Steadyro StudiosSelected Work
A media and environments studio in New York. Interior architecture, broadcast engineering, campus planning, and a content engine under one roof, so a room is designed, built, run, filmed, and taken to market by one team. One team designs it, lights it, films it, runs it, and keeps it selling.
Media and environments studio · Design, build, run, film, publish · New York
We are in it from the brief, through the build, and every night after it opens. Nothing gets handed to a stranger halfway.
One team, one standard, no handoff lost.
Hero films, recaps, and social cuts that keep the calendar full.
Opening films for renovated rooms, fast event recaps, and monthly cuts sized for the platforms your guests scroll. Stills ride along on every shoot.
Shoot-ready rooms, tuned while the build is still open.
Lighting and AV direction set beside the build team, so the room flatters every event and every lens from day one. Broadcast-grade audio when the moment is live.
Rooms designed to be occupied, operated, and filmed.
Concept and space planning, test fits, materials and finish direction, and FF and E specification through trade accounts. Custom millwork through a vetted contractor network, every trade bid out for transparent costs, and a standardized finishes model that holds multi-site work to one look. Every room is reviewed for camera response before finishes lock.
Test fits, stack plans, phasing, and move sequencing, run to schedule.
Fifteen years running global campus programs for Google, Salesforce, and Verizon, on an interior architecture foundation. Test fits and stack plans, phasing and move sequencing, vendor and general contractor coordination, budget and schedule tracking, punch lists, and a day-one occupancy plan. The discipline that lands a ten thousand square foot floorplate on schedule is the discipline that lands a venue on opening night.
Ten to twenty finished cuts a month, every month.
A standing crew and edit pipeline: social cuts sized per platform, event recaps inside 24 to 48 hours, menu and product films, branded and motion graphics, photography, drone where the space calls for it, and print for menus, signage, and merch. One calendar, one standard, and reach that compounds.
Billboards, posters, static ads, signage, and branded merch.
The campaign leaves the screen. Large-format billboards and transit, posters and window graphics, static ad sets sized per placement, menus and table collateral, event signage and step-and-repeat, and branded merch runs. Produced in the same room as the film, so the campaign reads as one thing everywhere it lands.
Positioning, launch planning, and the system that keeps demand coming.
Positioning and messaging set before a campaign is built, launch planning against a real calendar, audience and channel strategy, lifecycle and CRM flows, and reporting that says plainly what moved and what did not. So a room that was designed, built, run, filmed, and published has a demand engine behind it rather than a launch and a silence.
A full crew on the night, and the recap out before the room cools.
Run of show planned with your team, a full crew on the night, and a same day reel while people are still talking about it. The full cut lands inside forty eight hours, with stills and cutdowns sized per platform. Galas, openings, launches, panels, and nightlife. It attaches to any other lane or runs on its own.
Private homes with a room that can broadcast.
Podcast corners, home studios, and screening rooms built into private residences, with the interior design that makes them read as part of the house rather than equipment parked in a room. Two microphones and a low table, acoustics that behave, lighting that flatters at eye level, and a signal path that runs without a technician sitting in the corner. Designed with AGR Creative Studio and built to the same standard as the venues, because a founder shoots more at home than anywhere else.
The same hands come to your building.
Big City Tourism.
Big City Tourism.
Recruitment campaign. Static ad set. Square Deal Media.
Positions, sightlines, and cable discipline, to scale, before a single case rolls in.
Network broadcast, live stages, global campus programs, and rooms that go on air with no second take. The names on a project change with the room. The standard does not.
Founder and CEO. Fifteen years of global infrastructure and campus planning inside Google, Salesforce, and Verizon, bringing corporate real estate discipline most production teams have never sat close to. She leads strategy and planning, and sets the standard every engagement is held to.
Co-founder and executive producer. Two decades in broadcast audio and video, and a video technician at The New York Times, where live never gets a second take. He leads production and the crew we scale around every room.
Latin Grammy nominated director and executive producer. Music video, commercial, and brand campaigns, with photography, motion graphics, green screen, and drone in house. He runs the monthly content engine: the standing crew and edit pipeline that keeps a calendar full.
Design partner. Thirteen years across interior design, art, sourcing, and project coordination, shaped by hospitality: not only how a space looks, but how people experience it, connect within it, and feel inspired to stay. She leads design on every engagement she takes.
Lead videographer and editor. Founder of JusLive Productions, with credits across music’s biggest stages and a growing catalog of restaurant and event work. He shoots and cuts end to end, from hero films to the monthly social engine.
Senior multimedia engineer. Thirteen years of multimedia engineering at The New York Times, keeping broadcast systems on air. He designs and runs the signal path so every room performs on opening day and every day after.
Supported by a bench of up to 12 local specialists, resourced as each project requires.
Ten founders and operators who get the studio before it is priced like one. The founding seat holds the founding rate across every lane, and it pays you on anything you send our way. It is personal, it is not transferable, and when the ten are spoken for the rate closes with them.
Whatever you start at, you keep. The founding rate is locked for twelve months from the day you sign, across every lane, whether you use one of them or all seven.
The same referral rate our studio partners work on. If you introduce a room, a founder, or a venue and it becomes work, you are paid on it. No cap, and it does not expire when your own project ends.
Design, build, light, film, run, publish, and take to market. Seven lanes and the partners behind them, held to one standard and quoted in one place instead of five.
What it asks is simple. Use the seat, or pass it to someone who will. One introduction that becomes work keeps it yours. A seat that stays quiet for a year goes back to the ten, and we will tell you before it does rather than after.
The invitation is personal and non-transferable. Ten seats, total. Founding rate held twelve months from signature.
A room is a logistics problem before it is a creative one. This is the order we run, so nothing that happens once gets missed and nobody is guessing about dates, access, or who is on camera.
Every question we ask before a shoot day. Answered once, and the room gets built around it.
Request a copy →Where things stand once we are rolling. One place to look instead of a thread to scroll.
Request a walkthrough →Deliverables, crew, dates, terms. In writing before anyone books a day.
Request a scope note →Requirements, access, and insurance. Certificates of insurance, building and landlord requirements, vendor paperwork, and site access are handled inside the Rider and confirmed in writing before the first crew call. Send us your process and we will work to it.
A scope note comes first on every engagement, so nothing here arrives as a surprise. Once the scope is agreed, this is where the date gets held and the paperwork gets paid.
A deposit holds your crew and your dates against the calendar. It is credited in full against the engagement. We do not hold a date without one, and we do not take one before a scope note.
Reserve a dateFor work already scoped and underway. Every invoice carries its own reference and terms. This is here for when paying from the site is simply easier than finding the email.
Pay an invoiceThirty minutes on the room, the dates, and what it has to do. You leave with a scope note, and nothing is owed until you have read it.
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