TV Lighting & Design: Winter 2010 (Issue 102) by STLD_Magazine

TV Lighting and Design Winter 2010

Issue 102

Where art meets science

www.leefilters.com

Editorial

Close followers of Television Lighting will have spotted that things have moved on at the STLD. We have a new logo to go with our new Society name, The Society of Television Lighting and Design. And to reflect this our resident editor Iain Davidson has revamped your magazine to keep with these developments. For this issue I am back as guest editor and as always I have drawn from members to get a range of articles that I hope you will enjoy. I have always believed that the STLD magazine is at its best when articles are written by the people who actually do lighting and so we rely on you the readers to submit articles. So please don’t be shy, we all want to hear what you have to say and to learn about what you are working on. Even if you don’t want to write it yourself don’t let that stop you contributing - just let me know what you are thinking and I will be pleased to turn that into magazine content. We are looking for stories about your projects, reaction to articles in the magazine, and suggestions for future articles. We want this magazine to be the one everyone wants to read, and with your help it will be! Future Events Your committee is already planning a few STLD meetings for 2011, so watch out for notices about these. Among the events we are hoping to offer you in the next few months are:

Contents 4

Painting the Light

Early Days at the BBC

Media Servers in TV

The Third Dimension

The Grumpy Old Men- a response

Testing Times

STLD AGM

Obituaries

Tour of the Royal Opera House

Sponsor News

Edinburgh Military Tattoo

Society Committee

Technical Talk - Camera Sensitivity

Society Sponsors

Editor: Bernie Davis E-mail: editor@stld.org.uk Magazine Production: Iain Davidson Editorial Address: 223 Cressex Road Web: www.stld.org.uk Sponsor News: Richard Bowles Tel: 07973 152 682 E-mail: sponsornews@stld.org.uk Advertising: John King E-mail: adverts@stld.org.uk S © Society of Television Lighting and Design 2010

Cover Picture: Bernie Davis

Deadlines for the next issue:Advertising copy : 30 November 2010. Editorial : 30 November 2010. Advertising is accepted only from sponsor members of the Society

STLD is printed by evolve complete print solutions associated with the lighting industry for over 20 years Tel: 01923 774111 Email: info@evolve-print.com www.evolve-print.com

TV Lighting and Design Winter 2010

TV Lighting and Design is the journal of the Society of Television Lighting and Design and is published three times a year. ISSN 0957-2961

Lighting

Mission 2110 KOI award winner Mark Smithers sets off on a bracing sea voyage in Scotland

TV Lighting and Design Winter 2010

Mission 2110 - A children’s programme for the CBBC channel, also showing on BBC1 and BBCHD. Produced by BBC Scotland.

The series is set 100 years into the future, and the world has been taken over by Roboidz. These machines were designed by humans for the use of humans, but they eventually destroyed us. In 2110 only one human is left to fight the Roboidz, Caleb, and he has found a way to transport children from 2010 into the future, to help regain control of the Earth. When I was first approached about lighting Mission 2110, the production team was still unsure of the final location. Various derelict factories and a disused power station in Scotland were recce’d and for one reason or another

were found to be unsuitable. Finally, I received a call “We’ve found a location…do you think it’s possible?” The location was six Maersk container ships laid up in Loch Striven, off the river Clyde, due to the economic downturn. Filming was to take place over six weeks in January and February with two weeks to rig and one week to derig. The only requests production made with regard to lighting were that they wanted to see 360°, and that any lighting in shot should not look like production lighting. We were to shoot in HD progressive scan, on four cameras with no racks control, plus various minicams, and no grade other than the basic controls available in the edit. The day of the recce arrived, and we were up at 4am to catch a flight to

Glasgow airport, driven to Wemyss Bay for a ferry to the Isle of Bute, and on a launch from there out to the ships. We spent three hours on the ships, establishing the feasibility of filming such an epic. Then back on the launch to start the journey in reverse, arriving home at just after midnight, thoroughly exhausted, but satisfied that the job was possible. There was plenty of power as each ship had three 3.5 Megawatt generators. These were generating at 60Hz, as opposed to the 50Hz we’re used to and the distribution was in delta instead of star. The ships load is normally refrigerated containers, so their electrical load is balanced and the hull is used as the neutral. 60Hz is used to overcome voltage drop through the steel hull. The ship was lit throughout with twin

Mission 2110

drawn up and presented to John Singer at Elstree Light and Power. This was more of a wish list as “the budget was limited”, but with just a couple of tweeks and discussions with the Production Manager, Anne McGarrity, I had the kit I wanted.

Camera tests were done with Camera Supervisor Pete Kelly from BBC Scotland, to establish any problems we might encounter. We did tests in tungsten and discharge lighting with, as expected, no problems. Tungsten smooths out the lumps and bumps and modern discharge lighting and other electrical equipment operate on all world variations in supply. At the camera’s normal settings the ships lighting was strobing, so a suitable shutter speed was found and we were happy. Over the next few weeks, more meetings and many phone-calls, the ships were secured at our location and I managed to secure the services of Greg Fitzgerald as my gaffer. Greg was

enthusiastic from the start and remained so throughout the project. He put together a great team of electricians, each with their own area of expertise, Justin “The Ginger Juggernaught” Denchfield, Mark Gardiner and Alan Dolan, were to be my main crew, with Dave Sherman and Paul Helm as rig and de-rig crew. There were more recces through December, one of which involved an unexpected stay-over on the ships as a storm blew up! A list of equipment was

The six weeks of filming flew by. Every day we were presented with a new situation, which was basically lighting and shooting a new, full ‘studio’ set-up, to which we responded well. The design, planning and execution of the rig allowed me flexibility as the programme developed. Greg, Justin, Mark, Alan, Dave and Paul were a

TV Lighting and Design Winter 2010

600mm fluorescents and I decided that these would be useful both in vision and as safety lighting, as they would have an independent supply from production lighting.

Scotland, January, cold and dark, lots of snow. Not the best time of year to get 45 tonnes of gear across a choppy stretch of water, but Greg and the boys met the lorries on the dock at 7.30 to begin the transfer of the equipment across to the ships. One long and cold day later all was safely on board, with a very satisfied location manager, amazed at how organized Greg and the team had been. I arrived a couple of days later and the rig was well under way. To overcome the problems of the ships electricity supply, Greg and Justin had sourced large transformers to convert the supply to our requirements. Holes had been cut in the deck for access into the holds, imagine TC1 with a 2 metre hole in the roof and all equipment, dimmers, lights, set, had to be hoisted in through this.

Lighting

TV Lighting and Design Winter 2010

delight to work with. This highly skilled and motivated team enabled me to present a very smoothly run and great looking product to production. Although not one of the largest rigs undertaken, the logistics, problems with access, an unusual power supply and invariably bad weather, meant this was a project that really needed some lateral thinking.

Lighting kit was a mixture of tungsten and discharge fresnels with four-lights, aurasofts and parcans, to complement the industrial look. The pars were perfect for this project, great output and beam shape and the full range of beam

angles and wattages were used. Limited “technology” was used with various LED fixtures being used for lighting rather than for their in-vision uses. Some LED fixtures were used in the games, where colour changing was required. I kept to a minimum palette of colours, steel and cold blues and plus greens - normally used for discharge correction but great for “dirtying” tungsten - to reflect the cold, dirty, steel world of the Roboidz. Warm tungsten was reserved for faces of the children and the presenter. I was presented with what seemed like an impossible situation, little money and a large show to light. A big thank you must go to Elstree Light and Power, who played a massive part in the realisation of my design by allowing me all of my wish list for the money that CBBC Scotland had available. It really was a rewarding project to work on

with input into all aspects of the show, including all inserts, titles and website images. All this with an average temperature of 7 degrees centigrade in the ships…only slightly warmer than a fridge!

ELP GEARS UP FOR 2010... WITH NEW EQUIPMENT AND A NEW OFFICE Standing still in this fast moving industry isn’t an option for anyone and ELP are no exception. 2010 sees the company their new office located in make significant new invest- The Powerhouse at the front ELP New ment in equipment and of Elstree Studios. production staff to focus on core markets like light “Passing LDs won’t be able entertainment, outside broad- to miss the office as it’s casts and live events. But for visible from the road and many people it’s the firms front gate” says MD Ronan return to Elstree that will Willson. “We’ll have a hospitmake the biggest headlines. ality suite, hot desks, display and demo facilities and we’d By the time this landmark really like Lighting Directors 100th issue of Television and other production people Lighting magazine hits desks, who need a space to work ELP sales and production to pop in, use the facilities teams will have settled into and try the latest gear.”

