Stanislav Kriuk (ICONIC21) details studio transformation for Halloween

The studio transformation for Halloween at ICONIC21 is planned in advance and executed so as not to interrupt live play. Stanislav Kriuk, Head of Studio at ICONIC21, says preparation usually begins around August and that the final installation should be the briefest phase of the process. Camera, lighting and presenter tests are carried out after installation to ensure stream continuity.

Schedule and phases of the work

Kriuk explains that seasonal work starts "around two months before going live." If players see Halloween decorations in October, the team probably started talking pumpkins in August. The process he describes includes:

• definition of the idea and alignment with the client’s brand

• development of the concept by design

• production checks in the live studio (cameras, lighting, presenters, game visibility, safety)

• production and pre-assembly outside the live environment

• final installation in the studio, followed by technical checks

The operational goal is that "the real installation should be the shortest part of the process." After installation, lighting is adjusted, camera angles are reviewed and everything is confirmed to look correct on the stream.

How the camera affects design

For Kriuk, the biggest technical challenge is that a live casino studio is above all a broadcast environment that must keep a real game running. "Something can look great when you stand in front of it and look completely wrong through the camera. And the camera always wins that argument," he says.

This forces consideration of camera angles, lighting, reflections, shadows, dealer sightlines, monitors, microphones, game visibility and technical equipment. Even the colour or material of a decoration can create unexpected problems. Kriuk emphasizes that for seasonal decorations, materials such as glitter, LEDs, shiny surfaces or highly saturated colours can produce reflections, exposure issues or colour contamination on camera.

Operations and continuity of play

The studio must allow the dealer to work as before. Kriuk shares the basic rule: creativity must not interfere with the game. To minimise impact on operator and player, the team coordinates with Operations and uses maintenance windows or low-impact periods. When possible, they work table by table rather than shutting a wide area.

After installation the necessary tests are performed: camera checks, lighting adjustments, sound, game visibility and a quick run with the presenter. The ideal operational result, according to Kriuk, is that the player notices the atmosphere the next day without perceiving any change or interruption: "No drama, no downtime, no idea of what happened behind the scenes."

Visible and invisible details for the player

Viewers usually perceive the atmosphere immediately — background, lighting or a strong visual element that signals something special is happening —. Kriuk estimates that what they don’t see probably corresponds to 80% of the work: camera tests, lighting adjustments, rehearsals, safety checks, dealer scheduling, technical tests and cable management.

Kriuk summarises the design goal: "Good studio design is when the player sees the atmosphere but doesn’t see any of the engineering behind it." He repeats that thought later: "If that happens, we’ve done our job. And if nobody notices the cables, we’ve done an exceptionally good job." These quotes underline that the provider’s aim is to make technical complexity invisible to the client and the player.

Surprises and technical constraints

Kriuk’s experience made him see space differently once he started working with cameras. A beautifully decorated wall can effectively not exist for the player if it falls outside the frame. Moving an object 20 centimetres can completely change the shot. There are also less glamorous but critical tasks: fire safety, ventilation, cable routes, emergency exits and access to technical equipment.

For clients with studios dedicated to a brand, Kriuk insists it is undesirable to use the same generic decorations across all locations. "Especially in dedicated studios, it should still feel like that particular brand," he says. The studio’s job is to understand the client’s idea, adapt it to the brand, resolve technical and operational problems, and deliver it quickly.

Roles and coordination in delivery

Kriuk oversees the work at ICONIC21, which includes dedicated studios that build around operator brands. The process requires coordination between design, production, operations and presenters. The typical flow he describes is:

1. concept plan and client approval

2. production and pre-assembly outside the live studio

3. planned installation, table by table when possible

4. camera, light and sound checks

5. brief run with the presenter before reopening to the public

The operational objective is that the player opens the game and thinks: "Oh, this is great." If no visible cables are detected, the team considers it an exceptionally good job.

"Good studio design is when the player sees the atmosphere but doesn’t see any of the engineering behind it." — Stanislav Kriuk, Head of Studio at ICONIC21

"If that happens, we’ve done our job. And if nobody notices the cables, we’ve done an exceptionally good job." — Stanislav Kriuk, Head of Studio at ICONIC21