show is billed as a discussion-based program about the big stories of the week. It airs Saturdays at 10 a.m. eastern.

It is broadcast from the network’s Washington, D.C. Studio B, a set that was updated in the spring of 2022 for the debut of the now-defunct streamer CNN+ and uses the space’s video walls to display virtual set extensions that make it appear the show is broadcasting from in front of a wide span of windows overlooking the city.

These graphics depict a wood wall wrapping around the bay of simulated windows, which feature similarly-textured mullions. 

Compared to some other CNN VSEs, these are much higher better done — with most of the look staying within the realm of what would be possible in the real world while avoiding any oddly over-scaled textures or awkward seams. 

The U.S. Capitol dome is visible just over Wallace’s shoulder in most of his one-shots, with the rest of the city sprawling out on either side. The look features four window segments that are narrower and this simulated glass here boasts a diffusion effect, with the far other two also outfitted with a frosted version of the show logo.

The cityscape beyond is depicted as what appears to be a relatively clear morning under a smattering of clouds with a warm light washing over many of the buildings. That warmness is also echoed in the illuminated edges of the mullions. 

The integrated lighting in the physical dimensional wall panels added for the CNN+ debuts is tinted a similar shade of yellow.

Additional video wall graphics include stacks of CNN logos on vertical wood panels and additional views of the city. 

In addition to the VSEs, “Chris Wallace” does use some real scenic elements in the form of dark geometric chairs on swivels with modern five armed-bases. In the middle of the panel is a two-tier oval coffee table that matches four circular side tables that are positioned on either side of Wallace’s chair and the far outer sides of the set.

The two far left and right tables have stacks of books arranged on their lower tier. 

A patterned gray area rug grounds the look. 

Meanwhile, the show logo features Wallace’s name in a condensed sans serif with the word “The” in the upper left and “Show” in the lower right in small type.

In addition, two L-shaped elements in the lower left and upper right create the suggestion of the outline of a speech bubble, with the “tail” in the lower left, which is presumably a nod to the discussion-based nature of the show.

View on Giphy

Wallace himself uses the line “let’s talk about” just before the open runs near the top of the show, which could also be considered a tie-in to his CNN Max show, “Who’s Talking to Chris Wallace?” 

“Who’s Talking” also used the same studio space as “Chris Wallace” is now during its CNN+ run. 

The show open and graphics use a combination of Washington, D.C.-centric photography with a blue and yellow accents along with squares with rounded corners. In some ways, the look has similarities to “The Source with Kasie Hunt,” a CNN+ plus show that also originated from the space during the streamer’s short life. 

Studio B is also used by “Laura Coates Live,” a new weekday evening program that debuted in October 2023 using its own set of video wall graphics and lighting cues to give the space another unique look.

The post ‘The Chris Wallace Show’ becomes latest CNN show to use D.C. Studio B appeared first on NewscastStudio.

NBC’s debate stage design creates outline of race’s prize using LED panels, glass

Like during the 2019 primary season, NBC set up at the Adrienne Arsht Center for the Performing Arts’ Knight Concert Hall in Miami, Florida, for a two-night debate.

For 2023, the network brought back the same scenic elements as it did during the last presidential election cycle, a series of freestanding frames featuring segments of seamless LED video tiles and simulated etched glass panels designed to play homage to the architectural details of the White House. The stage was designed by Clickspring Design and lighting from The Lighting Design Group. 

The network used largely the same election graphics package based around flat red and white stripes with blue accents and clean light gray and white backgrounds. Contrasting this was the darker look reminiscent of giant billboards inside of a hanger-like environment that was also a holdover. 

The network continued to use its famous election theme music as well.

Also, like the last election cycle, the video walls were filled with graphics designed to simulate the White House exterior along with animated oversized typography and ribbons.

During most of the broadcast, the arrays behind the five participating candidates continued to feature a looped animation of a flowing star background in blue and red.

From some angles, it appears the colors may have been intensified a bit — or the network used different LED panels (there was also notably less of moire in most shots).

NBC updated the debate logo to include its new logo type with the updated peacock icon and its custom NBC Tinker typeface. 