ALPHA BEAM 300 The ALPHA BEAM 300 from Clay Paky produces a ‘superconcentrated’ near parallel light beam. It’s the only 300W moving light beam on the market able to release an ‘aircraft landing’ light effect from a powerful, compact moving body.

Examples of the latest additions to the ELP hire list are as follows:

LiteWare The LiteWare RGB Battery Uplighter with Wireless DMX is a truly stand alone controllable light source with up to 24 hours permanent use from the integral battery. Now you can get your lighting design applied anywhere!

VLX Wash The VARI*LITE® VLX Wash Luminaire gives you all the benefits of LED technology and the best visual performance characteristics of traditional automated luminaires. VLX offers stunning colors and intensity, multi-year source life and high reliability.

VISIT OUR NEW OFFICE STLD members are most welcome to visit the new ELP Elstree office, road test some new equipment or just have a cup of tea in the hospitality suite. Please contact Tony Slee, John Singer or Barry Denison on 020 8324 2100 to arrange a visit.

To find out more about ELP visit:

T: 01480 443 800 • Head Office ELP Elstree T: 0208 324 2100 • • ELP Manchester T: 0161 953 6630 Lighting • Rigging • Power • Mobiles • Staging • Structures • Design

www.elp.tv

Lighting

Low Energy Lighting Lunchtime conference held at the BBC

their local news programme with various types of luminaires. We then viewed several clips of the Birmingham output. Conventional Tungsten lighting followed by Fluorescent, discharge and finally L.E.D. sources.

TV Lighting and Design Winter 2010

The energy cost, calculated to include air-conditioning were for a 650w tungsten lamp £250 to £300 per year, compared to a low energy source cost of between £15 to £30 per annum.

Richard Smith and Charles Simmonds of the B.B.C. Sustainable Production Team opened the meeting at Television Centre. The Society was invited in June to present their views on Low Energy Lighting, to a large number of Production and Operational Staff representing a broad spectrum of the BBC programmes. Charles explained that the B.B.C. wished to lower their carbon footprint, lower costs and minimise the environmental impact without reducing the quality of the BBC’s output. He wants the corporation to be the leading player environmentally in the world.

The Society was represented by our Chairman Stuart Gain, who was presenting a view from Bernie Davies who was otherwise committed, Iain Davidson our Lighting & Design Magazine editor, Mike Le Fevre fresh from Wimbledon and the inscrutable Andrew Dixon. The BBC had undertaken a practical experiment at their studios at Birmingham, they had lit

Stuart then very ably presented Bernie Davies thoughts on the matter. “The STLD were originally asked to present two views on the subject of low energy lighting, for and against, but the truth is that no-one is likely to be against as such. Even global warming sceptics can see the advantage of using less power so you would think it is a one-sided argument, but there is more to it, as there always is!

Low Energy Lighting

Another problem to be considered is

how the lighting works on skin tones for TV cameras. As a general rule, energy-efficient lighting saves power by not producing all across the spectrum. Tungsten lighting is very smooth in its output, if a little light on the blue end. The smoothness of the light source makes skin tones very natural to the eye and to the camera. Some of the better fluorescent lighting manufacturers use tubes that are very good, but LED lighting is only just reaching a standard that is good for flesh tones. TV lighting design is all about control of the light in its shape, its colour, and its quality. There is no doubt that some excellent light quality can be found with some recent fluorescent and LED lighting, but it has yet to be better as a light source than existing tungsten sources, and so there is the dilemma for the Lighting Director who wants to be greener in his or her ways: Should they use a light source that is not necessarily as good at doing what is wanted in order to use less power? And how green is it to change existing light sources for new ones? A few years ago GMTV re-equipped their studio in The London Studios following an STLD meeting on the subject of Eco-friendly lighting. They used LED sources for decoration and fluorescent lighting as back-lights, but they kept tungsten sources for lighting the faces. I think this was an excellent compromise as the studio pictures looked very good while the power consumed was considerably reduced. And of course the reduced heat in the lighting also saved on air-conditioning. The One Show studio makes good use of LED lighting and makes so little heat the airconditioning installed for them now acts more as a scenic element! But speaking as a location lighting designer I do not often get to use this balance of power saving against the cost of new

technology to balance my costs. I have to work to a budget when delivering the best lighting I can manage. New technology is not cheap to buy or to hire. Hire companies have to get their outlay back very quickly before the next generation of new technology comes out and they have to re-stock. And I can’t imagine any production will offer a larger lighting budget in order to make their production greener unless in turn they are given more money to do so. Sticking to budgets is not always easy, but when I was learning my craft I was told an old truth by my boss - one thing you will never hear is ‘Well done! The show looked rubbish but you came in within budget!’ You could adapt this to the current subject by saying that one thing you will never hear is ‘Well done! The show looked rubbish, but you helped to save the planet!’” Andrew Dixon then gave examples of the Millbank Studios shows which had used LED sources from 2004, it has been added to and supplemented to since. Some of the fittings are now breaking down with age and it had since been supplemented. Andrew thought the efficiency was about 5:1. He also gave an example of a location with delicate fabrics, lit by LED’s because of the lack of Ultra-Violet in the LEDs chosen. Andrew also mentioned that the camera colour response was different from the still pictures that he was displaying. One final comment from Andrew was that he estimated that the cost saving at Millbank was about £700 per annum, and when he was passing TVC at midnight one night, two lit floors of the centre was negating that saving, was any one using the offices at that time, he doubted it. Next to speak was Iain Davidson, who had worked at the BBC for 26 years and was now working for another com-

TV Lighting and Desgn Winter 2010

In the world of big screens LED technology has really taken over. Projectors often offer a better image but LED screens are brighter, and really the only option for outdoor concerts. Look at any entertainment show today and LED lights are to be seen everywhere. They flash, they change colour, and they use little power. But the main reason they were chosen was for the first two qualities. The low power was just a useful side-effect. But look at the rest of the lighting rig and it is still predominantly tungsten source fixtures. Now LDs aren’t Luddites so you have to ask why this is still the case, and there are a number of reasons. First, let’s look at discharge lighting. At a guess HMI or MSR offers about a three to one advantage in light to power ratio so that ought to be a good saving. But the problem there is that when you dim discharge lighting you just place obstructions to the light source - such as a mechanical dimmer or neutral density filter. Every source that might be used in a show has to run at full power all the time, whereas tungsten sources can be faded out when not needed. And for operational fades neutral density filter is not an option, and mechanical faders can introduce optical problems. So all in all not a popular choice for most occasions. But at least discharge light sources behave like conventional lighting in that you can get fresnels with barn doors to shape the light, and even some discharge profiles for more accurate shaping of the light. Fluorescents make very good soft sources, but are no good for throwing light in a controlled way over any distance. LED lighting is just beginning to appear in controllable lighting. I recently saw a profile spot with an LED light source which was also available as a retro-fit. But this emerging technology is still difficult to find, and often expensive.

TV Lighting and Design Summer 2010

Lighting

pany, but present here in his capacity for the Society. Iain had just finished working on the Wye Festival where he had been allocated extra funds to make the programme as ecological friendly as possible, without compromising too much on the quality of the presentation of the programme. His company were also building 8 new studios and were looking at various low energy sources to achieve an environmental sustainable solution. The most important principle is to use the right tool for the job. Production would not accept inferior pictures to save a few pounds. Iain was also concerned that the LEDs were not as energy efficient as they could be, quoting the size of the heat sinks required to cool the lamp. Fluorescent lamps at the present time are probably the most energy efficient at the moment; LEDs were perhaps better suited for small distance work than as a soft wash source, used further away.

