BEONDTV – Part 2
We always like to start with a little history lesson, and this is no different. A good place to begin is by defining the type of space used for television production. There are several categories, and while there are always variations, I’ll focus on the main ones.
When I started in television in the late 1970s, there were two distinct types of studio spaces: sound stages and TV studios. Sound stages were primarily used for film production. These were what we called “four-wall” operations—large, sound-insulated spaces that provided power, soundproofing, and in most cases, air conditioning, but not much else. Productions had to bring in their own equipment, from cameras to lighting and sound.
Then there were TV studios, which were also sound-insulated spaces but came fully equipped with cameras, control rooms, audio setups, lighting grids, and technical infrastructure. In the 1970s and early 1980s, while there were plenty of film sound stages available, there were far fewer fully-equipped TV studios capable of handling productions like sitcoms, variety shows, music specials, dance performances, and talk shows. These dedicated TV studio spaces were in high demand and came at a premium cost. However, fully rigged TV studios had the advantage of handling multiple shows in the same space, allowing for an efficient workflow.
Even though these spaces were called TV studios, the industry still referred to them as stages. For example, many legendary sitcoms—All in the Family, One Day at a Time, and Three’s Company—only occupied their assigned stage for two days per week: one day for camera blocking and another for the live audience shoot. The rest of the week, those same stages were used for completely different productions.
A great example of this system was Metromedia Square, located at the corner of Sunset Boulevard and Wilton Avenue in Hollywood. A single stage at Metromedia Square might have a schedule that looked like this:
Monday/Tuesday: Sitcom #1
Wednesday: Game Show/Variety
Thursday/Friday: Sitcom #2
To make this rotation work, crews would transform the stage overnight, sometimes in just a few hours. The entire studio operation was built for rapid turnaround, allowing multiple productions to share the same facility efficiently. The fly-system lighting grid allowed lighting teams to quickly reposition and reset lights. The prop house managed all props for incoming and outgoing shows. The warehouse handled set storage and transportation, while the onsite scenic and carpentry shops performed repairs and modifications as needed.
Meanwhile, when shows weren’t on stage, they weren’t just sitting idle. Productions had dedicated rehearsal halls where actors and crews did read-throughs, blocking, and run-throughs before moving onto the stage for taping. This workflow benefited both the studios and the productions—it reduced costs for the shows while maximizing the usage of each stage, ensuring the facility was booked to capacity.
This setup defined television production in Hollywood for decades and played a crucial role in the efficient production of some of the most iconic shows in history.
As video technology advanced, equipment became more affordable and flexible, allowing television productions to move into film sound stages. Productions either utilized mobile control rooms or built temporary setups for the duration of shooting. Consequently, the need for a dedicated stage became a standard requirement for line producers. Over time, traditional TV studios were primarily used for talk and variety shows, which required multiple shoot days per week, flexible schedules, and permanent stages.
BEONDTV Shooting Space
At BEONDTV, we needed the flexibility to shoot whenever talent and guests were available, which made renting an existing studio impractical. Instead, we sought a dedicated space that could be converted into a functional studio. Early on, we recognized that sound management would be a challenge, requiring us to factor ambient noise into the shooting schedule. Non-studio spaces often have HVAC issues—either too loud to run during filming or insufficient to handle the heat load. While LED lights generate significantly less heat than traditional incandescent or halogen bulbs, they still contribute to the overall temperature.
We ultimately selected an 800-square-foot space with high ceilings and a rectangular layout. The next step was transforming it into a fully functional studio capable of producing a high-quality syndicated talk show that met all deliverable requirements.
After discussions with Amie Martin, BEONDTV’s Executive Producer and CEO, we determined that the technical infrastructure needed to be both sophisticated and easy to operate within a limited budget. The objective was to enable a single operator to manage the production once the system was fully set up. To achieve this, I designed an NDI-based workflow as the backbone of the operation.
