Services

Six services, one studio floor

FYO STUDIO PRIVATE LTD. keeps a photo and video studio at 457 HOUGANG AVENUE 10, #04-427, 530457, Singapore (SG). The unit brings a cyclorama floor, a twelve head lighting grid, a carpentry bench and three edit suites into a single working space, and the six services below describe how those rooms are put to use. Each service can be booked on its own, and most bookings combine two or three of them across a single shoot day.

Floor and power

Studio Floor Hire

The shoot floor is the centre of the unit and the service most clients begin with. It measures roughly one hundred and ten square metres of clear floor with a seated cyclorama along one wall, a working height that clears most boom arms and a loading corridor that opens onto the service lift. The cyc is repainted on a rolling schedule and the wall marks are refreshed before every commercial booking, so a client who arrives early can tape out a frame on clean paint rather than over the marks of the last job.

Hire includes the floor itself, power drops on four sides, a client table with seating, access to the shared kitchen and a secure storeroom for overnight gear. Lighting, grip and camera equipment are not included by default, and clients either bring their own kit or add the lighting grid service to the booking. The studio asks that nothing be nailed, screwed or taped directly to the cyclorama, that heavy cases be lifted rather than dragged and that shoe covers be worn on clean paint days. Those house rules are short on purpose and are explained at the start of the call rather than buried in a document.

A floor booking can run as a half day, a full day or a block of consecutive days for a longer campaign. Day rates include a studio assistant who handles the doors, the lift and the client table, and the desk can add a second assistant for large crews. Weekend and evening slots are available on request, and the desk confirms the exact hours in writing because late finishes are common on commercial work.

Rigging and light

Lighting Grid Setup

The ceiling carries a rail system with twelve rigged heads split across four circuits, and the lighting service covers the prep, hang, focus and wrap of that grid. A lighting assistant reviews the brief before call, sets a plan for key, fill and rim, and hangs the heads the day before the shoot where the schedule allows. Softboxes, beauty dishes, strip boxes, gel frames, diffusion frames, flags and black cards come from studio stock, and the assistant keeps a written record of which head sits on which circuit after every change so a look can be rebuilt later.

Lighting work is priced by the number of heads in use and the amount of rigging time needed. A simple portrait setup with three heads is a short prep, while a large group shot or a moving product sequence may need six or more heads, a boom or two and careful cable management across the floor. The team runs a safety check on every head, checks the circuit load before power is applied and logs any issue at wrap. Damaged gels and spent diffusion are replaced from stock during the day rather than left in place.

Clients who prefer to light the set themselves can hire the grid as a bare service with stands and power only, and the studio will still provide the circuit map and the safety walkthrough. Clients who want a tested look should ask the desk for the lighting library, which lists recipes for glass, textile, cosmetics, food and portraiture with the head positions and modifiers noted for each.

Post and review

Edit Suite Booking

Three edit rooms sit behind the shoot floor, each with a calibrated display, a reference monitor, a desk for two and enough acoustic treatment that a conversation stays inside the room. The suites are used for offline cuts, colour review, sound checks and client sessions, and each room can be bridged to a remote guest for a live review when the client cannot travel. Booking is available by the hour, the half day, the full day or the week, and the studio keeps a small buffer between back to back bookings so a file transfer or a render does not collide with the next room.

The studio supplies the room, the displays and a network connection, and it can supply a house editor or an assistant editor on request. Most clients bring their own editor and their own project drive, and the suite policy is simple: media lives on the client drive during the job and is handed over on the same drive at the end. The studio keeps a working copy on a local array only while a job is open and removes it once the agreed handover window closes. A checksum log is written at the handover so the client can verify that every file arrived intact.

Edit rooms can be paired with floor time, which is useful for a same day rough cut on a short campaign. The desk can also arrange a review session with the client in the room and the director on a call, with notes captured in a shared document so nothing is lost between the session and the next version of the cut.