The Colour Rendering Index was also important and that how accurate any colour is reproduced, we can make the set any colour we like but the human face must be right. Think how we want to use the lights and when they are not required switch them off. LD’s can save energy with more efficient light sources, but more savings could be made by not lighting sets until they are required. Mike Le Fevre commented on how he was using tungsten to light the studio at Wimbledon, meaning he could dim the light between sessions, whereas when discharge lighting was used, the lamps would be on all the time. If he had enough warning before coming back to the studio discharge would be OK because there would be enough time to come up to the right colour temperature. Mike expressed the wish on not getting too bogged down with the tech-

nology and to communicate, as early as possible with your LD, so that the lighting design could be as practicable as possible for the circumstances. A holistic approach would enable the LD to take into consideration the lamps, set air-conditioning, energy and many other factors. The cost of hiring a conventional tungsten parcan from a hire company would be approximately £5 per head/ week while a LED equivalent would use less power, but cost £25 for the same period. A studio he had recently been involved with had reduced consumption to 3.5 to 4Kw and more power was being used by the background video display screens. “Technology is the easy bit, communication is what is needed”. There followed a question and answer session in which David Morphy of Cirrolite explained this was developing technology and gave more details on

Low Energy Lighting

many different colour temperatures in scenes, sets & locations i.e. Exteriors, video walls, fluorescents in offices etc. MLF mentioned that at the moment there were re-cycling facilities for tungsten and fluorescent but none as far has he knew for LED sources. MLF also spoke how the design of the lamp could make a fitting much more efficient than a similar lamp of a higher wattage. Question from the floor on the lamp life how easy it was to replace LED modules, the answer was it is getting better. Chris Price from the BBC in house company, DV Solutions at White City commented on his company’s range of mainly location lamps, some working on batteries, “Bee Bobs” (sic) were useful and so that you did not have to do the two day Health & Safety course or the three day lighting course to use them.

the Birmingham trials, on how they had tweaked the Geeko lamp module several times to get the colourimetry requested and then went back to the original setting, after the LD wanted the better flesh tone rendering and to let the back ground go slightly green .David explained that it took 4 years to develop the chip module, working on the colourimetry, hardware and software to get correct flesh tones. He explained that the Colour Rendering Index was limited, (sub-editor’s note; CRI relies on a relatively small number of samples, more were proposed in 1999, but not adopted). AD mentioned how gels in front of light absorb much of the light and the newer LED fittings, in particular cyclorama lights showed much promise. Ian Hillson raised the problem that now there are so

TV Lighting and Design Winter 2010

Comments referring to the glare from LED key lights and on camera sources, they could be dazzling to the subjects causing problems with seeing cueing machines etc. after much discussion, used correctly all the lamps we use in television were safe when utilised correctly.

Lighting

Daylight - Friend or Enemy? 4 Lighting Directors share their experience There is a good reason that studios don’t have windows. Lighting design is all about control of the light - getting it where you want and keeping it off the wrong places, and as soon as you move out of that black-box environment the daylight introduces a wild card that can change by the minute. In fact you are not only governed by the time of day but you are also at the mercy of the weather. We spoke to four lighting directors to find out how they approached the eternal problem of the intrusion of daylight into their art.

Songs of Praise

TV Lighting and Design Winter 2010

The problem: The show is usually recorded at about 19.00 so congregation have a chance to get home from work (it isn’t recorded on a Sunday!) and as recording is discontinuous over three hours the recording often starts in daylight and finishes at night. Bernie Davis says -

I always prefer to use tungsten lighting even in large churches and cathedrals as I like to be able to balance the light levels from the lighting desk. And of course it means you have to colour correct the rig, but how far should you go? Full blue correction leaves little coming out of the lights, but no correction leaves the people looking very orange or the windows looking very blue, depending on how you balance the cameras. I usually make a decision based on how prominent the windows are. If there are very large windows where a lot of light is likely to affect

the pictures then I would use half CTB: this leaves the faces looking nicely warm without the daylight looking blue. If the windows are relatively small then the daylight through them does much less damage to the pictures, and quarter blue is fine and I can get more light or use smaller units. But the problem with Songs of Praise is that it is usually recorded in the evening because of the availability of the congregation, and for much of the year the light goes from day to night during the recording. If all the recording was to be at night then you could keep the lighting down and make it almost candle-lit, but if part of the recording still has the sun setting on the congregation this won’t work. If the whole of the recording is to be during daylight hours then much of the architecture will be lit by the daylight and most of my work is keeping the people lit for good pictures. But if the daylight will fail half-way through the recording then it is important to keep enough light on the building to get away with wide shots. Two very different services I worked on earlier this year presented all the usual problems in very different ways. The Easter service was from Winchester Cathedral, live on Easter Sunday morning. We then came back on the Monday to record Songs of Praise in the evening. The rig had to cope with both situations as there wasn’t much time to change between the two, and yet each needed a very different feel. About 120 pars with half

blue took care of the live service, with the daylight looking after most of the architecture, then on the Monday while we rehearsed the crew set out floor pars uplighting the arches in L134 - not original but still effective! What’s more by carefully placing the floor pars just outside the arches I was able to light the nave ceiling with the spill from the arch lighting. With the bulk of the lighting rig on ladder beams between the columns there was quite a bit of wall above the arches before the lit roof, and while this would be lit by the sun during daylight it would be left very dark after dusk in a building of that size. But with nothing more than a 650 fresnel in every other bay all with L201 I was able to light the stonework such that as the daylight failed the wall stayed visible. This is a cheap and easy trick I often use to keep the pictures working through the evening. We can of course light through windows to stop them looking unnaturally dark, but again how far do you go? Not all churches are laid out so the ground outside the windows is accessible, and external equipment is a security risk so I like to keep it to a minimum. But you can be sure that the large east and west windows - the ones at the front and the back - are going to feature in the wide shots and so are worth going to trouble over. Another trick I use is that if it is too difficult to light a window from the outside then a small amount from the inside streaked up the window frame structure can be surprisingly effective!

Lighting

TV Lighting and Design Winterr 2010

I should add that it is rare these days to rehearse Songs of Praise at the same time as the recording, instead it is more likely that the first time you see your lighting on camera is during the actual recording. Not only that, they often record out of sequence in that they record all the hymns and readings, then as the time is running out and the daylight has long-since gone they put the jib at the back of the church, pull all the other cameras out of the way, and record the start and finish of each hymn as a wide-shot pass. You then trust vision, and the grade, to keep the pictures matching.

Another, and quite different SOP I worked on was the live Pentecost service from Peckham, followed again by Songs of Praise the following day. This had a more contemporary look as the music was all performed by a rock band. Although the church was much smaller than Winchester Cathedral the problems were similar in that we would not see the real lighting until the recording was under way. And an additional problem was the enormous (proportionally) west window which, untreated, could easily light all the nave up to the altar in whatever flavour of daylight that was on offer that day - not helped by the liberal use of green glass in the window. Unusually we went to the trouble of getting in a specialist company to film-treat the whole window with 0.9 ND, and for the live service in daylight this was only just enough. But this left me with a heavily ND’d window for the night-time recording, so even for this small church we used a 4k through the window. As the church was so small we were able to put a light through every window so the transition from day to night was softened. Up to when the sun went down (about three hymns in) there was still quite strong sunlight on the white walls as seen on some of the wider con-

gregation close-ups, but again the main wides were recorded at the very end after it was dark. My only problem here was that in the daylight it was impossible to see what the moving lights were doing, and it was only at the end for the wide passes that I could see what I had done. I had to work quickly to adjust positions and focuses for each look!

Peckham wide shot recorded after dark

Before sunset looking west. While the window at the back is fine thanks to the 0.9 ND the other windows are letting in the late sun onto the white walls. Luckily there are not too many of these shots, and as the sun goes lower the problem moves up out of the way

Lighting

Winchester SOP - part of a wide move. The west window has two 2.5ks through it, and also some floor pars up the inside to keep the shape of the window right up to the top. The roof is lit with the floor pars that also light the arches. Note the lift to the walls above the arches from the 650 fresnels even though the daylight has almost failed.

... and a bit later as it got dark. We couldn’t afford to light every window, and in fact the shots don’t merit it anyway.

Another hymn ending, recorded as the very last thing in the day, and not seen until the recording takes place

During the ‘magic hour’ when the daylight still showed in the windows

Solo pieces are pre-recorded and so usually during the day. This piece was recorded on the day after Songs of Praise while the derig was under way. My aim was to keep it looking as stylised as possible while avoiding direct sunlight. Most of the lighting is hidden behind the altar rail, including six Mac 700s.

