A Taunton studio production company that helps broadcasters set up and run studios for television news and live shows, with workflow at the centre of everything we do.
We rehearse the awkward moments in advance, such as a late guest, a failed link or a changed running order. When they happen live, the crew has already agreed how to respond.
Rundowns, cue sheets and roles are written plainly and kept up to date. Anyone joining the crew can read them and understand what they are responsible for.
We take time over framing, camera movement, lighting balance and microphone placement. Careful craft makes the programme look and sound steady without drawing attention to itself.
Since 2012 our approach has grown from live work rather than theory. Each stage below reflects something we learned in studios, and each one now sits inside how we plan, equip and run a project for a broadcaster today.
Founded2012
artivoryToday2026
Early projects showed that new equipment rarely fixed a confused routine. We began writing the workflow first, then choosing kit to match it. Today every client conversation starts with how the programme runs, and the equipment follows from that.
Clients asked for people who could operate the studio, not only build it. We brought in dedicated camera, lighting and sound specialists, so setup and day-to-day operation could be handled by the same group who understood the plan.
We stopped treating light and audio as finishing touches. Each now has its own lead who plans it alongside the set and cameras, which gives presenters a flattering look and gives viewers clear sound from the start.
Studios change crews often, so we began leaving written plots, signal paths and cue sheets with every project. The habit means a studio can keep running well long after our work on site has finished.
These notes come from people who have worked with artivory on studio projects. They describe how the work felt day to day, in their own words.
We had a studio that technically worked but never felt settled. artivory reworked the camera positions and wrote up a rundown process our whole gallery could follow. Our bulletins now start on time with far fewer last-minute questions between the floor and the control room.
The lighting plot made a visible difference to our presenters, and it stayed consistent through a three-hour live programme. Priya explained each decision, so our own crew can adjust it sensibly when the set changes without having to start again.
What I valued was the written handover. Cabling, monitoring and talkback routing were all documented, so when our technical team changed shifts nothing was lost. Tom walked everyone through the audio chain before we went on air for the first time.
We were building a studio from an empty room and did not know where to begin. Helen helped us put the programme format first, then laid out the equipment and crew roles around it. The first live show ran far more calmly than we had expected.