Inside the Control Room

An Authoritative Resource from TakeOne for Broadcast Engineering, Workflow Design, and Control‑Room Innovation

Live Broadcast Audio: How to Set Up Audio Mixing for Production Control Rooms
Broadcast Control Rooms
August 31, 2026
Audio is half the broadcast. Here is how to get it right in your control room. Audio quality makes or…
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Broadcast Intercom Systems: How to Plan Control Room Communication
Broadcast Control Rooms
August 31, 2026
The system nobody notices until it fails — and then nothing else works either. Communication is the nervous system of…
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Remote Production (REMI): How It Works and When It Makes Sense
Broadcast Control Rooms
August 31, 2026
The production model that keeps crews at home and sends only cameras to the venue. Remote production — also called…
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Sony RIALTO 65: The 65mm Upgrade Coming to Your VENICE 2
Sony Cinema
July 8, 2026
Sony didn't announce a new camera in June. They announced something more interesting: the RIALTO 65, a 65mm-format sensor block…
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Cinema Cameras for Broadcast & Live Production: A Buyer’s Primer
Sony Cinema
July 8, 2026
Walk into almost any modern control room, worship auditorium, or stadium production and you’ll notice something: the pictures look more…
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The Sony Cinema Line Explained: VENICE 2, BURANO, FR7 & HDC-F5500
Sony Cinema
July 8, 2026
Sony’s Cinema Line covers an unusually wide range — from flagship feature cameras to remote PTZ heads to broadcast system…
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Sony VENICE 2 vs BURANO: Which Cinema Camera Fits Your Production?
Sony Cinema
July 8, 2026
VENICE 2 and BURANO share DNA — both are full-frame 8.6K CineAlta cameras with roughly 16 stops of dynamic range…
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