TV Lighting and Design Winter 2010

Even the small windows around the altar had light through them - just floor pars with L201

Daylight - Friend or Enemy

Concert For Heroes The problem: This is an outdoor concert that starts in full daylight and goes on into the night. Tim Routledge says “A Concert for Heroes” was a 5 hour music and comedy concert from Twickenham Stadium on September 12th 2010. The show was broadcast by BBC1 and BBC1HD with the first 4 hours shown as highlights and the last section with Robbie Williams shown live, the rest of the show was shown on the red button. As lighting director for the event not only did I have the mammoth task of creating the lighting looks for 5 hours of concert but also the even trickier task of making a show look great from daylight conditions through that tricky dusk hour to night time – all on the fly and all unrehearsed.

TV Lighting and Design Winterr 2010

My ammunition to make the faces look right were 12 follow spots, 8 Lycian M2 4k Xenon spots front of house on ground support towers and 4 flown lycian short throws chairs on the rear lighting truss, 20 VL5 on side towers on the downstage sides of stage, and 60 Colorblast IW LED fittings acting as footlights across the front of stage and the catwalks down to the B stage.

The great thing about the Colorblast IW’s is that they only do white but they can fade between a warm 2700 K and a real cool 6500 K whilst also being waterproof and ideal for an outdoor show in September in the UK. This last advantage was perfect for programming as we had torrential rain for a lot of the week at Twickenham but on show day the clouds disappeared and we had a truly barmy final summers day with the sun beaming down for most of the day – not only idyllic but also a major player in the decisions on lighting the show. Most of the acts rehearsed over the 2 days prior to transmission but never at actual time of day that they would have been performing and some acts involved a large number of dancers out on the catwalks that rehearsed by day but performed in evening slots during the show – so a great deal was going to be on the fly on the day. The last thing I wanted to do was flood the performance areas with light just to ensure that everything was lit, overex-

posing the whole area and losing the great looks we had worked on and the rock nature of the show. The perfect scenario for me was a great looking show for the paying live audience and a dynamic balanced show for the TV viewers. Immaculate follow spot notes were critical as well as carefully focused key light positions for each band and artiste. I used 3 operators for the show – Alex Passmore ran the main stage lighting, Jonathan Rouse ran the audience lighting package and presenter’s area, Miguel Ribiero ran the bespoke video content. I also had a console networked to the others in order to make tweaks to the balance as we ran. The ops had so much to operate on this scale of rig that being able to inhibit certain fixtures when required helped a great deal. The show began at 5pm with perfect daylight and the sun still high in the sky, luckily the sun was to set USL of the stage so it never streamed directly into the stage but it did stream into all the audience looks for the first hour. In order to get colour temperature right I had set my alarm clock to go off every hour during rehearsals so I could check what the approximate levels should be for each hour of the show – I had a note of temperature and dimmer level for all of our key light and fill elements for the show for each hour from 5pm and gave me somewhere to work from during the show. It always amazes me how much a follow spot in daylight can help lift a presenter during a daylight show – it’s tricky for the operators to hit accurately but so essential. We started the day with frames 3 + 6 on the front spots – Quarter CTO L206 and Minus Green. The VL5s were ran at 90% and filling the stage for large dance numbers and the IW’s were run at a similar level with a colour temperature of around 4800k. The opening of the show also featured 60 military drummers around the D shaped catwalk leading to the B stage and in order to key this as well as the main stage we used 12 Clay Paky Alpha Beam 1500, these were hung under the roof canopy of the stadium with the audience lighting package. Shooting at over 80m, they kept to a tight beam for focusing and make a great special when frosted for stadium shows.

Lighting

It is poignant to mention the need for on the ball vision engineers on these types of shows, especially when the sun is low and shooting at certain parts of the audience or stage. The result was totally successful and we managed to keep Robbie looking healthy wherever he stood as he moves a lot, and keeping the levels of show production to a dynamic level. I learnt a great deal from this show as a Lighting Director and the question I now need answering is how to key a 4 piece boy band all carrying ships flares a foot away from their faces.. answers on a postcard.

Daybreak The problem: A live studio show with a window behind the presenters. The installation needs to work all year round and the show goes out from 07.00 to 09.30 every week day. Matt Carter says -

Grid showing how little tungsten light is in use, and just how bright the window can be Some of you may remember Studio 7 at The London Studios as being the LNN and ‘London Tonight’ studios. Well much has changed since then! When ITV decided to re house its breakfast programme to Studio 7 the first thing we had to consider was that there were three walls of glass, one of which faces St Paul’s Cathedral. It was decided that the St Paul’s view would be the main shot, but this meant that we would be facing east, first thing in the morning, every morning! To counter this problem, we investigated Smartglass. This is a product that sandwiches a film of Liquid Crystal between two sheets of glass. When a current is applied to the LC, it goes clear, to about 98% transparent. When that current is taken away, the LC goes ‘dark’ leaving about 12% transparency. This can happen instantly, or is completely controllable across its range. Once we had established that the glass could be made in sufficient quantity and installed on the very tight schedule we were working to, the next issue to look at was how we would light inside the studio. From the start it was clear that we would have to be daylight balanced, as the Smartglass did not come with a CTO tint. (If anything, it goes to the blue end of the spectrum as it dims!) After deciding on 5600k balancing, it was then what equipment to choose to achieve that. The first name on the list was shutter-dimmed HMI. This would have given us the overall level we

required to cope with staring at a sunrise (Even with the dimmable glass, estimated to be around 4.5klux) but would have had a number of ‘downsides’ such as heat, cost, weight and reliability (I’m sure most of us have fought with HMI shutters in the past!) Shortly after the HMI route was first looked into, we discovered the ETC Selador LED range. We set up a test at ETC headquarters in North Acton, and Stage Electrics provided us with a 1.2k HMI for comparisons. We tested a Vivid-R 7 colour LED unit against the

ETC Selador

HMI and were all very surprised to discover that the LED unit was noticeably brighter! Jeremy Roberts from ETC even asked me to double check the readings on the light meter just to make sure!... The LED unit was a much tighter spot than the HMI, which contributed to its higher Lux levels, but in

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90 minutes in and this is when things started to shift and light levels drop and change colour. We initially cooled down before warming back up at full dark. Using the notes that I had taken during the week at time of day, I had something to work towards whilst fully paying attention to what was happening live. Initially we added .3ND then a further .3 and also cooling down the IWs. We had a 15 minute interval before we went live which gave me the chance to retweak before Robbie’s performance, with it being live to the nation and also the first performance in 15 years with Gary Barlow it had to be right as the pictures of the show would be front page news the next day. We checked all band keys with me onstage and then a quick run back to FOH control to change colour levels. I swapped the spots to Half CTO from a quarter and ran the IWs at a healthy 4000k and at around 50%. Rear spots also changed throughout the show, colour temperature was only changed with some minus green but more and more ND was added as the day went on.

Daylight - Friend or Enemy

terms of all the downsides to HMI, it was the obvious choice. So, going out on a slight limb, and managing to persuade everyone at TLS that I wasn’t mad, we now have a full LED rig lighting Daybreak. There are a few conventional tungsten lights in the rig, but that’s more down to convenience of having pole operated lamps in some key positions. But for the fixed part of the rig the keys, backlights and fills are all a mixture of Vivid-R and Lustr Selador units . I think it’s safe to say that Daybreak, with an East facing window at dawn, would not have been possible without the mixture of Smartglass controllable windows (Via three DMX controlled dimmers) and 7 colour LED lights. At this point, I’d like to thank David Walker & Chris Patton at Stage Electrics for sorting out my order, and helping with the smooth installation process, and also Jeremy Roberts and Richard Thompson from ETC for all their help & support too. Plus my great team here at Daybreak!