Also updated was the floor decal featuring the NBC News logo in the center of the stage. 

For the three moderators, NBC continued to use the modular curved desk it used during the last cycle as well. This desk can be expanded to seat more people, but with only a trio of people sitting behind it for the Nov. 8 event, only the larger, main segment was used.

This features a lower-resolution LED front along with a dimensional star camera right. The opposite end cap has a glass panel with the peacock, though it was difficult to tell if this was swapped out for the new version.

The network also brought back the three-layered edge-lit glass peacocks, with one positioned downstage right and the other in the audience. 

The “classic” NBC News logotype in Futura was swapped out in favor of internally lit dimensional lettering in Tinker.

One new element NBC added to its broadcast is the use of simulated elements in exterior shots of the host venue and city, including a large vertical rendition of the Decision 2024 logo.

Another view featured the historic Freedom Tower at Miami Dade College with the Paramount Miami Worldcenter and Marinablue buildings visible. NBC’s branding was featured on the vertical ribbon going up the side of the Worldcenter topped off with a panel sporting the peacock. 

It also had a debate billboard on the side of the Marinablue parking structure wall. 

The post NBC News returns to Arsht Center for GOP debate appeared first on NewscastStudio.

NBC News confirms plans to split Studio 3B into two spaces

The new set, from Jack Morton Worldwide, follows the ultra-sleek aesthetic with a plethora of video walls used at other NBC-owned stations.

Along with the new set, the project’s launch represents a significant structural change at 30 Rockefeller Plaza, dividing Studio 3B, one of the complex’s larger studios, into two smaller studio spaces.

The NBC New York side is now known as Studio 3B East, with the other half — the future home of Telemundo station WNJU — known as Studio 3B West. Sources also say that staffers have been referring to them internally as the “WNBC side” or “Telemundo side.” The Telemundo set is expected to debut in late 2024 as part of a facility move from New Jersey to 30 Rock. 

The new WNBC set features an anchor desk made from a blend of wooden tones, metallic surfaces and glass, with a large edge-lit panel displaying the station logo in the center. Anchors stand behind the desk and move throughout the studio during a newscast, taking advantage of the various LED video walls. 

The overall design includes a variety of strategically placed LED video walls in varying sizes and configurations, with the primary LED wall extending nearly the entire width of the studio space.

The upgraded primary video wall can be used to showcase live video feeds of the city — much like the station did on its old set down the hall in Studio 3K — or a variety of custom backgrounds, including stylized cityscapes with an oversized NBC peacock overlay and a bold red option for breaking news.

NBC Owned Television Stations previously used metallic mullions and vertical monitors behind the anchor desk to create a set of faux windows, a look that originated with WNBC and was originally part of Studio 3K. As technology has evolved, these “windows” were phased out for large seamless video walls. 

Camera left of the anchor desk is another seamless video wall that serves as, among other things, a weather venue.

The space also includes a trio of vertically mounted pivoting panels that can be used in various standup combinations.

There are other standup venues in the studio, including one with a smaller, more traditional video screen in another area that can be used for standups as well as an alternate weather venue along with a floor to ceiling vertically mounted panel.

Meanwhile, the space is mainly wrapped with backlit panels, some of which feature NBC peacock accents. These walls are also decked out with edge-lit accents and strong verticals in a blend of wood and metallic tones, elements that have been used at other NBC-owned stations. 

For newscasts, these panels largely display blue hues while turning cooler for lifestyle programming such as “New York Live.” Lighting design for the space was handled by Niel Galen of the The Lighting Design Group.

In the two corners flanking the anchor desk is a narrow textural gray rendition of the peacock, including additional edge-lit elements.

The camera right version of this panel is curved. It is aligned to be used as a background behind the far-camera-right anchor desk position, which is commonly used for sports.

In addition to the new set, WNBC also outfitted the space with upgraded technology from Ross Video, Autoscript, Sony and ARRI.

In addition to four Ross Video Cambots, a Ross Furio SkyDolly grid-mounted camera system allows the station to capture sweeping views of the studio.

View on Giphy

So far its use has been largely restricted to transitional shots heading into weather, showing the forecaster walk from the far-camera-left position at the anchor desk to the video wall, which is ultimately captured by one of the traditional, pedestal-based robotic cameras in the space. 

