TV Studio and Broadcast Gallery

What is placed

All 46 of the pack's models, on the pack's own 2 m studio floor tiles under the hall preset, with the lamps set at 6 m to stay clear of the lighting grid the pack lays itself at 4.5 m. You start on the studio floor behind the cameras, looking down the lens line at the sets.

The far corner is the cyclorama, straight and corner sections curved round behind a weather screen, set flats, a flat with a working doorway and green screen flats. To the right the news desk stands on two riser platforms in front of its own flats and studio clock; beside it the chat set is a sofa, four interview chairs, floor monitors, mark spikes and gaffer tape, scenery braces and stage weights. Overhead, eighteen lighting grid bays make three walkable runs hung with fresnels, barn door spots and softbox panels, with cable drapes coming down to the floor. The camera line is two pedestal cameras, one carrying an autocue, a shoulder camera on a tripod and a jib arm on its base, with a boom microphone, cable ramps, drums and sandbags where a crew would leave them.

Behind the glass partition and its door is the production gallery: four desk runs of monitor stacks carrying the vision mixer, the sound desk and talkback panels, operator chairs, three monitor walls and equipment racks. Through the soundlock door on the far side are the makeup station with its lit mirror, the wardrobe rail, the green room sofas and tables, and the prop store shelving.

What moves

Fifteen of the placed models carry rigid node clips. The pedestal cameras roll and pan, the shoulder camera pans, the jib tilts and pans, every fresnel, barn door spot and boom arm tilts, the gallery desks open their drawers and tilt their monitor stacks, the operator chairs and the cable drum spin, and the glass door, the soundlock door, the set flat doorway, the equipment racks and the makeup station all open and close. Clips play as you walk up to a model.

What does not move, and why

A node parented to another cannot also be split by material, so the jib arm and its head are single castings and the autocue rides the camera head rather than tilting separately. Cables, drapes, screen content and lighting beams are static or absent: none of them is reachable with a rigid node transform, and faking them costs a consumer more than it gives. There is no crew and there are no presenters, because nothing here is skinned. Screen content is abstract: no real broadcaster or programme is named anywhere in the pack.

Every piece here is a published model from the pack, placed by hand. Walk with the keys or touch, and approach a piece to see it move if it has animation. Colliders, navigation and gameplay are yours to add.