The One Show

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A similar problem to that of Daybreak, but in the evening - live from 19.00 19.30. Dave Evans says:

The One Show lighting design with regards to daylight and windows brought with it a few problems that had to be remedied. The main pictorial criteria was that the view through the windows had to be maintain all year round with the only saving grace being that the transmission time was fixed at 7pm. The buildings department whatever it is technically called quickly stamped various limitations on the work space which included nothing could be attached to the glass either inside or out. So the solutions that I adopted were 1, To use removal ND acrylic sheets of .6nd and .3nd strength the .6nd for the main shot looking down the precinct and the .3nd in the side panels facing the darker walls of the building. The

panels obviously would be removed in winter to maximise the lighting effects outside. 2, To minimise reflections in the glass windows during the winter period the production agreed to pay for lighting fixtures to be permanently rigged on the top balconies of the buildings seen on camera so as each lighting cluster of HMI fixtures lit the opposite buildings these lights would only be required for the winter period. 3, Daylight balanced fixtures were chosen for the talent in the studio, these were Desisti 250w fixtures that had integral ballast with both remote striking and dimming via 2 DMX channels, although it did manifest itself that the description given by Desisti of 0-100 percent dimming actually involved the

use of a mechanical iris device that actually changed the beam angle on dimming this was resolved by using a diffusion in the gel frame to counter the effect of the iris. 4, All additional set elements would be lit using LED fixtures to minimise heat and power requirements. Once the above criteria had been met then fine tuning of the balance between inside and out could be achieved by pulling the lighting desk master fader accordingly to try to balance between inside and out in both summer and winter conditions especially during the transition period of winter to summer and visa versa. In extreme conditions we had to except that the balance was not perfect.

Lighting

The Third Knight of Illumination Awards September 2010 saw the Knight of Illumination reach its third awards ceremony and to the credit of the organisers this unique event, which recognises lighting in television, theatre and live events, is maturing into an evening not to be missed. Supported by the STLD and the ALD, and now a raft of sponsor companies, this year’s event was hosted by Paul Ross who injected a little frivolity into proceedings. Add sufficient wine and nearly 400 of the lighting fraternity and you can see why those who were lucky enough to attend clearly had, err, a good knight out... Our congratulations go to the winners of the following categories: ROCK - STAGE EVENTS

Cate Carter for “The Editors”

Rock - ARENA EVENTS

Baz Halpin for “Pink”

THEATRE - DANCE

James F. Ingalls for “L’allegro for Mark Morris” at ENO

Theatre - OPERA

Mimi Jordan Sherin for “The Gambler” at the Royal Opera House

Theatre - PLAY

Peter Mumford for “Sucker Punch” at the Royal Court

And the nominations in the TV section were:

ENTERTAINMENT Mark Smithers for “Mission 2110” Martin Kempton for “Who Dares Wins” Lee Allen for “Blue Peter Christmas Special” The winner was Mark Smithers for Mission 2110, of which the judges said:

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“The panel felt the whole approach to this programme had been very well thought out. There was a good integration between Set Design and Lighting, which gave the whole feel of the show. The look of each different location worked well with good use of shadows and never distracted from the game itself. The overall look was futuristic which was exactly the idea of the show.”

Winners speech here

3rd Knight of Illumination Awards

DRAMA John Carberry for ”EastEnders Live” Kieren McGuigan for “Desperate Romantics” Roger Simonsz for “Spiral” The winner was John Carberry for EastEnders Live, of which the judges said: “The balance between studio and location was well balanced and the mood lines were followed through. Lighting standards were always maintained and the Judges felt bearing this in mind and then adding in the fact it was live was to be congratulated. The Judges wanted it known that they all felt this was the most difficult section to judge as all the entries were very different and all worthy of recognition.”

If I had given an acceptance speech on the night I would have made it clear that lighting the EastEnders live was a team effort and not just down to one individual, I was just lucky and privileged to be choosen to lead such a great team.

SMALL STUDIO Roger Williams for “Junior Apprentice” Iain Davidson for “Theatre Live! - Turning Point” Mike Le Fevre for “Paxman Interviews” The winner was Iain Davidson for “Theatre Live! Turning Point”, of which the judges said: “The lighting of this show was a major part of the look as the set was minimal. Attention was paid to detail with the lighting contributing to the atmosphere of the piece. The pictures looked lovely but at no time did the lighting take over, it was just right for all shots.”

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There were 25 on the lighting team on the night with sparks, VS’s and LD’s spread over the Elstree site, each with their own carefully rehearsed and specific role in the show. Everyone did a fantastic job and it is thanks to all their effort that the show was a success from the lighting point of view. All of this effort was backed up by a fantastic team of engineers at Elstree and from SIS who pulled the show together technically; so thanks to all!

Lighting

“Thanks must go the Craft teams at Sky and the sparks who worked with me on the show. I really enjoyed the challange of live TV drama and it was great to be able to refer back to my time as a theatre lighting designer. I doubt that I will get the chance again so I’ll use this opportunity to thank all the lighting folk that I’ve worked with in the past, in particular during my early years at BBC Scotland. Thanks to all those who freely shared their knowledge and expertise and allowed me to develop my skills. One of the main strengths of the STLD is this sharing of information and technique; when you become one of the old boys (includes me now that I’m past 50) don’t forget your duty to bring on future talent. Finally thanks to the awards committee for the small studio catagory, it recognises that there are low profile LD’s out there who craft their shows just as well as the big boys but on tiny budgets. I had originally thought I was in for “Best Small LD in a TV Studio” until I saw big Mike was also nominated!

EVENTS Dave Evans for Lambing Live Bernie Davis for “Festival of Remembrance” Gurdip Mahal & Ross Williams for U2 Concert in Berlin - MTV Awards. The winner was Bernie Davis for “Festival of Remembrance” of which the judges said

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“The Judges were particularly impressed with the wide shots in this programme and thought the attention paid to the Architecture and Audience in terms of lighting worked really worked. Very good use of Gobos and moving lights, with everything adding to the mood of this very well known sensitive show. The lighting changes were well executed. Finally the closer shots were always well modeled and always had good contrast in them between foreground and background.”

‘Sadly I could not get to the awards ceremony in time to collect my award in person, but had I been there I would have wanted to make a few ‘thank you’s. With Nigel Catmur and Ross Williams as Moving Lights operator and Graphics operator I was unlikely to go far wrong - without doubt they are two of the best in the business. I would certainly have thanked my core lighting crew of James Tinsley, Mark Gardiner and Paul Tibbles, who ought to know the Royal Albert Hall well having crewed the Proms for me over a few years, and also the Royal Albert Hall team for their support. Festival of Remembrance is a pleasure and a privilege to be part of, and working in a world where taking a risk means going to work without an umbrella I find it very humbling to meet the young men and women who risk their lives for their country alongside many not-so-young men and women who did so in the past. I am pleased that their event has been recognised in this way and delighted to have contributed my part.’

Lighting

Our congratulations go to all the winners, and of course to everyone receiving nominations. The award for Lifetime Achievement went to Coral Cooper in recognition for her work which some have described as ‘teaching half the industry’. Coral started in lighting about 25 years ago and was among other things Lighting Designer for Bob Geldolf. She worked for MA Lighting for a while before joining Vari*lites Europe where she worked for 13 years training board operation to people from all disciplines of lighting including television. After the awards were presented, there was a short ceremony during which a donation was made to Light Relief when the President of Clay Paky, Pasquale Quadri generously presented a cheque to Matthew Griffiths, John Simpson, Rick Fisher and Lesley Harmer, the trustees of Light Relief.

The planning is already under way for the 4th Knight of Illumination Awards to be held in September 2011, and the time to do something about it is now! If you want to nominate a show for next year please go to the website www.knight-ofillumination.com

Sponsors of the Knight of Illumination: Osram (main sponsor) AED Avolites Colour Sound Experiment ELP Entec Sound & Light EQ Lighting Etnow GLP Hawthorn HSL MA Lighting Pulsar Light of Cambridge Richard Martin Lighting White Light

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The awards are supported by ABTT, Lighting & Sound International, PLASA, The Theatres Trust and WISE (Women Into Science and Construction)

TV Lighting and Design Winterr 2010

3rd Knight of Illumination Awards

STLD Visit

Wembley - Part One

It was an inspiration to invite Pat Holley and Noel Whiffin from Thorn to talk about the exterior lighting for Wembley Stadium. Both had been at Thorn some time (several decades – but they didn’t look that old) and it was uplifting to hear that there are still some areas of British expertise where those responsible for the specification and design, also manage the project, and get their hands dirty climbing fllodlight gantries and wearing hard hats at night in the middle of a football pitch with a Lux-meter in hand. Like well-rehearsed after-dinner speakers, Pat and Noel’s ‘routine’ entertained us with anecdotes of their experiences clambering around the structure of the nascent arena fighting off adversity and budget restraints. But what had all this to do with lighting for television, I wondered? Quite a lot. The audience of STLD members, and a few fortunate guests (who were politely encouraged to sign up later… yes I did Andrew,

honest) quickly understood that the choice of source, incident angles, target lux figures, glare limitation, Ra indexes and maintenance factor had a vital impact on television coverage at the venue.

pliers bid for the package, the contractor wanted only one manufacturer to ensure responsibility for the design, and Thorn won. All calculations used the specified American lighting design package AGi32.