View on Giphy

The SkyDolly is also ideal for bump shots and gives WNBC the ability to capture high-level shots with more elaborate moves similar to the advanced jib shots and floating camera “walk and wander” effect its parent network is fond of using.

With WNBC live in its new home, the project to split Studio 3B into two separate spaces is essentially halfway done. 

Next up will be the new set for Telemundo 47, which is slated to move the core of its operations to 2200 Fletcher Avenue in Ft. Lee, New Jersey, its home since 2004, when it moved in after CNBC moved Englewood Cliffs, New Jersey.

As required by its FCC license, WNJU will still maintain a physical presence in the Linden, New Jersey area. 

However, plans call for the station’s primary newsroom to move to 30 Rock as well, where it will share space with WNBC.

The combination of the two operations will mean bringing the final NBC-owned duopoly to maintain separate studios and newsrooms.

The splitting of Studio 3B represents the second significant update to the longtime layout of NBC’s headquarters. In September 2023, an updated Studio 6A was unveiled, with the longtime audience risers mostly demolished in favor of a different arrangement for NBCU’s “The Kelly Clarkson Show.”

Studio 3B has a long history at NBC. It was previously home to “The Doctors” soap opera, “The Huntley-Brinkley Report” as well as “Today,” “Dateline” and “NBC Nightly News.”

It is one of two larger studios on the third floor of 30 Rock, the other being 3A, which was combined with 3C in a 2007 renovation to create a new home for MSNBC and primary newsroom for NBC News. The space had a variety of updates over the years until it was largely redone in 2021. By that time, NBC News had moved its newsroom to the fourth floor.

WNBC spent time in both 3K and 3C, as well as Studio 6B. Today, 3C maintains its historic designator but is also known as Studio 3AW, for “Studio 3A West,” much like the new WNBC-WNJU labels.

For a period, Studio 3B was home to both “NBC Nightly News” and the now-canceled newsmagazine “Rock Center.” The “Nightly” anchor desk was on the east side, roughly where WNBC is now.

“Rock Center,” meanwhile, featured a sit-down area and large catwalks with large rear projection screens simulating windows, roughly in the space that Telemundo will take over in 2024.

After “Rock Center” was canceled, “Nightly” would eventually move over to the west side of the studio, with portions of the scenery on the east side relocated there. The seating area was removed and replaced with the “Nightly” anchor desk.

Project credits

For WNBC-WNJU

President/General Managers

• Eric Lerner, President and General Manager, NBC 4 New York/WNBC
• Cristina Schwarz, President and General Manager, Telemundo 47/WNJU

News Leadership

• Amy Morris, Senior Vice President of News, NBC 4 New York/WNBC and Telemundo 47/WNJU
• Dave Manney, News Director, NBC 4 New York/WNBC
• Alexa Rodriguez, News Director, Telemundo 47/WNJU

Creative Services/Promotions

• Gina Oliva-Pinto, Vice President, Marketing and Creative Services, NBC 4 New York/WNBC
• Lynette Pinto, Vice President, Vice President, Marketing and Promotions, Telemundo 47/WNJU
• Evelina Stepanenko, Graphics Manager

Technology and Operations

• John Gonzalez, Vice President Technology & Operations, NBC 4 New York/WNBC and Telemundo 47/WNJU
• John Lorusso, Director, Engineering
• Juan Pablo Olave, Manager, Engineering
• Brandon Meyer, Director, IT
• Victor Pagan, Director, Production Operations
• Brian Cafaro, Chief Director

For Jack Morton Worldwide

• Production Designer: Evan Hill
• Design Director: Andre Durette
• Project Manager: Matt Jackson
• Illustration: Chris Maroney, Erik Nevala-Lee, Hayden Barbeau, Jenniliee Aromando
• Graphic Design: Raeford Dwyer, Shelline Vandermey
• Drafting: Ben Bauer, Nick Nocera

For Showman Fabricators

• Scenic Fabrication Project Manager: Pat O’Donnell
• Technical Drafting: Kell Fayton-Hrdy, Megan Abate

For The Lighting Design Group

• Senior Lighting Designer: Niel Galen
• Lighting Designer: Anna Jones
• Lighting Project Manager: Hannah Zucker

For Greg Gerner Inc.

