Introducing the world’s most portable all-in-one television studio!

The new ATEM Television Studio HD is a professional live production switcher built into a broadcast control panel so it can be used for high end work while being extremely portable. You get a powerful switcher with 8 standards converted SDI inputs, 2 aux outputs, 4 chroma keyers, 2 downstream keyers, SuperSource, 2 media players and lots of transitions! There’s even an ISO model that records all 8 inputs for editing!

Easy to Use and Fast to Learn!

There’s never been a switcher that’s easier to use, as you simply press any of the program row buttons on the front panel to cut between video sources. You can select from exciting transitions such as dissolve, or more dramatic effects such as dip to color, DVE squeeze and DVE push. You can even add a DVE for picture in picture effects with customized graphics. Then you can live stream the results!

Self Contained Broadcast Quality Switcher

ATEM Television Studio HD combines a switcher and control panel into the same unit, so it’s extremely portable. The front panel includes buttons for selecting sources, triggering transitions and setting up video effects. You also g e t a b uilt in t-bar for manual transition control! The front panel even has an innovative audio mixer control area with live metering on a dedicated LCD.

Learn

Record to Internal Network Storage!

ATEM Television Studio HD8 ISO supports recording all video inputs to optional M.2 internal flash storage! The internal storage will then be available to share over the local Ethernet network so you get a whole post production workflow! This means people can work on post production tasks such as editing, color correction and graphics preparation while recording new live shows!

Built In Fairlight Audio Mixer

With a built in Fairlight audio mixer, ATEM Television Studio HD makes it possible to do complex live sound mixing. The internal mixer features enough channels for all SDI inputs, as well as extra channels for the XLR, RCA and MADI inputs! Each input channel features the highest quality 6 band parametric EQ, compressor, limiter, expander and noise gate as well as level and pan controls.

ATEM Television Studio HD

From €2935 landscape has been inspiring. The tools we once used to struggle with, such as working in 3D or using computational tools to design and understand venue sound and video systems, have now become clunky and outdated. However, the transformation has really opened up new possibilities. For instance, I recall presenting a project to Daniel Levy before the Tottenham Hotspur Stadium was built. I built the entire presentation in a tool called Disguise Designer and, at the time, it felt like a revolution. However, compared to the tools available now, it pales in comparison. The current workflow involves integrating Unreal Engine as a plugin into architectural design software like Revit. This integration allows us to connect lighting, video, and spatial audio through wireframes, creating a seamless architecturalto-content workflow. The same tools used to design the architecture are used to present and preview shows, enabling clients to visualise and experience their vision in 3D. This convergence of architectural design and event production has been a major development in our industry. This whole workflow means that architectural designs are actually a piece of content before you’ve even begun the build. What excites me the most is that Experience Studios are encompassing this fusion of technology and creativity – and that feels as though it wasn’t as feasible just five years ago. Now, the team I work with is already well-versed in creating immersive spaces, and utilising plugins to integrate video and audio seamlessly. This technological progress allows us to provide experiences and tell stories in ways we previously could only aspire to. We now have the tools to show rather than just explain – and that’s truly exhilarating!

Embarking on this new venture with Experience Studios allows us to start afresh. We have built a team of 14 talented individuals over the past year; however, it’s not just about adding bodies; it’s about finding individuals who understand our vision, share our perspective, and possess the skills to make the connection.

Experience Studios design and deliver the AV systems, but it’s clear it goes beyond that in terms of the creative side –is that a big passion for the team?

When it comes to creativity, it’s not just about what happens afterwards; it’s also about the creative process itself, which is quite fascinating. There are a couple of key points I’d like to highlight. First, both myself and the individuals in our team have a background in either technical or artistic fields. This allows us to connect with people who have first-hand experience as performers, artists, or similar. Their mindset and understanding of the end product, along with the goals of entertaining and informing people, greatly influence our design process. Drawing from their experience and knowledge enables us to approach design from a unique perspective, having stood on stage or run a show in a venue ourselves. For me, it’s crucial to collaborate with people who truly understand this industry. Many members of our team are still actively involved in various areas of the entertainment industry, and we fully support that. We really value their passion because it brings a wealth of experience to the projects we undertake. Whether they pursue their passion alongside their work with us or integrate it into their roles within the company, we encourage and embrace it. We don’t believe in limiting their involvement; instead, we see it as an integral part of our job. We remain connected to the industry, whether it’s theatre, music, or other entertainment. Our team members are actively working on shows while also contributing to the design process. It’s really vital. Another important aspect is understanding not only the systems and hardware in the design, but also the overall strategy. We aim to create a design that becomes a living, breathing part of the venue, connecting with the planners, promoters, artists, and everyone involved. It’s about considering the content, operations, and how everything comes together. We offer a comprehensive approach that extends beyond the completion of construction projects, renovations, or refurbishments, and becomes an integral part of the venue’s ongoing life. It’s an exciting prospect for us to find people who truly grasp this concept. Not everyone understands the unique dynamics of our industry, so discovering like-minded people has been great. We’ve had the pleasure of meeting new friends and colleagues who share our vision and are excited to work together.