Build and paint

Set Build Carpentry

The in house carpentry bench builds flats, plinths, counters, window frames, shelving walls and small architectural pieces to a sketch or a reference image. Work happens in a dust controlled corner with its own extraction, and the studio prefers to prime and paint surfaces there before a build crosses into the shoot floor. A simple plinth or a painted back wall can usually be turned around inside a day, while a larger room set is planned in sections so it can travel through the lift and be reassembled on the floor without cutting into the wall.

Builds are quoted from a drawing, a photograph or a written description with dimensions. The bench works in timber, medium density board, plywood and foam, and finishes range from a raw plaster look to a clean painted surface. The studio keeps standard stock in house and sources specialty materials from regular suppliers, with lead times confirmed before a build is added to the schedule. Every build is checked for stability, and anything that will carry weight is load tested before it is used on set.

After the shoot, reusable pieces are struck carefully and stored for repeat campaigns, while one off builds are dismantled and the material is sorted for recycling where possible. Clients who need a set shipped to another venue can arrange a flat pack handover, and the bench will label each section with a simple assembly note.

Table top and tether

Product Shoot Days

Product days run on a different rhythm from portrait or fashion work. A table top bay sits beside a styling station and a tether desk, with a separate lighting recipe for glass, textile, cosmetics, food and small hardware. 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, and cosmetics get a tight overhead with 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.

A product booking usually includes the table top bay, the tether desk, a selection of stands and modifiers, and the time of a studio assistant who handles the capture workflow. The assistant sets up a tethered link to a calibrated display, runs a folder structure for each product, copies cards to two drives during the day and keeps a shot log so the client can find any frame after the shoot. Files are checked before the crew leaves, and a contact sheet can be exported at wrap if the client needs a quick review.

Larger product jobs can combine the table top bay with the main floor for a set piece, a modelled shot or a short video sequence. The desk prices those mixed days line by line so the client can see how much time is on the floor and how much is at the table.

People and schedule

Crew Call Coordination

The studio desk keeps a working list of photographers, digitechs, stylists, hair and make up artists, grips, set dressers and runners who have worked the floor before and know the access rules. When a booking is confirmed, the desk assembles a crew that fits the brief and the budget, then sends a single call sheet with the address, the lift access, the parking note, the call time, the meal break and the wrap time. Nobody has to chase the details on the morning of a shoot because the sheet is shared with every member of the crew and updated if anything changes.

Freelancers can be paid through the studio where the client prefers a single invoice, and the desk keeps a written record of hours and roles so there is a clear paper trail at the end of a long week. The studio line at +14128446827 is answered during business hours by a person at the desk. After hours, the desk number forwards to the duty manager for active bookings only, so a late change on set reaches someone who can act on it.

Crew coordination is charged as a booking fee per shoot day, with the individual crew rates passed through at cost. The desk will also coordinate transport for gear, arrange a runner for same day pickups and hold a small float for petty cash where a production needs one. All of it is set in the written scope before the crew is called.

Process

How the six services fit together

Most bookings start with a short brief by email or phone. The desk checks the calendar, places a hold for the dates and returns a written scope that itemises floor time, grid time, build work, product bay time, edit time and crew. Prep begins once the scope is agreed: carpentry cuts and paints while the lighting team preps heads and the desk confirms crew. On the shoot day the crew arrives to a rigged grid and a marked floor, the assistant runs tether and backup, and the desk manages meals and access. At wrap the set is struck, reusable pieces are stored and edit suite time begins either that afternoon or on a later date.

One written scope

Every job gets a single document that lists rooms, hours, crew and materials. Changes are noted against the same scope so the client always has a current version.

One desk contact

A named coordinator owns the booking from the first email to the final handover, including the call sheet, the crew and the invoice.

One handover rule

Client media leaves on the client drive with a checksum log, and the studio working copy is removed once the agreed window closes.

Tell the desk what the shoot needs

Send dates, crew size and the shape of the job, and the studio will return a written scope with the floor, grid, build and edit time itemised.

Contact the studio