Basic Design Plan
Screen: A blue circular flame-retardant screen is used as the background, suitable for both news broadcasts and interview programs, making the recording of shows more convenient. Additionally, the light distribution is even, with a moderate contrast ratio and no shadows.
The overall lighting system utilizes a sliding track system equipped with constant force hinges, allowing the entire lighting system to move freely left, right, forward, and backward. Certain areas of the fixtures can also move up and down, making dimming more flexible and convenient. Considering the width of the room, four fixed tracks have been installed to ensure flexible dimming and the possibility for future upgrades.
Using the ring lighting method, the illumination is uniform, with no obvious cross shadows or glare. The large luminous area enhances the contours, providing a sense of depth to the image, giving the subjects a strong three-dimensional feel. The picture is clear and natural, with vibrant colors.
Background Lighting: Utilizes 4X36W three-color cold light lamps for background lighting, evenly illuminating the screen with delicate light effects and no noticeable cross shadows.
Backlight: Utilizing 6×36w three-color cold light lamps for backlighting, the contours are distinctly highlighted, making the characters appear richer and more natural, with a strong sense of three-dimensionality.
Key Light: A 6×36w three-color cold light is used as the key light in front of the host, ensuring even lighting on the host's face for a clear and natural image. It is equipped with a 1.5m constant force hinge for more flexible and convenient dimming.
Side Lighting: The host uses 4×36w three-color cold light lamps on both the left and right sides for side lighting, to soften the dead corners and shadowy areas that the main light cannot reach, as well as to soften the shadows on the host's neck.
In terms of overall lighting, the background and contour lighting are strong, providing a sense of depth to the image. There are no noticeable overlapping shadows in the background illumination, which is beneficial for program production. The center illumination is uniform and meets the standards of a broadcasting studio. To achieve the desired production effects and extend the lifespan of the light sources, all three-color cold light tubes are imported from Osram (with a lifespan of 10,000 hours). These tubes come with a three-year replacement guarantee, and the lamp body has a two-year warranty. Our company offers lifetime maintenance for installation projects, with regular free maintenance conducted annually.
Technical Parameters of Studio Lighting
Illuminance: A vertical distance of 1.5 meters from the ground, achieving an illuminance of 1500 LX.
Color Temperature: The correlated color temperature of the light source reaches 3200K.
Color Rendering Index: Ra value > 90
The total power consumption is 9000W, using a three-phase four-wire system, 380V/220V, 50Hz.
The cable is a flame-retardant cable, with a height from the ground to the light of no less than 2.6m, and the height from the light to the hanging device is 85cm.
When all the lights are on, there is no glare and it is not harsh on the eyes: the indoor temperature rises by less than 1 degree within an hour.
Acoustic Decoration
The acoustic design of a studio primarily focuses on noise control and reverberation time control.
Noise Control
Noise in the studio comes from multiple sources, including both external and internal noise. External noise can be divided into two categories: one category comes from outside the studio building, such as traffic noise from passing vehicles and airplanes; the other category comes from within the building but outside the studio, such as the noise from students during class breaks. Internal noise in the studio mainly originates from the air conditioning system, lighting control system, and the noise generated by camera movements and staff walking around during studio operations. Noise enters the studio primarily through three pathways: first, through the transmission of sound waves, where noise acts on walls, floors, and ceilings, causing vibrations that radiate sound energy into the studio; second, through gaps left during construction; and third, through solid transmission of sound into the studio.
Soundproofing Treatment
Noise transmission occurs through two pathways: airborne sound and solid-borne sound. The soundproofing treatment in this studio primarily focuses on the isolation of airborne sound.
Wall body
The use of fully filled brick walls for sound insulation is cost-effective and provides good soundproofing results. Brick walls of different qualities have varying sound insulation levels. The sound insulation level of a brick wall is related to the unit area mass of the wall; the greater the mass, the higher the sound insulation level. Once the material for the brick wall is selected, the unit area mass depends on the thickness of the wall. A 240mm thick brick wall in the studio can meet the sound insulation design requirements. To enhance sound insulation, a 50mm thick soundproof foam board is applied to the inner wall of the studio to increase the wall's sound insulation capacity.
Door
The sound insulation of a door mainly depends on its mass, rigidity, and airtightness. When soundproof doors are made from heavy materials, the sound insulation is greater; however, the manufacturing and installation process can be quite complicated, and the overall appearance of the door may seem bulky. The soundproof door in this room is made from lightweight materials, incorporating two layers of 11mm thick glass wool sandwiched between three layers of 13mm thick wooden boards. Additionally, each side is covered with a layer of plywood and a layer of beech veneer, while the door frame and edges are lined with felt to seal the door gaps.
Window
To isolate air sound, this studio does not have windows that open directly to the outside. The observation window of the control room uses double-glazed glass. The sound insulation of the window mainly depends on the glass; at mid to low frequencies, the sound insulation of the glass is determined by its density. Therefore, it is best to choose thicker glass panels.
Sound Absorption Treatment for Air Conditioners
The noise indicators of the air conditioning system and lighting control system are crucial for ensuring that the studio's noise levels meet design requirements. For the air conditioning system, this studio has taken measures to reduce air noise during air supply by appropriately increasing the thickness of the duct walls, adding angle iron reinforcements to the outer walls of the ducts to prevent mechanical vibrations during air delivery; the inner walls of the ducts are lined with 50mm thick ultra-fine glass wool, wrapped in fiberglass cloth, and then compressed with a steel mesh; soft connections are used for the ducts that pass through walls, and 50mm thick glass wool is used to fill the area around the wall ducts; the air supply speed is controlled to ensure that the wind speed at the outlet is less than 1.5m/s.
