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Morgan Stanley Production Studio
Architect
Roger Ferris +
Partners
Engineer
Robert Derector &
Associates
Jaros Baum & Bolles
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Morgan Stanley Production Studio
2000 Westchester Avenue, Harrison, NY
When Morgan Stanley began planning the communications center for its new
headquarters in Harrison, NY, the company contacted The Systems Group (TSG)
to replicate the original facility it had designed and built four years earlier in
NYC’s World Trade Center. The financial group broadcasts news and interviews
internally among the staff, and to affiliates and broadcasters worldwide.
The centerpiece of the facility is a noise-isolated production studio. A deep
cut through the concrete floor around the entire studio acoustically decouples
it from traffic in the busy corridors on three sides. Four Ikegami HL-
45AW digital triax cameras can be connected to the control room from any
of four broadcast service panels (BSPs) located on different walls of the studio.
Using a TSG custom triax patch panel that unites camera trunks from
around the building, the signals connect to a Thomson Grass Valley Zodiac
switcher. The 2.5M/E switcher has a Dveous/MX dual twin effects package.
The team selected Pinnacle FXDeko II and Thunder for CG and still store, and
an Ultimate II for chroma key effects.
The production control room has a traditional two-tier configuration, with
the technical deck closest to the monitor wall and the producer’s deck
behind. In order maintain contact in fast-turnaround situations, the audio
operator is located at the far end of the rear production deck. They chose
a Harrison Pro950-EX analog broadcast console as the audio mixer. The audio
accessory rack was built into the wall behind the operator, giving arm’s
length access. A sound-treated door sealed the back of the accessory rack.
Video is distributed over a component serial digital interface on Sony DVCAM 1800’s record/play DV
tape machines. Video trunks extend to auxiliary locations in the large complex without concern for
equalization for long runs. The facility also features three nonlinear Avid edit rooms and Media
Composer Adrenaline systems. An Avid Unity LANshare EX ties the systems together and allows editors
to access clips from a central server.
An isolated machine room houses most of the equipment mainframes. This separates noisy fans and
whirling disc drives from the operating areas where critical listening and communications occur
between staff members.
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