Scott Corneby
Executive Vice President
Structure Tone New York
Jamie Dunn
Senior Project Manager
Pavarini Northeast
Michael Farrell
Regional Vice President
Structure Tone New Jersey
The golden age of Hollywood may be behind us, but the demand for captivating content is higher than ever. A production boom is spreading across the northeast, leading owners, designers, and builders to ask themselves: how do we keep up with it all? Scott Corneby, executive vice president at Structure Tone New York, Jamie Dunn, senior project manager at Pavarini Northeast, and Mike Farrell, regional vice president at Structure Tone New Jersey, share what they’re seeing from their broadcast and media clients and where studio construction may be headed next.
What makes building in the broadcast and media sector unique?
Mike Farrell, Structure Tone New Jersey: While there is definite overlap with projects in other sectors, broadcast facilities and studio spaces have unique characteristics. One is the acoustic requirements soundproofing material—to minimize interference and optimize audio quality. Room dimensions and organization are also important. Studios often have high-tech control rooms that need to accommodate large monitor screens, state-of-the-art A/V equipment, and premium lighting. Additionally, these facilities must be flexible, adaptable for different types of productions and advancing technology. We’re seeing modular walls, movable partitions, changeable furniture. And everything (power, internet, broadcasting equipment, etc.) must be integrated; production cannot go down, especially in a live environment.
What are some common challenges on broadcast/media projects compared to other sectors?
Jamie Dunn, Pavarini Northeast: One main challenge is finalizing broadcast decisions early. It’s important that we involve end users or operators in construction or even preconstruction meetings to understand their needs and timelines and get everything right from the beginning. We’re building the job, but at the end of the day, what we turn over to the client needs to function properly. Another common challenge is the need for commissioning agents/engineers to establish testing and commissioning requirements early so there’s adequate time built into the schedule. And the structural design of these facilities is crucial. Studios need to be isolated from the rest of the building, with capacity for custom lighting, extensive A/V equipment, and filming/streaming. End use, cable paths, and accessibility all need to be considered from a structural standpoint.
Scott Corneby, Structure Tone New York: All projects are unique, but for broadcast facilities, the planning, scheduling, and understanding of technology stand out. Our recent experience in New York consists of complex headquarter projects in new buildings. They need computer rooms, technical gear rooms, critical equipment rooms, and other infrastructure—mechanical, electrical, low voltage, etc. And this is before we build out the countless studios, edit rooms, voiceover rooms, streaming rooms. It should also be noted that most broadcast facilities require early turnover, which is always a scheduling priority. We often turn those rooms over six, nine months, even a year in advance to allow the integrator to build, test, and commission, so that the end user has ample time before anything goes live. This QA/QC process is invaluable to the success of broadcast facilities construction.
Dunn: In the Connecticut market, we’ve had the opportunity to work on high profile broadcast studios in occupied spaces. We’re certainly used to building within multi-tenant facilities, but media projects have specific technological and structural requirements. Building media and studio space takes comprehensive planning, both in terms of the client and other tenants.
What are key design considerations when building or renovating media production space?
Farrell: Technological integration is essential in these types of spaces. Modern broadcasting relies on advanced technologies like high-definition video, multiple camera setups, and live streaming. We need to understand, design, plan, and build for these systems, while also keeping the infrastructure flexible so that the end user can adapt the space down the road. Scott mentioned another key consideration: understanding the workflow of production, including leaving time for integrators before our construction finishes. And then, as in other sectors, we have to factor in the ability to work remotely. Off-site production capabilities require special infrastructure and high-speed internet networks, as well as extensive data management and analytics integration that can report on viewer behavior and drive better content strategies.
Dunn: I’ll also mention site selection. Choosing the right spot is paramount. Most of these facilities are broadcasting live content, often during off-hours, and require dedicated infrastructure systems independent from the building’s regular operations, which can evolve as necessary. Then, during design and construction, it all comes down to flexibility and evolution. Planning for things like added cable, raised floor tiles, conduit and raceway expandability, and technology improvements, is a main consideration.
How do you manage strict timelines on broadcast and media projects?
Corneby: To me, the most challenging aspect of broadcast and studio projects is the scheduling. Preconstruction must be looked at as a true investment. Jamie talked about the uniqueness of broadcast projects, building them, turning over to an integrator, having time to commission, test, and rehearse. During this phase, it is imperative to developa schedule that not only addresses the major milestones of the CM and subcontractors, but also the end user, integrator, equipment vendor, and everyone else involved before final completion. Broadcast jobs are like other corporate interiors projects in that we try to order long-lead items and special equipment/ systems early. But studios require early award for any above-ceiling trades, which need to be coordinated and finished early, because it’s almost impossible to go back if something isn’t right, with the insulation and multiple layers of sheetrock. And again, I don’t think we can repeat it enough, the QA/QC process, the ability to leave time for sound testing, commissioning, startup, is critical. That way, when the talent shows up, they can rehearse in a space that’s finished.
What’s next for broadcast and media facilities?
Farrell: First and foremost is flexibility. Broadcast and media construction will continue to require facilities to be adaptable, especially as the industry shifts towards multi-platform content creation. Elements we’ve seen on recent projects are going to continue to advance, such as high-speed internet, cloud storage solutions, and data analytics. Another future focus is engaging with local content creators and integrating community activity within the established platform, potentially incorporating virtual reality and augmented reality. As technology evolves, so will how these creators stream their content. And similar to design and construction in other sectors, sustainability will be important. For broadcast and media, that could mean using green materials or being cognizant of efficient energy usage. Editing rooms and production studios use a lot of power, so making sure everything is being utilized efficiently will certainly be a future consideration for spaces in this industry and can help inform what else may be ahead.