Reverb Time Control
Reverberation time is a crucial factor in determining the sound quality of a studio. If the reverberation time is too short, the sound in the studio will be dry; if it is too long, the sound will have excessive tailing. Controlling reverberation time involves two aspects: first, appropriately selecting the ratio of the studio's length, width, and height to ensure that no frequency signal is overly amplified or attenuated; second, designing the interior acoustic treatment reasonably to achieve a reverberation time close to the desired value.
Sound Absorption Treatment
Sound absorption treatment is set for reverberation time, and it also has a certain effect on sound insulation. However, sound absorption and sound insulation are two different concepts. Sound insulation refers to blocking external noise from affecting the interior, while sound absorption mainly refers to the impact of the indoor sound-absorbing layer on reverberation time.
Sound-absorbing wall panels
The sound-absorbing structure of the studio walls uses a wooden batten framework with a 100mm cavity at the back, arranged in a 600mm x 600mm grid. Glass wool is installed within the grid, which can alter the sound absorption effect to some extent and serves to adjust the reverberation time.
Ground Treatment
The indoor flooring of the studio serves an aesthetic purpose while also providing sound absorption. The use of wooden flooring helps to reduce the low-frequency reverberation time within the space.
Screen
This studio features a circular curtain that not only decorates the indoor environment but also improves the sound absorption effect within the space.
Main construction technical measures and methods for key processes:
Key points for wall acoustic decoration
According to the design drawings, snap lines and drill holes to install wooden wedges at the required sample surface positions. The contact surface between the cover and the board must be planed smooth, and the base wooden keel should be arranged evenly. Apply fireproof paint twice on the exterior.
When attaching the 9mm board, first apply white glue to the wooden ribs to ensure a secure bond. Use pneumatic nails whenever possible; if using nails, the exposed nail heads must be driven into the board by 3mm. There should be no blemishes when nailing, and the wood grain color should be similar. The top edges of the boards should be flush, with a height difference of no more than 3mm. If seams need to be cut, they should be done according to design requirements. Special techniques should be used for stretching flame-retardant sound-permeable fabric.
For other wooden finishes, the base wooden ribs should be securely nailed according to design specifications while controlling overall flatness, verticality, and horizontality. When dealing with patterned finishes, pay attention to the direction of the wood grain and the color matching of the boards. Special care should be taken to protect the finished products to facilitate the next construction process.
Construction precautions
The boards should be fixed in a stress-free state to prevent warping and bulging.
The pneumatic nails should be fixed at a distance from the edge of the beech veneer panel, maintaining a flat appearance.
The joints between the boards should be treated according to product requirements.
The beech veneer panels should be fixed to the keel starting from the center of one board towards the edges, and simultaneous multi-point operations are not allowed.
The embedding depth of the nails should be such that the screw heads are slightly embedded into the surface of the board without damaging the paper surface. Nail holes should be rust-free and smoothed over with gypsum putty.
To mix gypsum putty, it is essential to use clean water and clean containers.
Finished Wood Flooring Project
The floor where the wooden flooring will be laid must be leveled and repaired.
The laid floor should remain dry. The wooden battens should be spaced 180 to 300 mm apart. A base layer of 9 mm plywood (or fine plywood) should be laid on top, followed by the installation of earthquake-resistant and pressure-resistant wooden flooring.
When two finished tongue-and-groove wooden floorboards are joined, attention should be paid to matching the grain, color, and pattern.
Fix aluminum alloy threshold strips outside the door of the room with wooden flooring.
The flooring is evenly laid and adheres well over a large area.
Scaffolding Setup
The scaffolding should be positioned 0.3m + 1.5m outside the vertical inner surface at the optimal location.
Scaffold workers must hold a work permit to perform operations.
Careful inspection of scaffolding materials and components is required, and they can only be used after passing the inspection.
The assembled scaffolding, scaffolding boards, and safety nets must be level, straight, stable, and visually neat.
Electrical Installation
Strictly follow the requirements of the construction unit, the design construction drawings, and relevant national construction standards during the construction process. Before construction, a comprehensive understanding of the design drawings and functional usage should be obtained, grasping the design intent. A detailed briefing should be conducted with representatives of the construction unit and relevant personnel to determine the construction plan. The following issues should be specifically noted:
In flammable structures, it is prohibited to install capacitors, electrical switches, and other flammable or explosive electrical appliances on the ceiling.
When wiring in the ceiling, a power source should be set up outside the ceiling to facilitate the disconnection of power to all electrical lines within the ceiling.
All connection points of the conduit (including junction boxes, pull boxes, lamp holders, and switch boxes) should be securely welded with cross pull wires to the conduit, forming an electrical whole.
The total cross-sectional area of the window pipe's conductor should not exceed 40% of the inner cross-section.
Multiple circuits of the same type can pass through the same conduit, but no more than 8 wires.
No wire joints are allowed inside the pipe; if joints must be made, a junction box should be installed.
When electrical conduits are close to or intersect with water pipes, the electrical conduits should be laid below the hot water pipes, with a distance greater than 20CM.
The electrical load for each circuit in the room should not exceed 25 units, with the single-phase circuit load current not exceeding 15A, and the grounding resistance should be less than 10 ohms.
All switches and sockets in the same room should be installed at the same horizontal level, with a height between 1.3m and 1.5m.
All electrical wires and appliances should have a grounding wire.