New York Green Screen Studio
A soundproofed 400 square foot cyclorama stage at 214 W. 29th St. in Manhattan. Pre lit on DMX, with a master control room, live streaming built in, and a technician on standby with every booking.
- Smooth cyclorama with pre installed DMX lighting, ready when you arrive
- Master control room with live streaming and remote producer monitoring
- A standby technician included, so nobody is troubleshooting your shoot
Teams who have stood in front of this wall
A New York Green Screen Studio Built So the Footage Actually Keys
Most green screen problems are created on the shoot day and discovered three weeks later in post. Uneven light on the wall, a subject standing too close, green spill down one shoulder, a codec that cannot hold an edge.
Our stage at 214 W. 29th St. is set up to prevent all four. The cyclorama is smooth, the DMX lighting is pre installed and repeatable, the room is soundproofed, and a technician is in there with you rather than on call somewhere else.
Bring your talent and your deck. We handle the rest, and you leave with footage that drops straight into an edit.
Inside the Studio
A stage sized for presenters, interviews and small group shoots, with a control room next door rather than in another building.
The stage
- 400 square feet of shooting space, 20 by 20
- A smooth cyclorama, so there is no corner to light around
- Pre installed DMX lighting, set and repeatable between sessions
- A soundproofed room, so the audio matches the picture
- HD cameras available, or bring your own kit
- Audio fed to a room speaker or an in ear monitor
The control room
- A master control room alongside the stage
- Live streaming integrated, from a few hundred viewers to well over a hundred thousand
- Remote producer monitoring, so approvers do not need to travel
- A standby technician included with every rental
- Post production available, including editing and design
- Media management, so your files leave organized
Finding us. The studio sits on West 29th Street between Seventh and Eighth, a short walk from Penn Station, Herald Square and the PATH at 33rd Street. That matters more than it sounds. Talent who can reach a studio on foot arrive on time and arrive calm.
Why Green Screen Footage Fails, and How We Stop It
Four things ruin a key, and all four are decided on the shoot day rather than in the edit. This is what we are watching while you work.
The Wall Has to Be Lit Evenly
A green screen with hot spots and shadows hands your editor several different greens to key against, which means a soft edge or a halo. We light the cyclorama separately from the subject and actually check it rather than assuming it.
Distance Kills Spill
Green bounces. A subject standing close to the wall picks it up across their shoulders and hair, and no amount of spill suppression fully removes it afterwards. We pull people forward and light them on their own, which is why the room being a proper stage matters.
Separation Makes the Edge
A backlight or rim light gives your subject a defined edge against the green. Without it, dark hair and dark clothing blend into the wall and the key quietly eats them.
Shoot Something the Software Can Read
Heavy compression and rolling shutter smear ruin edges before post ever opens the file. We record at a bitrate and shutter that hold up, and we avoid the fast movement that turns hands into green fringe.
None of this is exotic and none of it is expensive. It is simply the difference between footage that keys in an afternoon and footage that gets quietly abandoned.
What We Shoot in the Studio
Book the stage on its own, or book the stage with a crew and a finished edit. Both are quoted line by line before you commit.
Executive and Leadership Videos
Composed pieces to camera from founders and leadership, shot against a background you control rather than whatever wall was free that morning.
Corporate Announcements and All Hands
Leadership messages recorded properly for a distributed workforce, with clear audio and a set that looks deliberate.
Training and eLearning Modules
Repeatable sessions with a consistent look, so module twelve still matches module one six months later.
Product Demos and Explainers
A presenter keyed over screen capture, graphics or a product environment, which is where green screen genuinely earns its keep.
Virtual Set and Branded Backgrounds
A branded environment behind your presenter, built once and reused across every video your team makes that year.
Live Streamed Broadcasts
The control room sits alongside the stage, so a session can go out live rather than only being recorded.
Webcasts and Virtual Events
Studio originated webcasts with registration, engagement and a captioned replay handled around them.
Interviews and Thought Leadership
Sit down interviews with a controlled background, cut into a hero film plus a library of short clips.
Podcast and Series Recording
Multi camera recording with every voice on its own channel, in a room that was soundproofed before you arrived.
What to Wear on a Green Screen, and What to Leave at Home
Send this to whoever is appearing on camera. It takes two minutes to read and it saves hours in post.
Works well on camera
- Solid mid tone colors in blue, burgundy, grey or navy
- Matte fabrics rather than shiny ones
- Simple necklines and structured shoulders
- Two outfit options, so there is always a fallback
- Makeup that controls shine under studio lighting
- Glasses with an anti reflective coating if you wear them
Causes problems
- Anything green, including olive, mint and sage
- Fine stripes, small checks and tight patterns
- Shiny satin, sequins and reflective jewelry
- Pure white, which blows out under studio lighting
- Loose wispy hair, which a key struggles to hold
- Lanyards and badges that catch the light
If somebody turns up in green it is not a disaster. We have backdrops and we can relight. It simply costs time you would rather spend shooting, which is why we send this note to your talent before the day.