The targets With an initial estimated cost for the exterior lighting of £8m, several rounds of tendering, and pressure from the builders, had reduced this to £3.5m and ultimately £3.3m. Although twenty sup-

The metrics are awesome: five years in the building, 90,000 seats, a circumference of 1km, 52m roof height, 41,000 luminaires, 9500 Quartz halogen and CFL downlights, and 4500 Metal halide luminaries. And the late Fred Bentham himself would have been impressed with the number of toilets for the ladies! But I am treading on others reports here. The arch, beloved of those stuck in a traffic jam on the North Circular Road, is 132m above the pitch at its peak – you could park St. Paul’s Cathedral or the London Eye under it, we were told. Good idea for a photoshoot, methinks, as either would be perfectly lit, I’m sure. The arch is special not only because it is the longest single span in the world – 315m – but it also

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Floodlighting Wembley Stadium : Andy Collier reports -

Thorn Lighting

holds the roof up, and the roof in turn holds the arch up. This was a theoretical constructional balancing act by the architects who were noticeable by their absence when it was tried out for the first time! The arch was also designed with a little wagon on rails for access to the internal luminaries for maintenance, but it wasn’t practical (short arms?) and so a bit of abseiling is required. Philips were responsible for the arch lighting, and we were fortunate to have Mike Simpson on hand to explain a bit about this.

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The Concourse and Façade Lighting The plan for the exterior was for spectators to enjoy a visual feast when approaching the entrance, “lit to look like a cake,” we were told. Apparently, the design height of the columns kept moving like the goalposts for the budget – 12m, 10m and ultimately 8m, and that meant 55 columns were needed to carry the concourse, ramp and stairway lights, façade lights, theatre lights for events, CCTV cameras, loudspeakers and various flags. Add to these loads and associated windage resistances the requirement for the columns to be conical, and what should have been a relatively straightforward column meant

that Thorn had to locate a specialist contractor who could spin them. The concourse horizontal lighting levels were set at 50 Lux with a very tight cut-off as the architect visualised “a floating effect, like a UFO landing” so spill had to be minimised. The only problem was that the optimum position for the floodlights was on top of a plastic corrugated roof, and that wasn’t practical. So a model was made in AGi32, and a virtual tour in video for the architects to agree. A delicate balance was needed to give the desired architectural effect, avoiding ugly shadows cast by the structural beams, whilst avoiding annoying glare for spectators. The Bowl Lighting Lighting positions inside of the bowl were found on the inside of the gantry, for up and downlighting, and at the back of the upper level of the bowl for uplighting the inside of the roof. Glare was a common factor that needed special attention especially as the bowl lighting is on for each of the six pitch lighting settings. The 400W metal halide floods at the back of the upper level were also fitted

with colour filters for events. Generally speaking, discharge lights are a “no, no” for stadium bowl lighting as they can take up to 10 minutes to reach required levels of brightness and as it is essentially a ‘house lighting’ scheme, these lights are vital for safe evacuation in an emergency. However, this scheme complies because of UPS multi-feed supplies to the luminaires. The Pitch Lighting Wembley’s pitch floodlighting was previously replaced in 1972-73 using 240 1600W MBIL sources to give 1400 Lux horizontal (at pitch level) and 1100 Lux vertical (about chest height). There were four camera positions and a total lighting load of 432kW. This compares with the current scheme of 408 2kW metal halide floodlights providing an average of 3000 Lux horizontal and 2600 Lux vertical with 0.9 uniformity across the pitch and 16 camera positions. During the initial survey, a major problem was discovered. The headframe (mounting frame for the floodlighting) on one side of the stadium had a clear view to the pitch. The other side was a

Lighting

The pitch lighting comprises a complex pattern of cross lighting using asymmetric and symmetrical 2kW Mundial/Osram floodlights to meet the uniformity requirements of the FIFA specifications, which required 1800 Lux for slow motion filming and 2000 Lux for HiDef. The puzzle was the colour rendering index – quite important, one would think, to discerne one team from the other - but FIFA has stipulated a remarkably low figure of greater than 65! But Thorn worked on the industry preferred 90+. The precise positioning and aiming was predicted by the AGi32 software and the luminaires were focused individually using telescopic sights and markers on the pitch. During the commissioning phase, the Thorn project team received a panic phone call from the contractors to say that the press had been unexpectedly invited for a photocall, so could they have the lights working please? This resulted in all 408 floodlights being aimed at short notice, well before the stadium was ready; a task that had to be repeated before completion. Unusually, only 12 floodlights of the 408 had to be moved from the original CAD plan.

The pitch floodlighting was designed with six preset switch arrangements: concerts (4 floods switched on), maintenance/emergency (40), FA Class III match (80), Premiership match (120), UEFA/Emergency TV broadcast (268) and FIFA/HDTV (all 408 switched on). Control is by a Clipsal C-Bus computerised system switching the relays that supply the lamp gear. But pointing the floodlights wasn’t the end of the work. Detailed measurements had to be made by Pat and Noel and the Thorn team at 2500 points on the pitch, and like most of the project, this wasn’t a straightforward task either. Several attempts at these nocturnal measurings were aborted by either water sprinklers in use on the pitch, or access keys missing, or lux meters forgotten back at home on top of the wardrobe! We all enjoyed a very entertaining insight to the amount of care that was taken in lighting Wembley Stadium and would like to thank Pat Holley and Noel Whiffin for an extremely interesting talk.

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different story – the line of sight was blocked in many places by trussing. Now this job was fairly important to Thorn, and not just for commercial reasons. It was Thorn’s first FIFA lighting scheme in the UK, so had to be right. Could the contractor move the truss, perhaps? We all guessed the answer – no, it was too expensive. So a compromise was found whereby headframes were designed on CAD with sufficient flexibility and extra capacity to find the optimum positions between main truss members, which would minimise the restrictions. The lighting analysis software predicted that these positions would minimise losses to less than 5%.

Lighting

Wembley Part Two The X-Factor

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Chris Watts reports -

Seventy STLD members, Sponsors and guests were ushered into Fountain Studio’s Studio 1 into a world of large screens, revolving lights and chasing LEDs. This world was expertly revealed to us by Bill Peachment, moving light operator for X Factor, over the next hour. After an introduction from Andrew Dixon, Bill first apologised for the fact that Dave Davy, the shows LD, was not to be with us as he was lighting another show in Maidstone.

The lighting of the people, which is either done conventionally or more and more by moving lights; secondly the effects lights, spots and colour changes etc; and thirdly the LEDs and screen elements. These three elements are split up between three operators using three Compulite Vector consoles. John Ford looks after the People lighting, Bill looks after the Effects lighting and Russell Grubiak looks after the media servers.

Bill started by explaining that the lighting of X Factor or rather the look of the show is split up into three distinct areas.

The ‘people lighting’ is achieved with three tools: conventional 5ks, six Ivanhoe 2.5k MSR follow spots, (John

calls the follow spots coordinating the change-overs and also which spot is doing which person) and thirdly Source 4 Revolutions - a very versatile remotely operated profile spot with pan, tilt, zoom, colour change, and they have framing shutters in as well - very important on this show to avoid spill onto the set and screens. These lights are used to light line ups of people on stage as in the results sequence or as back lights for the dancers and bands. There are also crossed 10ks if things get too big, but these aren’t used very often as it is hard to keep the spill off the

Early Days

Bill then went on to talk about his role with the effects lighting at his disposal he has a vast array of moving lights and LEDs: - 34 VL 3000 spots, 34 VL 2000 washes, 43 VL 5, 12 Alpha Beam 300,

12 Alpha Beam 700, 6 Nova Flowers, 24 Pixel Pars and 36 Showtec Sun Strips, these have 10 GU10 75w tungsten bulbs which are individually controlled. Along with these Bill also has about 500 1 metre long units of Schnick Schnack RGB LED strips which are mounted in frosted light boxes within and around the set. The main screen, the left and right screens, the towers, floor and ceiling are all controlled by Russell from Hippotizer Media servers. Each area can be individually controlled so that different images can be put in each area if desired. The displays are all supplied by Anna Valley Displays and consist of: - Doors – Toshiba TR2006R a 6mm pitch LED screen, Side Panels are

Toshiba 2015 15mm pitch LED screens, the Towers have Barco Olite 612 in them and the floor, ceiling and sides are Barco MiStrips. The Schnick Schnacks and Plasmas and screens around the building were also supplied by Anna Valley Displays. Julien Rigal, Graphics Designer, comes in on a Thursday to start making the images for each of the elements for each song he then talks to Dave and the rest of the team to tie in the lighting with the images or themes. The problem with the graphics is that they take a long time to make, and then they have to be rendered out so that it might not be until the dress run that we know if there is

The Challenge For studio lighting, location lighting and general illumination, the promise of white LEDs is to provide high lumen output in situations where logistics, regulatory requirements or ‘green’ thinking – sometimes all three – set limits on the available power. However, the requirements for good lighting have not changed – the right colour temperature and the proper coverage.

