We plan and document broadcast studios, camera control, lighting and sound, and publish practical guides so production teams can build workflows that stay tidy and dependable.
entrelux began in Swansea in 2011 as a one-person studio design practice. It has since grown into a small team covering the main technical disciplines of a broadcast space. The approach has stayed the same: plan carefully and document clearly.
Rhys Pritchard started the consultancy after years of designing studio layouts and seeing the same problems repeat. Sightlines were compromised after the set was built, lighting ignored the camera plan, and audio routing existed only in one engineer's head.
The remedy was not complicated equipment. It was planning the disciplines together, drawing everything on shared plans and writing down how the space was meant to work. That became the way every project at entrelux starts.
As the work grew, specialists joined for lighting, camera systems and audio workflow. Each leads their own area, but drawings and schedules are reviewed across the team so that a lighting grid, a camera position and a microphone plan never contradict each other.
Our clients are technical managers, studio planners and production teams at television networks and live event companies. Some are building or refurbishing a studio, others need a run sheet and signal flow for a single live broadcast.
We also write and publish practical guides. They began as notes for clients and now cover the questions production teams ask most often, written in the same plain, step by step manner as our project documents.
These are the habits that shape our projects. They matter to clients because they decide whether a design survives its first busy week in the studio.
Studio layout, lighting, cameras and sound are drawn on shared plans, so the choices made in one area do not cause problems in another.
Rhys, Carys, Owen and Megan each lead their own area, so you speak to the person who will draw and check the work.
We choose equipment layouts and routing that crews can maintain and fault-find, rather than complicated arrangements that only one person understands.
Run sheets, patch lists and procedures are written for the operator on the day, in plain wording and in the order tasks actually happen.
Each stage ends with something you can review and approve, so decisions are recorded and nothing is assumed from earlier conversations.
Hands-on sessions use your own documents and your own equipment, and the outcome of each session is fed back into the written procedures.
A broadcast space is only as dependable as the people who plan and operate it. Our principles are practical rather than abstract, because they decide how a drawing is made, how a procedure is written and how a crew copes when a show goes live. They shape each project from the first conversation.
Clarity means a drawing that a new crew member can read without help. We label signal paths, keep symbols consistent and write procedures in plain language. If a diagram needs a verbal explanation to make sense, we redraw it until it does not.
Reliability is built into the design rather than added at the end. We favour layouts and routing that crews can trace and repair, we note single points of failure, and we write the fallback steps down so the show can continue when something misbehaves.
Craft shows in the small decisions: where a cable run turns, how a patch list is ordered, which monitor sits at the operator's eye line. We review each other's drawings across disciplines, and we revise until the details are right rather than merely acceptable.
Our work ranges from a new television studio to the technical plan for one live broadcast. What stays constant is how we set the work out: a clear brief, coordinated drawings and documents that the crew can follow without us in the room.
New and refurbished studios start with the floor plan. We position cameras, set areas, control rooms and cable routes, check sightlines and divide the space into acoustic zones. Existing equipment is reused where it still serves the programme. The result is a set of drawings that builders, installers and operators can all read, with notes on what is fixed and what can change later.
Live work depends on a shared picture of the day. We produce technical run sheets, signal flow diagrams and crew plans that show who is where and what happens at each stage. These documents are written to be used in the gallery during the show. They are checked with your technical manager beforehand, so assumptions about feeds, cues and positions are corrected before the rehearsal.
Alongside client work we publish practical guides on studio design, camera control, lighting and audio. They are written by the same people who do the project work, and they cover the questions that come up repeatedly on set. Teams use them to prepare for a project, to brief new crew members or simply to check a method against how they already work.
Broadcast studio design, lighting, sound and workflow documentation for television and live events, from Swansea.
14 Kings Lane Business Court, Swansea SA1 3QD 01792 410 386 [email protected]