Why New York Teams Book This Studio
Plenty of places in Manhattan will rent you a green wall and a key light. The difference is whether anybody in the room understands what happens to your footage afterwards.
Argus HD runs the studio and the production. The same team that lights your shoot cuts corporate video, runs live broadcasts and produces events every week, so the day is built around the edit rather than around the clock.
You get one point of contact, a scope written in plain language, and problems solved before you see them.
- A standby technician with every booking, included as standard
- A stage that is pre lit and repeatable, not rigged from scratch each time
- A control room that can stream the session live if you need it
- Remote producer monitoring, so approvers can watch from their desk
- Post production in the same building when you want it
- Full production crews available when the shoot needs more than a studio
- Simple, transparent scopes with nothing new appearing on the invoice
How a Studio Day Runs
Four stages, one senior team, no handoffs between them. The person who lit the stage is the person standing beside you.
Scope the Session
A short call to settle what you are shooting, how many people are on camera, what the background needs to be and whether the session is being streamed.
Prep and Prelight
The stage is lit and tested before your call time, the wardrobe note goes out to your talent, and the prompter or playback is loaded if the session needs it.
Shoot Day
You arrive, your people get miked, and the technician stays with you throughout. A producer watches the key on a monitor rather than hoping for the best.
Post and Delivery
Footage handed over organized, or keyed, edited, graded and captioned by our team, in the versions your team is going to publish.
What a Booking Includes
The base booking covers the room and the person who knows it. Everything else is added only if your shoot actually needs it.
Included with the stage
- Exclusive use of the cyclorama and the lit stage
- Pre installed DMX lighting, adjusted to your shoot
- A standby technician for the whole session
- Audio to a room speaker or an in ear monitor
- Control room access for your producer
- Setup completed before your call time
Available to add
- HD camera package and an operator
- Teleprompter and a prompter operator
- Live streaming to one destination or several
- Remote producer monitoring for offsite approvers
- Editing, color, graphics and captions
- Media management and archiving
Our Fun Fact
Argus HD has been producing live broadcasts since streaming was still figuring itself out. Our founder worked the crew on one of YouTube’s very first live events back in 2008, the Katy Perry show, and later helped bring Facebook’s early F8 developer conferences to a live audience online.
That is why the control room beside this stage can carry a few hundred viewers or well over a hundred thousand without anybody in the room noticing the difference.
What a New York Green Screen Studio Costs
Studio time is quoted by the half day or the full day, and what moves the number is how much of the production you need us to bring. The stage, the lighting and the standby technician are the base. Crew, cameras, streaming and post are added only where your shoot needs them.
Tell us what you are shooting and we will put a fixed line item quote in writing, so the number you approve is the number you pay.
What moves the number
- Half day or full day on the stage
- How many people appear on camera
- Whether you bring your own crew or we supply one
- Teleprompter, playback and any additional kit
- Whether the session is streamed live
- Keying, editing, graphics and captions afterwards
New York Green Screen Studio FAQs
214 W. 29th St. 2nd Floor, New York, NY 10001. That is West 29th between Seventh and Eighth, a short walk from Penn Station, Herald Square and the PATH at 33rd Street.
400 square feet of shooting space, 20 by 20, with a smooth cyclorama and pre installed DMX lighting. It is sized for presenters, interviews and small group shoots rather than large built sets.
Exclusive use of the lit stage, DMX lighting adjusted to your shoot, audio to a room speaker or in ear monitor, control room access and a standby technician for the whole session. Cameras, crew, teleprompter, streaming and post are available to add.
Yes. Plenty of clients book the stage and bring their own team. Our technician stays with you either way, so somebody who knows the room is always in it.
Yes. The master control room sits alongside the stage and streaming is built in, from a few hundred viewers to well over a hundred thousand.
Yes. Remote producer monitoring lets approvers watch and give notes from their own desk, which usually removes several people from the room and makes the day considerably faster.
Solid mid tone colors, matte fabrics, and a second outfit as backup. Avoid anything green, fine patterns, shiny fabrics and pure white. We send a wardrobe note to your talent before the day so nobody has to guess.
Yes. Keying, editing, color, graphics, captions and media management are all available, and it is usually cheaper to have the team who lit the shoot also key it.
Not always, and we will say so. If the background needs to look like a real place, or your product is highly reflective, a location or a plain lit backdrop is often better and cheaper. We work that out on the scoping call rather than after you have paid for a day.
A week is comfortable for a straightforward session. Sooner is often possible, so tell us the date and we will be honest about availability.
Need a green screen stage in Manhattan that is ready when you arrive?
Tell us what you are shooting. We will confirm availability, send the wardrobe note to your talent, and put a fixed quote in writing you can take straight to your budget holder.
Argus HD Studio // 214 W. 29th St. 2nd Floor, New York, NY 10001 // info@ArgusHD.com