The Solution ETC introduces the Pearl luminaire as the newest member of the Selador Series LED line. Pearl provides a carefully chosen mix of warm white (3200K) and cool white (5700K) LEDs which can be variably adjusted to provide just the right colour temperature of white light – for the eye or the camera. To find out more go to www.etcconnect.com/pearl

ETC London, UK Tel +44 (0)20 8896 1000 ETC Rome, IT Tel +39 (06) 32 111 683 ETC Holzkirchen, DE Tel +49 (80 24) 47 00-0 www.etcconnect.com

TV Lighting and Design Winter 2010

set. The judges are conventionally lit with Source 4s frontal and cross keys, and they are back lit with Source 4s as well. It is tricky lighting the judges as Simon Cowell doesn’t like to have the audience lit behind him so the shutters are brought in tight, although some spill still gets through. If a family or a choreographer is needed to be picked out then a Source 4 Revolution is spun round to cover that area, but then rapidly returned to cover the stage. There is no dedicated frontal light on the audience at the request of Simon.

Lighting

and if he did program down on the set he invariably would have to change it when he saw the camera shots. After lunch is the dress run, and then they go on air. It can get a bit quick sometimes especially as things can change after the dress run due to specific production requirements! They do get notes and even have to change whole numbers sometimes.

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The main supplier of the lighting equipment is PRG Lighting Ltd. The Ivanhoe Follow spots and Sunstrips were supplied by Little Mouse Productions.

a clash - and then we change the lighting rather than the graphics as it is far quicker.

There then followed a Q and A session which expanded on some of the points that Bill had talked about:-

As mentioned earlier all the lighting and the media is controlled by Compulite Vectors; this was a deliberate choice as it means that any of the operators can work each other’s desks if they need to, which makes for a better way of working.

Do you use pre visualization? No, there is no real time to be able to use WSYWIG etc as Production don’t know what songs are in the show until the Thursday. We do have generic states which we can build on though already programmed.

There are eleven weeks of live shows, and the process of putting together each show is that on a Friday we come in and listen to the sound check for each act and make notes and cue lists, and chat through different ideas for each act; not much programming is done on the Friday. On the Saturday morning the camera rehearsal starts and we have about 25 minutes for each act. Bill says he finds it easier to program to the cameras as this is what will be going out,

What is a media server? It’s a bit like a moving light but with video, each server gives two outputs of video which enables the operator to manipulate the images – change the speed, the colour, the position and cross fade between images. How about the reliability of the equipment? Very good. Yes the occasional bubble will blow, but the LEDs are reliable. We have a spare Vector as a back-

up console, and the show is backed up on a memory stick so if a console went down it would be a simple matter of loading up the spare console. One spare media server is running in parallel all the time. What colour temperature are the cameras set to? Half CTB; and the key lights, spots and the Revolutions all have quarter CTB on them. All this means that the moving lights aren’t too blue. The CTB is fixed on using high tech methods - Gaffer tape! The follow spots are MSRs and are run with three quarters CTO. The follow spots were bought brand new and are only used on this show or Dancing on Ice, the bubbles are changed at about three quarters life, this enables us to have consistently matched spots. If we were hiring in from outside you could end up with spots of varying colour temps and a lot of time is wasted in trying to match them up. The revolutions are run between 60 – 100%. Video screens levels are run at about 20% and the cameras are line up to F3 and lights balanced to that. The Cameras are Sony HDC 1500s. As the set is across the two studios has this caused a problem? We have rigged up a couple of trusses to plug the gap in the lighting bars. Why did you use Source 4 Revolutions? They give an excellent flat field at any zoom angle and are very easy to operate and have good defined shutters. They are very bright especially for a 750w and the optics are fantastic. What is the build time for the lighting set up and what crew do you run the show with? Three weeks for set and lighting from a clear studio. The crew are from PRG –Dave Hallet,

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+44(0)20

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www.annavalley.co.uk

Early Days

Gaffer, plus 3 or 4. From in house – Kevin Cooley, Gaffer, plus 2 and there are seven spot operators for each show out of a regular pool of ten. It’s much easier to have the same pool of people as they know and understand the show. How long does it take to program? Twenty five minutes per song and there are about sixteen songs a show. I start from scratch for each song, there are effects in the desk which I tend to use a lot – move effect, dimmer shutter effect or a colour effect which I can apply when I want. I work cue to cue on a main cue stack and anything which needs to be in time to a hand clap or anything will just be on a button on cue lists on the fader wing. It is a combination of using static cues or cues with the effects engine running or just manual buttons, so that it’s bang on time with the music. Trouble is these days when you watch it at home it is very often out of sync, especially now with digital transmission.

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How often does the Director talk to you operators? He generally talks to Dave who then passes it on to the relevant operator, but we can hear the talk back. I have an ear piece I can put in so I can hear the band without having to turn up the volume and so obliterate talk back. I will take my own cues rather than be cued.

Do you get a lot of feedback from Simon Cowell? YES!................ At this point Andrew Dixon stepped in to thank Bill for a superb presentation and told us if we wanted to see more then watch X Factor on Saturday night! We were then ushered off to the next talk. Now where on the ‘Doctors’ set can I put up some Schnick Schnack, in the Campus Surgery perhaps and how about a Toshiba 6mm screen in the Main Surgery and .........

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Lighting

STLD visit to Robe Reporter Bernie Davis Photos by John O’Brien We should start at the beginning - how to pronounce the name of the company. It is not ‘Robby’, nor ‘Robay’, nor is it Robe as in dress. It is Robe, rhyming with Moby (or if you are a little older, rhyming with P. J. Proby).

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Robe’s Ian W. Brown invited STLD members up to Northampton so that we could learn a little more about the company and their product range and we were fortunate to pick a day when Josef Valchář, who together with Ladislav Petřek head the management structure for Robe, was visiting the UK branch. A small but select STLD team converged on the Robe premises and were shown around and given an insight into how they ran their operation.

The company started in the early ‘90s when Valchář and Petřek ran a company producing lighting effects and scans supplying a new market opened up by the velvet revolution. But it was when they started to win work manufacturing equipment for larger companies that Robe expanded quickly. Then in 2002 they launched their own brand and the Robe company that we now know started to become well known around the world. The name they chose came from Roznov, the city where the company is based, and Bečva where Ladislav was born. Ironically the name is not easy to pronounce in the Czech Republic but

works well in the rest of the world. In the UK they recruited Ian W. Brown and Bill Jones, and more recently Mick Hannaford to add their experience of the lighting industry to Robe UK Ltd. All Robe’s manufacturing is in The

Czech Republic and the UK operation is serviced from there by three truck deliveries a week. That way they can keep a running stock of new equipment and spare parts, while having fast access to anything that the main factory has, and so equipment can quickly be

Robe Visit

Josef explained that when they developed new products they looked at good points from other products, but were careful to never copy them - they always did it their way. They originally didn’t take much notice when their own ideas were copied first in Italy and then in China. But nowadays once they have designed a new product they have to sit down and see if there is anything new in it that can be patented, and also if there is anything that is covered by anyone else’s patents, before it is shown to the public. A patent portfolio is essential for any technology based company to use as ammunition, and defence against any claims from rivals. We went on to have demonstrations of some of their equipment range, and the first product we were shown was the

DigitalSpot 3000 from their impressive digital range. Robe have taken a Benq digital projector and mounted it in a moving yoke alongside a graphic server, so making a contained unit with the combined skills of a moving head lighting fixture and a server-fed projector. The video server software is completely

their own design, running on a Linux system with on-board SSD 120GB hard drives. I was impressed with some of the design features, and in particular the easy way the units can be combined to make one composite image. The units all network together via Ethernet so that graphics can be uploaded to each spot, and a simple system allows you to define which part of the final image will come from which spot. A test pattern lets you match the geometry of adjoining images and you can adjust the intensity of the merged areas making the final composite image seamless. With a staggering range of keystone correction it was possible to project a geometrically accurate image without the projectors needing to be anywhere near square-on to the projection surface, making it quite possible for people to be near to the screen while the projectors worked around them. It was

TV Lighting and Design Winter 2010

maintained and repaired when necessary.