How has the collaboration with Populous been over the past year?

Populous specialises in sports and entertainment venues, so it’s been hugely advantageous. Their focused expertise allows us to collaborate with architects who share the same goal of creating exceptional experiences for people coming together. The beauty of this collaboration lies in the ability of the 3D tools and technologies we discussed earlier to communicate with each other in three-dimensional space, enhancing the design process. The impact of video on stadium design is a great example of how the expectation for screen placement, immersive experiences and added value elements continues to evolve.

Populous projects like the Tottenham Hotspur Stadium exemplify the constant push for better experiences and higher benchmarks. Being involved in these projects from day one allows us to work with a team that is already considering how to create the desired experience and how technology can be inherently integrated into the design. It’s not about simply adding technology as an afterthought, but rather making it an integral part of the design process and considering how the venue will be experienced and function. Overall, the ability to collaborate with architects who share our vision, incorporate technology into the design process, and focus on creating exceptional experiences is of great value. It’s a rewarding experience to be part of a team that strives to elevate the user experience in venues and understands the importance of thoughtful design.

What has it been like using your expertise to influence venues in those early stages?

One thing that’s clear for every venue, whether it’s one around the corner from your house or a large stadium, is that the expectation for the customer or fan experience has gone up and up. This increased expectation is a positive development because it pushes venues to provide more value and take the fan experience seriously. In the stadium and arena project scenario, there is now a broader understanding of the world of engaging experiences and digital overlays. Venues are recognising the importance of meeting people’s expectations and incorporating the latest technologies into their designs.

What we find particularly interesting is that not all these experiences need to be integrated into the architecture itself or require major construction projects. However, they should be considered and planned for because they inform how people perceive the space and the infrastructure needed to support these experiences. It’s possible to approach it on multiple levels, such as designing a space to achieve a specific goal, inputting infrastructure to enable connectivity, and then connecting the actual elements together. These steps can be taken gradually or in stages, providing flexibility in the design process.

How do you see AV in stadiums and arenas right now – and where do you see it developing?

Well, I believe one thing that’s certain is that experiences, not just in stadia and arenas, but across various sectors like retail, hospitality, leisure, and tourism, are becoming more personalised. This trend of personalisation extends to the interaction between in-stadium systems and the devices people carry. It’s about ensuring continuity of content and access across these systems, while incorporating intelligence. However, implementing such technology in a stadium environment poses unique challenges.

Unlike an art gallery, where locating and responding to individuals is easier, stadiums have thousands of people moving through concourses simultaneously. So, while personalisation and location-based services are promising, it’s crucial to understand the specific topology of a stadium and how people interact with it during events. Those who work in stadiums comprehend the complexities of facilitating audience engagement and enjoyment of content, be it in sports or entertainment. This knowledge becomes increasingly valuable when considering the costs associated with stadia or major sporting events. The goal is to extend the length of time people spend at the venue, both before and after events, and to deliver content that resonates on a large scale.

Another aspect that I find fascinating is the continuous pursuit of quality improvement in video and audio. The expectations for content quality continue to rise, and technology now allows for exceptional image quality on video screens. However, it’s essential to ensure that the infrastructure, such as cabling, can support such advancements. Likewise, audio design for large spaces has seen significant advancements in recent years, enabling a higher level of quality in sound reproduction.

Despite this, not all stadiums have implemented such highquality systems yet. Often, you find that existing venues are working through a lifecycle process, replacing outdated equipment and aligning with current standards. When upgrading systems, it’s crucial to prioritise the parameters that truly matter to the user experience.

