Hougang studio floor, lighting grid and edit bay. Bookings open by email at studio@fyostudio.buzz or by phone on +14128446827.
FYO STUDIO PRIVATE LTD. runs a working photo and video studio at 457 HOUGANG AVENUE 10, #04-427, 530457, Singapore (SG), where a full lighting grid, a seated cyclorama and a row of edit suites sit under one roof. The company builds sets with its own carpentry bench, hires the floor to photographers and production houses, and keeps a crew call desk for the long shoot days. Every booking is handled by the same small team, so the person who rigs the grid is often the person who signs off the final export.
See the six studio servicesLighting grid, north side
Twelve heads, four circuits, taped floor marks.
Edit bay and lens rail
Flight cases and cyclorama
Edit bay registry
The studio is not a rental shed with a key box. Each service below is a real part of the day to day work of FYO STUDIO PRIVATE LTD., staffed by the same crew that preps, rigs and wraps the floor. Read the short notes here and open the full description on the services page.
The main floor runs on a daylight rate with a seated cyclorama, taped marks and a loading corridor wide enough for road cases. Hire includes power drops, a client table and access to the shared kitchen, so a full crew can settle in without leaving the unit.
A twelve head grid with four circuits is prepped before call and adjusted on site by a lighting assistant. Softboxes, beauty dishes and gel frames come from the studio stock, and every head is safety checked and logged at wrap.
Three edit bays sit beside the floor with colour managed monitors, calibrated audio and a quiet room for client review. Editors can book a half day to finish selects or a full week for a long form cut.
An in house bench builds flats, plinths, counters and window frames to a sketch or a reference image. The team works in a dust controlled corner and pre-paints most surfaces before the build enters the shoot floor.
Product days pair a table top bay with a stylist station and a tethered capture desk. Glass, textile and cosmetic work each get their own lighting recipe, and files are copied to the client drive before the crew leaves.
The studio desk assembles a crew from a regular list of photographers, digitechs, stylists and grips. Calls, parking, meal breaks and wrap times are set in one shared sheet so nobody is chasing details on the morning of the shoot.
All six services are described in full on the services page, including rates and what the studio supplies.
Open the services page →FYO STUDIO PRIVATE LTD. opens its winter shoot calendar and holds a small block of dates for repeat production clients. Write to studio@fyostudio.buzz to place a hold.
Most shoots fail in the quiet hours, long before anyone touches a camera. A truck arrives and the loading bay is shut. A gel is missing from the kit. The monitor in the edit room shows a slightly green sky and nobody notices until the client is already on a plane. FYO STUDIO PRIVATE LTD. was set up to remove those gaps, and the layout of the Hougang unit reflects that intent. The floor, the grid, the bench and the edit rooms share a wall and a schedule, which means a change on set can be answered by someone standing ten metres away.
The studio floor hire side of the business serves photographers who need space and calm. The floor is a genuine cyclorama with a seated curve, painted and repainted on a rolling schedule, and the wall marks are refreshed before every commercial booking. Nothing is nailed to the cyc, nothing is dragged across the paint, and the crew walks the floor with shoe covers on clean days. For clients who bring their own gear, the unit offers a loading corridor, a secure storeroom and a small kitchen for long days. For clients who travel light, the studio can supply stands, sandbags, a tether table and a grip cart.
The lighting grid setup work is handled by a small lighting team that knows the ceiling. Twelve heads are hung on a rail system above the floor, split across four circuits, and the team keeps a paper map of where each head sits after every change. That map matters more than it sounds. When a client asks for the same soft key they had three months ago, the grid can be rebuilt in under an hour rather than guessed at. Gels, diffusion and flags live in labelled drawers along the wall, and the studio tracks consumables so that a roll of tape or a sheet of diffusion is replaced before it runs out mid shoot.
The edit suite booking arm is quieter but just as busy. Three rooms sit behind the floor, each with a calibrated display, a reference monitor, a desk for two and enough acoustic treatment to hold a conversation without raising a voice. Editors use the rooms for offline cuts, colour passes and client reviews, and the studio can bridge a remote client into the room for a live session. Files are kept on a local array during a job and handed over on a drive the client provides, with a checksum log written at the end of every transfer. The studio does not keep client rushes beyond the agreed handover window, and that rule is written into the service terms rather than left to habit.
How a booking runs
You send dates, crew size and the shape of the shoot. The desk checks the calendar, places a short hold and returns a written scope with the floor, grid and edit time itemised.
Carpentry cuts flats and plinths while the lighting team preps heads. Props and set pieces are staged in the build corner so the floor stays clear until call.
The crew arrives to a rigged grid, marked floor and a stocked client table. The digitech runs tether, backup and a running shot log, and the desk manages meal breaks and parking.
Cards are copied and checked against the log, the set is struck and reusable build pieces are stored. Edit bay time can begin the same afternoon or on a later date that suits the client.
Set build carpentry is the part of the studio that surprises new clients. Most photo studios hire a set or rent walls, and most production companies bring their own carpenter. FYO STUDIO PRIVATE LTD. keeps a bench on site so that a simple plinth, a window frame or a painted counter can be turned around inside a day. The bench sits in a dust controlled corner with its own extraction, and the studio prefers to prime and paint surfaces before they cross into the shoot floor. Larger builds are planned in sections so they can be moved through the lift and reassembled on the floor without cutting into the wall.
Product shoot days use a different rhythm. A table top bay sits beside a stylist station and a tether desk, with a separate lighting recipe for glass, textile and cosmetic work. Glass gets long strip highlights and black cards to shape the edges. Textile gets a large diffusion frame and a slow flag pass to keep the weave visible. Cosmetic work gets a tight overhead and a small mirror card, because a bottle shoulder can turn muddy under a broad source. The studio keeps a library of tested recipes and repeats them on request, which shortens the setup and keeps a product series consistent across months.
Crew call coordination is the service that holds the others together. The studio desk keeps a list of photographers, digitechs, stylists, hair and make up artists, grips and runners who have worked the floor before. When a booking is confirmed, the desk sends one call sheet with the address, the lift access, the parking note, the call time, the meal break and the wrap time. Freelancers are paid through the studio where the client prefers a single invoice, and the desk keeps a written record of hours so there is no argument at the end of a long week. The phone line at +14128446827 is answered during business hours by a person at the desk, not a routing menu.
The studio also takes on smaller jobs that do not fit neatly into a category. A brand may need one hero image and a short social cut, which means a floor half day, a product setup and two hours of edit time. A magazine may need a portrait series across two days with a build change in between. The desk prices those mixed bookings line by line rather than forcing them into a package, and the scope is agreed in writing before the crew is called. Clients can read the full terms on the terms of service page and the data handling rules on the privacy policy page.