Step Three

Technology changes so rapidly that this document would be instantly obsolete if it went into specific brands and model numbers of equipment recommendations.  When it comes to the equipment outfitting needs for your studio, we can offer some generic suggestions of equipment you might consider.  We can even present it in the order it might be purchased as funds become available.

The teacher must understand some basic principles. 

 

1. The teacher will probably never obtain as much equipment as that teacher would need.  Items are just too expensive.

2. Once obtained, the teacher needs to build in a replacement date in the future purchases plan because equipment that is overused will wear out eventually.

3. The teacher should try every way possible to locate an equipment vendor who understands the purpose of the class and the studio and who is also a systems engineer.  This person will know equipment technology and its capabilities as well as its successful integration into existing equipment in the studio.  This person could steer a teacher through treacherous waters of technology.  The last thing you want to do is spend a great deal of money and end up with equipment that will not communicate with the equipment you already have.  The systems engineer could also prevent you from purchasing inappropriate equipment.  For example, it is far better to purchase many less expensive cameras than to purchase one very expensive broadcast quality camera.

 

If you are able to put together the answers for the questions in Parts 1 and 2 of this article, then you are ready to meet with your facility designer as well as your systems designer.  The following is a list of items you should consider bringing to your first meeting:

1. A sketch to scale of your current space (top down view like a floor plan showing walls, electric outlets, windows, doors, etc.  The easiest way to get this is to ask your drafting teacher if he can have a kid do it for you.  This is one of the objectives of his course.

2. A general inventory of gear that you now have (Not brand and model numbers, just something like:

3 field cameras

2 studio cameras

5 tripods

2 dollys

3 hand held mics

3 lapel mics

1 boundary mics

SEG

CG

3. As much info as you'd like to share about what you anticipate your inventory being in 5 or 10 years.  How much do you expect that gear level to grow or will it merely maintain the current quantities and, as gear dies, it will be replaced by its current equivalent.

4. Answers to the questions in Parts One and Two and any other info you’d like to share about your “system” of teaching.

5. What gear storage options are available to you?  Rooms? Shelving?

6. If the sketch you have does not include electrical outlets, video/audio cabling, or cabinetry please include that info. 

7. What kind of wall treatments are planned for your studio as far as acoustic control?  Sonex?  Tectum? Or some other kind of product?  What about the ceiling?  Light grid? Power outlets? Instruments?  And, finally the floor?  Carpet? Bare concrete, tile, poured rubber (like in gymnasiums)?

8. Will you have curtains?  What color? Are they fixed or on a track?  Do they go all the way around the studio or use 1, 2, or 3 sides?

 

While this author does facility and system design, you could try to find one locally.  A good place to look is to ask at a local TV station or Video Production facility.  Video Engineers will be working at these places and have the technical skills to help you out if they are willing.  If you’re lucky enough to find a vendor who you trust to give you good advice rather than advice that will line his pockets with commissions for equipment sales, which would be an option as well.  If you must contact an architect solely, then search carefully to find one who has experience with the intricacies of designing a television studio.  A studio is not just a cinderblock classroom.

A later article will follow offering a mindset and suggestions for what kinds of equipment to purchase, the quantities of that equipment, and the progressive order you might consider when developing your purchase plan. 

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Phillip L. Harris taught Television Production for 34 years in Fairfax County, Virginia, before retiring in June ‘06.  As a consultant, he helps to design curricula and build production facilities throughout the country.  His students produced Focal Point, a 30 minute weekly magazine as well as operated Digital Wave Productions, a school-based TV production enterprise earning approx. $50K yearly to purchase new equipment.  The motto of his class:  “Doing the real thing, With the real thing, Training to be the real thing” is Phil’s teaching philosophy.  In February, 2006, his high school textbook Television Production (http://g-w.com/products/detail.asp?id=253)   was published by Goodheart-Willcox, Co., Inc.  Also, that year, his program received an “Exemplary” rating by the National Dissemination Center for Career and Technical Education at The Ohio State University.  Phil is passionate about sharing his successful curriculum and facility design tips with fellow TV broadcasting instructors and, to that end, is a session presenter and contest judge at many conferences (SIPA, JEA, STN, ITEA, and ACTE to name a few).  He can be reached at 703-975-7038 or at pharris11@cox.net.

Design a Studio-Con’t