We plan and fit out live television studios: camera positions, acoustics, lighting and gallery systems for news, interviews and live shows, put together so they work on the day.
jurnizo covers the technical side of a live studio from the first drawing to transmission. That means gallery equipment, cameras, acoustics, lighting, crew for live broadcasts and written reliability reviews. You can ask for one area or several, and each is planned so it fits with the rest.
We specify, install and wire vision mixers, monitoring, intercom and routing into one dependable studio gallery.
Camera positioning, robotic and pedestal rigs, and operator briefing for steady, well-framed live pictures.
Measurement and treatment of studio and voice booth acoustics so speech stays clear on air.
LED lighting plots for news desks, interview sets and entertainment stages, with dimming control programmed to suit.
Technical crew and gallery staff for live broadcasts, from rehearsal through to transmission.
A written review of your signal chain, backup paths and run sheets, with practical fixes ranked by priority.
Tell us what the studio is for and what already exists. We agree the scope in writing before any work starts, so you know what is included.
ServicesHow a job runs
Every project follows the same order, whether it is a single voice booth or a full gallery. We find out how you broadcast, put the plan on paper, and only then touch equipment. Nothing is installed that has not been explained to you first.
You send us details through the contact page: the room, the programmes you make, the staff who operate it and any problems you already have. We read it properly and may ask a few follow-up questions before suggesting a visit.
What you leave with
A clear note of what you need and what we need to see.
We visit the studio, look at the signal path, take acoustic readings, check ceiling heights and power, and talk to the people who work there. Seeing the room usually changes the plan, which is why we do it before quoting.
What you leave with
Measurements and photographs of the room and its existing equipment.
We draw up camera positions, lighting plots, rack layouts or acoustic treatment as the job requires, and explain the choices in plain language. The quotation sets out what is included and what would change the cost.
What you leave with
A written plan and quotation for you to approve or amend.
Our engineers install, wire and label everything, then test each signal path and backup route on site. Operators are briefed on the finished system so they are not left guessing on the first live day.
What you leave with
A working, tested studio and a handover walkthrough.
Where you want it, our crew supports rehearsals and the live broadcast itself, watching the gallery so problems are caught early. Afterwards we note anything worth adjusting for the next programme.
What you leave with
A completed run sheet and a short list of follow-up points.
Most live failures are not dramatic. They come from an unlabelled cable, a room that echoes, or a backup path nobody has tested. We spend our time on those ordinary details because they decide whether a programme runs calmly.
A studio is a room before it is a set of equipment. Ceiling height, wall surfaces, noise from outside and where people will actually stand all shape the result. We look at these before choosing cameras or lights, because correcting a poor room afterwards costs more than planning around it. A short visit and a few measurements often save a long list of fixes later, and they give everyone the same facts to work from.
Gallery systems are used by changing crews, not only by the engineer who built them. We label cables, document routing and keep the layout as plain as the job allows. If a producer or operator needs to trace a signal at short notice, they should be able to do so from the paperwork and the rack itself, without calling us first.
A second signal path that has never been switched to is only an assumption. During commissioning we run each backup route deliberately and show your staff how to change over. We also write down the order of checks before transmission, so the routine is the same on a quiet Tuesday as on a busy night.
We are a small team based in Exeter, and the same people who plan a job are the ones on site. These are the practical things that follow from that.
The people who draw the plan also install and commission it. Questions go to someone who knows the project, not to a general helpdesk.
Quotations say what is included and what would change the price. You can compare them against the work and ask about anything unclear.
Routing, labelling and run sheets are handed over with the studio. Your own staff can operate and trace the system without us.
Acoustic and lighting decisions rest on readings taken in your room. We explain what we found and why we suggest each change.
A few practical answers for first-time enquirers. If yours is not here, the contact page is the quickest route to a straight reply.
We work on live television studios of different sizes, including news desks, interview sets and entertainment stages. Clients are broadcasters, production companies and venue operators. We can help with a single area such as acoustics or lighting, or with the whole gallery and set together. Describe your room and programmes and we will say honestly whether it suits us.
Both are available. Our engineers install and commission systems, and we can supply technical crew and gallery staff for live broadcasts from rehearsal through to transmission. Some clients use us only for the build and run the studio themselves, while others ask for crew on selected programmes. The choice is yours and is written into the quotation.
The Prices page sets out what each service costs, what the price includes and what changes it. Because every studio is different, a firm figure comes in a written quotation after we have understood your room and requirements. Nothing is charged until you have seen and agreed that quotation.
You send an enquiry through the contact page. We reply, agree the scope, and issue a written quotation or confirmation. Once you accept, we send an invoice, which is paid by bank transfer. Nothing is bought on the website itself. Cancellations and refunds follow our payment and refund policy.
For most installation, acoustic and lighting work, yes. A visit lets us see the room, check power and access, and talk to the people who use it. For smaller or remote enquiries we may begin with photographs and drawings, but we will say if a visit is needed before we can quote sensibly.
It is a written review of your signal chain, backup paths and run sheets. We look at how a programme actually goes to air, find weak points, and list practical fixes ranked by priority. You can act on the report yourselves or ask us to carry out the work.
Often, yes. We assess what you have, keep what is sound and specify new items only where they are needed. If something existing is likely to cause trouble on air, we will explain why and what the alternatives are, and leave the decision to you.
Our office is at 14 Quay Lane Business Yard, Exeter, and we serve studios across the UK. Travel for site visits and installation is discussed when we agree the scope, so you know what to expect before committing to anything.
· Live Production
A working guide to briefing technical crew and gallery staff for a live broadcast, covering the rehearsal plan,…
· Camera Setup
Before you commit to camera positions, rigs and operators for a live studio, there are questions worth answering…
· Lighting Design
Most lighting faults on a live studio set are decided at the plotting stage, long before a lamp…
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