TV production spaces
Nov 1, 2008 12:00 PM, By Antonio Argibay, AIA
The first article in this two-part series helps you plan TV production areas.
Architectural systems
All of the components and systems integrated to create a TV studio are there for a reason and are practical by nature. The architect is generally responsible for acoustics, finishes, egress and general code compliance.
When taken individually, these components and systems, which make up the entirety of a TV studio, are all, in one way or another, multi-disciplinary. There is a danger in formulating a design without having an understanding of how these systems are interrelated. It's critical to have an architect who is equipped with visualization tools, 3-D capabilities and acoustical understanding, along with the structural, ventilation, electrical and fire-suppression experience that is necessary to weave together the required elements.
The conductor of the orchestra
The preparation and planning of the project details must be executed in the right order and in the correct proportion to achieve a successful project implementation phase. One guiding concept is that of the orchestra conductor, wherein the architect responsible for the overall project carefully weaves together the different disciplines represented by the other consultants and does so in the right balance in order to achieve a coherent, evenly planned project.
However, the architect is no mere coordinator. He is responsible for the critical systems in all projects and acoustics. In similar manner, the finishes, most importantly those of the TV studio floor, are key for any designer and builder of a TV studio. Additionally, every component that is integrated into a studio has an architectural element that is characterized by size, weight and physical properties. These are a key concern for planning, dimensioning and coordinating the construction. Finally, the architect is the critical player in planning the structural requirements and their integration with the systems they support. This includes adequate structure for the long spans, supports for rigging, catwalks and penetrations into the studio space.
Acoustics
In all TV studio projects, acoustics is a key issue. Two primary areas are critical to the project's success: room response and sound transmission. The first focuses on how the room will respond to sounds. In most TV studios, this is not a particularly complicated matter. However, if the content creation space contains glass (such as in a street-front studio), reflections need to be controlled. The second area focuses on the design of an envelope that will block sound from entering and leaving the space. If you did your homework correctly, you will have already established design criteria for acoustics in the programming phase.
Room response
Room response is affected primarily by the ability of surfaces to absorb or diffuse sound and by the proportions and geometry of the room. Generally speaking, TV studios are designed to be acoustically dead, with little reverberation time. This is usually achieved simply by providing absorbent materials in all possible surfaces, with the exception of the floor. The material typically used is rigid fiberglass boards that have been covered with a surface treatment to prevent fraying. However, with recent emphasis on the use of green products, recycled cotton fibers properly treated for fire retardation are becoming more desirable, albeit costlier.
In small- and medium-sized studios, there are two reasons that set elements can be problematic if the production designer fails to consult with acoustical experts on the project. First, the set in a small studio occupies proportionally more space, thus being more acoustically significant. Second, shiny, hard, reflective surfaces look great on camera but perform poorly acoustically.
The proportions of the TV studio are of some concern, and the smaller the studio, the greater the concern. Most studios are used primarily for voice purposes. However, if the studio is frequently used for music, particular attention should be paid to proportions, as they are responsible for resonant room modes. If music is part of the daily routine, such as in variety shows, or if there is an audience, room acoustics, in general, become more important. While a detailed discussion is beyond the scope of this article, note that the preferred proportions, when viewed in plan or in cross-section, are nonmultiples of each other. A cube shape, for example, is the worst. Dimensions containing integer multiples, such as 20 units wide by 40 units long by 10 units tall, are problematic. The acoustical consultant should be actively involved early in the determination of room size.
Sound transmission
Sound transmission is the ability of the construction (which defines the production space) to diminish the amount of sound energy transmitted through it, either as an external source or as an internal source. The objective is to design the systems that enclose the studio so that the space can function adequately without interruption by outside noise sources and so that the events in the studio don't disturb other studios or spaces nearby.
Acoustical considerations
We often refer to links in the chain as an analogy of the system we need to design. Doors, walls, floors and ceilings have to be designed to function at the same level. If one element is underspecified and forces the whole system to function below expectations at that level, the resultant underspending in one area leads to potential overspending in the other systems. An acoustical consultant should be engaged as part of the team to provide measurements, establish criteria and recommend systems that are in balance.
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