• AV Integrators: Dave Hulings, Andrew Gerner, Greg Pierce

Photos courtesy of NBC.

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The launch aligns with RTL’s exclusive free-TV partnership with the NFL, a significant move for both the broadcaster and the league, with the NFL also playing a game in Germany during the 2023-2024 season.

The preseason kickoff was hosted on August 12th by Nitro, a channel within the RTL network known for catering to niche interests. This event also marked the inauguration of RTL’s freshly minted live studio, replete with advanced Leyard Europe LED screens.

The journey to this state-of-the-art studio began in February when RTL collaborated with Veech x Veech, an Austrian design firm. The partnership aimed to craft a studio that was not only visually striking but also technically superior.

Laurin Schmid of Leyard Europe (Planar) played a pivotal role, ensuring that the LED screens chosen would offer optimal color rendering for broadcast without common issues such as moiré patterns. RTL’s previous positive experiences with Leyard in other studio settings laid a foundation of trust, influencing the decision to continue with Leyard’s technology in the new NFL studio.

“The preference for Leyard LED solutions by both the Veech x Veech team and the end client is rooted in past positive experiences with our products,” said Schmid.

“For instance, RTL has already successfully incorporated Leyard products in four other studios across Germany. This historical context solidified the choice of Leyard as an LED manufacturer for the new NFL studio.”

Despite the complex nature of such undertakings, the studio was completed within a short timeframe. A concerted effort from various teams and efficient use of Leyard’s Slovakian manufacturing resources were key to meeting the tight schedule, a task typically spanning up to two years but accomplished in mere months.

The studio’s design features a 360-degree layout with four main LED walls. The on-air team, comprising commentators, analysts, hosts and presenters, navigate the studio’s centerpiece – an 11.5m by 2.7m curved video wall made of Leyard AT 1.5mm LED panels. This curved design is a familiar aspect to RTL viewers, reminiscent of other network studio setups.

The studio doesn’t shy away from integrating social media, sporting a vertical LED wall for the community host to display content in a mobile-friendly vertical format. The moderator’s desk is flanked by multiple LED screens, supporting the detailed analysis and vibrant graphics that will keep viewers engaged.

Schmid underscores that Leyard’s offerings are not only top-quality but also sustainable, providing a long-term solution for RTL’s broadcasting needs. The on-camera performance of Leyard’s screens, backed by a lifetime warranty, was a convincing factor for RTL.

The successful completion of RTL’s innovative NFL studio showcases the synergy of quality, reliability, trust, and teamwork. As the 2023/24 NFL season unfolds, RTL Deutschland is poised to deliver an unrivaled viewing experience, leveraging its latest technological advancements.

The post Case Study: RTL adds dedicated NFL studio enhanced by LED screens appeared first on NewscastStudio.

The renovation includes a new set design and advanced broadcast equipment in an effort to modernize the channel’s news delivery.

The channel’s main studio now features a design centered around a stylized globe, intended to reflect Al-Ghad TV’s international focus. This comes alongside new sets that accommodate various programming formats, equipped with Sony cameras and LED display walls from LianTronics, some of which can track to create various configurations on-air.

The studio’s new lighting operates on an IP-based system using the ArtNet protocol, allowing for dynamic lighting changes.

Al-Ghad TV has also integrated a suite of contemporary broadcast tools, including AVID’s iNews NRCS, Media Central Cloud UX Production Asset Management system, and Vizrt’s Viz 5 graphics engine, which supports augmented and virtual reality graphics. The audio network is upgraded to an all-IP system using Dante, managed by Solid State Logic’s equipment, and includes Sennheiser’s microphones and monitoring systems.

This project also entailed expanding the studio space to over 8,000 square feet spread across three floors, featuring additional control rooms, editing suites, and creative workstations. The upgraded facilities aim to support the work of over 130 journalists.