One key challenge I’ve observed is that some stadiums may possess top-of-the-line hardware and systems, but lack the internal expertise, knowledge, or operational budget to run them effectively. It’s not just about investing in technology; it’s also about investing in skilled operators, ongoing content creation, and cohesive management strategies. Bridging this gap between technology and operational capabilities can significantly enhance the fan experience without unnecessary hardware expenditures. Finding the right balance is critical.

Another interesting aspect to consider is the shortage of skilled personnel to operate these advanced systems. It’s essential to explore ways to engage with those entering the industry, whether through formal education or apprenticeship programmes. Understanding how to provide opportunities for newcomers to gain experience, learn, and grow in this field is a challenge worth addressing. It’s not merely a matter of increasing the number of professionals; it’s about finding the right individuals with the necessary skills and passion for running and managing these systems effectively.

Which projects are you currently working on?

Currently, we’re engaged in multiple stadium and arena projects worldwide with Populous, such as the MUCcc Arena, which will be a new multi-use, climate-neutral, 20,000 capacity event venue in Munich. That’s a really exciting project for us.

We are involved in various new build stadium projects globally, although I can’t go into too much detail just yet! These projects range from refurbishments to the development of new venues, each presenting unique challenges and opportunities. One noteworthy project, which I cannot reveal too much about again, involves the creation of a venue specifically tailored for esports. This combines our architectural expertise with the installation of a permanent production system capable of hosting esports events at an arena scale. It is projects like these that merge our interests and skills perfectly.

Additionally, we are working on various creative arts and performance projects. While some of these projects are on a smaller scale, they serve as a way for us to tap into our expertise and apply it to larger ventures.

For instance, we created an animation to promote the upcoming Co-op Live Arena, a highly-anticipated project in Manchester, UK that aims to provide an exceptional experience to everyone who attends shows there. The video we created effectively highlights the venue’s design elements and showcases why Co-op Live will offer an unparalleled live music experience. We are excited to release this video in the next couple of months to support the ongoing preparations for the venue opening. One aspect that sets us apart is our ability to translate technical elements and economic know-how into a narrative format that appeals to a wide audience. We aim to create content that not only informs, but also excites and inspires people to attend shows in our venues. Our sweet spot lies in understanding how venues work and its design - and incorporating that knowledge into captivating narratives. This approach has been particularly successful in our recent projects.

In addition to these ventures, we have recently secured a refurbishment project in the UK that highlights the diversity of our work, which spans from immediate projects to longterm endeavours. Some of our work in the UK and Europe involves refurbishments or developing single-stand venues, alongside major projects. We also delve into entirely new build projects, providing us with a nice range of challenges.

Away from the stadiums and arenas, what projects have you been working on and how do they enhance what Experience Studios can deliver?

We take pride in working on a broad spectrum of projects, from the artistic side to assisting with system preparation for shows. This wide range of experiences allows us to bring valuable knowledge to our stadium projects. The crosspollination of ideas and expertise fuels our passion for what we do.

Another aspect worth mentioning is our collaboration with artists. For example, one of my colleagues worked on the Erland Cooper shows at the Barbican, which revolved around the topic of climate change. In this project, we employed various digital tools, from concept illustrations to animations, to create an immersive experience. The show itself had a live performance with the conductor replaced by a plinth of ice that houses a living plant, which gradually reveals itself as the ice melts during the performance. While digital tools played a crucial role in the research and development phase, the show’s essence was far from digitalcentric. It effectively merged the visual and auditory elements to deliver a captivating experience.

Also, our team comprises experts in 3D visualisation, such as Chris Lane, who recently created a virtual Zen Garden displayed at The Mailbox in Birmingham. This project involved collaborating with an artist and a beauty brand to build a world using Unreal Engine. The installation offers visitors an immersive experience. Furthermore, selected stills from the animation are available for purchase as framed art pieces. While not all our visualisations reach the level of a fine art piece, we aim to bring the right level of skill and engagement to each project. The ability to present a venue or concept in 3D, especially when clients have no previous concept, often garners a strong positive response and enhances their understanding and excitement for what we’re aiming to achieve.

Ultimately, we find immense satisfaction in these projects because we genuinely enjoy the work. However, we also recognise the growing demand in the market for engaging content. Whether it pertains to existing or future venues, the ability to present captivating visual and immersive content plays a significant role in driving our work. We are curious to see the extent to which content production, including visual and spatial audio elements, will shape our business in the future. Presently, it is already a significant component, and we anticipate its continued growth. The interest generated by our work in this area has been substantial and reinforces our commitment to exploring new possibilities.