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Basic technical equipment list looked like this:
Studio:
3 – PTZ cameras (NDI)
3 – Tripods
4 – Lavalier Wireless Mics
2 – IFB Receivers
1 – TV Monitor for playback and prompter
1 – On-set monitor
4 – Backlights (Spots hung overhead)
6 – Front lights (Soft lights on stands spaced)
4 – Set lights (mixed types on stands)
1 – Gigabit PoE switch (NDI Network)
1 – Technical table (8’ long)
2 – C stands
10 – Sandbags
1 – Set of flags and diffusion
Multiple – Ethernet cables, power strips, lighting clamps
All – Lights must be bi-color
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Production Control:
1 – PC with high-end graphics card and multiple HDMI Outputs
1 – Software switcher w/playback/graphics/live streaming (NDI capable)
1 – NDI tools software
1 – Production control monitor
1 – Producer’s monitor
1 – IFB base station
1 – Mic with stand for IFB
1 – Pair of monitoring headphones
1 – Pair of high-end speakers
2 – Computer / TV Monitors
2 – Laptops (Producer/Director (TD))
All – Additional software for scripting, rundowns, and prompter
1 – Gigabit router (NDI/Internet)
1 – Dedicated Internet connection
1 – Production table (6’ long)
2 – Rolling chairs
Basic set/prop list, essential for determining camera positioning and lighting setup:
1 – Host chair
1 – Couch (3 person)
2 – End tables
1 – Glass side table (on-set monitor)
1 – Treatment for hallway window (large painting)
1 – Treatment for exterior window(wooden blinds)
All – Wall treatments (faux white brick)
All – Set dressing, plants, glassware, mugs, etc
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Rehearsals and Adjustments:
Testing setups, reviewing them on camera, and making adjustments is a crucial but time-consuming process. It can be demanding on talent, but it’s some of the most valuable time spent. Rushing this step often leads to lower-quality results.
We initially built our setup around a NewTek (now Vizrt) TriCaster Mini HDMI, delivering in 1080p 29.97, just before the industry shifted to 4K. We also purchased NewTek PTZ cameras. Audio and lighting equipment came from B&H Photo, while grip gear was sourced from Amazon. Setting everything up in the studio space allowed us to experiment and make necessary adjustments.
A major challenge in a tight studio space is keeping the talent visually distinct from the background to avoid a flat, unappealing look on camera. To achieve this, we positioned the talent as far from the background as possible while maintaining enough space for camera placement and movement.
To further control lighting, we added cutters to the primary soft fill lights to prevent excess brightness on the background and reduce glare from the on-set monitor behind the talent. We also hung backlights at precise angles, illuminating the talent’s head and shoulders to enhance separation and add depth and visual contrast to wide shots. This setup ensured the talent stood out clearly, creating a more professional and visually dynamic image.
Another major challenge was achieving high-quality audio. Initially, the sound was too thin and lacked the depth required for a professional broadcast. Adding acoustic baffling helped reduce reflections but wasn’t enough to achieve the desired quality. To fix this, we installed an audio processor and limiter between the mixer and audio interface, refining the signal before it reached the production software. This adjustment created a richer, more balanced sound that met professional broadcast standards.
After rehearsals began, we realized we could not operate the complex control room in the studio space as we had hoped. We secured a 6’ x 15’ space for production control, makeup, and additional production needs. This change required running an Ethernet cable to complete our NDI network, as well as multiple HDMI cables to feed the on-set monitors.
The final adjustment was integrating teleprompters. Since through-the-lens teleprompter systems for PTZ cameras were still in development, we improvised by repurposing 12” car backseat monitors. These were positioned directly below the camera lens to maintain proper eye lines for the talent.
Final Setup & Ready to Record
We designed the system for efficiency. Turning on four power strips activated all studio lights, while a separate strip powered the PoE switch, cameras, and network.
In the control room, the Director/TD powers on all monitors and equipment, checked camera presets, adjusted color balance, ensured audio levels were correct, and loaded playbacks, graphics, and titles for the day’s production.
Looking Ahead: The Next Phase
With the studio established and the show in production, BEONDTV set its sights on the future—transforming from a single program into a creator-owned OTT channel. The challenge was scaling into a 24/7 streaming network with multiple VOD shows, all during the pandemic.
We’ll explore that journey in Part 3 of this series.