Since launching in 2012, Al-Ghad TV has established 34 news bureaus globally and is known for providing news coverage that steers clear of regional and sectarian conflicts, promoting tolerance and providing alternative perspectives in a polarized media landscape.

The post Al-Ghad TV launches facility, studio overhaul from Ideal Systems Group appeared first on NewscastStudio.

Connelly worked with the business networking site to create a new multipurpose studio at the company’s San Fransisco headquarters. 

Used for both internal and public-facing video productions, the space echoes the familiar LinkedIn blue with a healthy dose of beiges mixed in, another color the site has started using more.

The studio is wrapped with long, vertical graphical panels.

Initially, these are provided in various shades of blue, but LinkedIn has the option to swap them out with any other design in the future by unclipping the current ones, rolling them up for storage and replacing them with printed canvas in whatever new look the company wants.

“We gave them a flexible system and a whole lot of toys to play with,” explained Connelly, noting that the entire space can be easily reconfigured by not only changing out the background graphics by moving around scenic pieces and its curated furnishings as needed.

Scenery-wise, Connelly’s team built several open cabinet-like units that can slide around the space thanks to “skis” installed under the bases. 

Each segment features open space with a blend of translucent and solid panels mixed in.

A driving theme in the design is the use of a petal-like shape, which appears prominently in the frosted panels in two of the wild scenic units — as well as part of one corner of one of the scenic pieces and even in accessories such as throw pillows.

“The colors are exactly their colors but for television conversational purposes, they branched out a little bit to choose a new pattern to weave in,” said Connelly. “I think it’s working really well. The scale of it is definitely working well in the closeups and in the wide shots.”

That petal isn’t officially part of the LinkedIn brand style guide, though it has close ties to the circles in LinkedIn’s dotted “i”s and the rectangle inspired by the box surrounding the word “In,” both of which are called out as signature shapes in the brand standards.

The shape, however, was ultimately landed on through a collaborative design process.

“It was great that they were willing to go forward with the shape without being so restricted by brand guidelines. That’s the best part about set design — sometimes just seeing people play in your sandbox,” said Connelly.

The shape can be grouped and arranged in several ways, a visual hint at the “linking” behind the site’s entire business model — but still remaining friendly and approachable. 

“To me, it also captures the essence of what an app is. It’s a little square with rounded corners,” noted Connelly.

Connelly selected a gray-beige for the modular set pieces while incorporating warmer woods that skew more toward the beige end of the spectrum with the stylish chairs.

As it happens, adding in a smattering of warmer shades and hues is a key part of LinkedIn’s color system, which has evolved to become less reliant on blue, according to the company’s brand site.

The space’s first batch of printed canvases does rely heavily on blue, but uses a mix of shades that go from a very rich and deep selection to an almost-white tint. 

These were installed in a purposefully non-patterned arrangement, a strategy that allows them to blend into the background and not feel overly structured.

The strong vertical lines created in the empty space between panels not only helps define the space’s scale, but it’s also carefully carried through with the lighting thanks to vertical-slat gobos that cast over the printed panels and scenery. 

Connelly also paid close attention to the floor. 

“We added some new flooring to not only ground their home base area, but to allow four different shots to have interesting flooring and not be monotonous,” he explained.

The permanent flooring materials can bisect a circular area rug in off-white, which serves as another nod to the mixed of circular shapes and right angles found in the brand’s look.

The space is, like most of Connelly’s projects, accessorized with a very close attention to detail. Potted plants in a variety of options bring in a touch of nature and help break up the blue, gray and beige tones. 

Small decorative items, including the aforementioned beige and white throw pillows, all include nods to the mix of straight and curved lines, the space’s color palette or, in the case of an oversized decorative chain piece and converging chevron pattern on a planter, the idea of connection and networking. 

Connelly is currently working on some additional studio spaces for LinkedIn, having already collaborated with the company on one other previous project.

“This has really taught me this flexible asset building approach to repurpose these assets and be very efficient with their programming,” said Connelly. 

“LinkedIn taught me a lot along the way on how to design and engineer these elements for the onsite team — then repurpose,” he explained, noting that this concept is likely to find its way into designs for other brands he works with as well. 

Photos courtesy of J.P. Connelly and LinkedIn.

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