Lighting

of 10,000 hours. While it was clearly not as bright as the MSR Gold lamp in the 600E this unit clearly wins when colour-quality and lamp life are more important than light level.

TV Lighting and Design Winter 2010

also very obvious from the demonstration that the units had a very precise pan and tilt system that ensured that they returned exactly to where they had been programmed, which means the units can quickly swap from being moving lights to graphic projectors.

We went on to look at their more conventional range of moving head equipment and we were first shown the Robin 600E Spot. OK, it was a goodlooking moving head and with newly designed optics it looked bright enough, and it snapped around quickly and quietly as you would hope, but I was looking for what set it apart from the rest. For good connectivity it comes with RMD and can run on DMX, ArtNet or MA Net, and a feature I particularly liked was the ability to peak or flatten the beam as part of the control operation rather than just from the back of the head. So when you’re working at the end of the range and want that little bit more light you can just peak it up. Then back to the wider spread and it can be flattened out again. I could certainly have used that feature in the past! The Robin family includes washes and spots in a range of powers and light sources, and the next one we were shown was the Robin 300 Beam. Using

high-quality optics this unit gives a tight well-defined beam and includes appropriate beam-splitting gobos. The zoom range is just 1.6° to 6.5° but this unit is all about beam performance which it achieves well. Next on show was the Robin 600 Plasma Spot, and this is certainly something different. This unit uses a 480w plasma light source - something new to me. The lamp itself is tiny (they referred to it as the ‘tic-tac’) which surely must make good optics much easier. The plasma source claims to have almost perfect CRI and a lamp life

Now like so many LDs I find remote control profiles for keying absolutely essential, and although daylight colour temperature might not always be best for this in a studio situation I would expect that the high CRI of a plasma lamp should allow the light to be filtercorrected to tungsten with a degree of accuracy, and the very small lamp source would offer excellent optics. I can see the potential for a new product here! Next for demonstration was their LED range. Anolis is the architectural division of Robe, and through their experience Robe make a range of LED fixtures including LED blinders, small LED ‘block’ style lights and flexible kits that clip together into shapes that you can mould to your requirements. The biggest on show for us was the CitySkape Extreme which claims to be the most powerful outdoor LED fixture on the market, and coming with 188 High Power Luxeon K2 RGBW LEDs

Robe Visit

it probably is! The IP rating makes these units ideal for large outdoor shows.

This was an impressive demonstration of a good range of products, and we all learned a lot from the meeting. The Robe mission statement is to offer wellmade equipment at affordable prices, and with the positive go-ahead team we met on this visit I am sure there will be many interesting new products to come. It was time to head off into town for a meal very generously provided by Robe - in a restaurant with external lighting by Robe of course! STLD meetings such as this are good on many levels. They give us a chance to look at new equipment in a depth that is just not possible at the usual exhibitions, they give the chance for members to feed

back their views on the products, and they make for good sociable outings! We thank Robe for their hospitality. You can find more about Robe and their product range at www.robeuk.com

TV Lighting and Design Winter 2010

We then looked at the Robin 600 LED Wash. As you would expect the unit offered the advantages of low power, light weight and fast silent operation, and what looked to be an even field over the 15° to 50° zoom range. The use of RGBW LEDs meant that there was no colour-fringing to shadows. And to add to their versatility the LEDs were arranged so that the concentric rings could be driven separately making a novel in-shot appearance too.

Event

Plasa 2010 Report by Bernie Davis

TV Lighting and Design Winter 2010

Plasa 2010 proved again to be that unmissable mix of new equipment and newly packaged lighting products, with stands manned (and womanned?) by STLD friends and salesmen, and thankfully good attendances by the light industry. For me the best part of Plasa is meeting with old friends and colleagues, usually by chance rather than by design. Any of you who helped look after the STLD stand will agree that it is a good central place to spend some time just meeting people, and our thanks go to Paul Middleton who organises the stand for us.

This year, for the first time, the PLASA Awards for Innovation were judged ‘live’ at the Innovation Gallery by an independent panel of 16 expert judges, in front of show visitors and a camera team on Sunday 12 September. Amongst the seven awards there were two special commendations for lighting products. The Clay Paky Alpha Profile 700, commended for the high level of engineering embodied. Clay Paky have both improved on their existing technology used in larger fixtures and scaled it to fit a smaller unit which, in the words of the Judges, “now allows designers to be more creative on a smaller scale”. Also specially commended was the RevEAL CW colourmixing LED Washlight by Prism Projection, which the judges found to have “notable colour rendering, particularly in the natural and pastel colours, which makes it viable for use in theatre”.

Seven Awards for Innovation and one Gold Award were presented by PLASA CEO Matthew Griffiths: Clay Paky Sharpy, a newly developed beamlight that uses a combination of innovative engineering and optical technology to achieve a distinctive, bright high-output from a 170-watt source. In the words of the Judges, “we never thought we’d see a 170W light that we could use in Wembley Arena”.

be retrofitted to the manufacturer’s existing tungsten fixtures. The 85W source will be upgradable to a 150W version as soon as the technology is available. LumenRadio CRMX Nova Flex. This device impressed the Judges for its ability to act as a complete cross-protocol wireless lighting control system. It was also noted for its recent use of RDM in an architectural application, giving feedback from external sensors - thereby providing an energy efficient outdoor lighting solution. CAST BlackTrax - First Phase. This product uses WYSIWYG as a host platform to provide real-time three dimensional object tracking data to feed into a variety of position-dependent lighting, sound and rigging control systems. The Judges felt that the flexibility and accuracy of the Cast system has taken this existing concept and successfully reenergised it.

Coemar Spa Reflection FullSpectrum. By locating rear facing LEDs at the front of the fixture the reflector creates a homogenised beam that the Judges felt successfully eliminates a lot of the problems associated with existing LED wash lights, especially the issue of multiple shadowing. Robert Juliat Aledin. The Judges felt that Robert Juliat’s usual high standards have not been compromised in the search for a useable LED profile spot. The design allows the LED module to

A total of £12,000 of the awards nominations fees were, as in line with PLASA Show tradition, donated to charitable causes. The charities receiving cheques from PLASA CEO Matthew Griffiths were Behind The Scenes, whose cheque was collected by Lori Rubinstein, Light Relief, presented to Rick Fisher, and Medecin Sans Frontiers, whose donation was collected by David Neale’s long time friend and colleague, Phil Price - while the first two are industry charities, supported by both PLASA and ESTA, who

Plasa 2010

Matthew Griffiths commented: “The recipients of these awards showed once again how the most innovative thinkers in our industry continue to push the boundaries of what can be achieved by combining technological insight with exciting creativity.” I make no apology for not reporting the sound products which received awards as I am sure all is adequately reported in other journals and at the Plasa website.And it is impossible for us to do justice to the whole exhibition, but as a completely unrepresentative poll through your committee we picked out a few items that drew our attention. Martin Professional were showing their small but impressive LED Wash Light, the Mac 101. Extremely bright and with good colour performance yet weighing only 8lbs, I can imagine them featuring equally well in large arrays with large lighting rigs or in smaller stage rigs where their flexibility would be a useful contribution. Also on show was the new 350 Entour LED Profile moving spot. Developed as a result of a technology grant for the development of new LED technologies, this promises very long lamp-life and low maintenance. I look forward to trying this innovative product in anger to see how it performs! Something I didn’t expect to see on the PRG stand was an LED equivalent to a spacelight. I say equivalent but that is not the case, as the ‘OHM Light’ is a serious bit of LED lighting kit. The dimming can be by local control or by DMX, and RMD allows for remote addressing too. Colour temperature can be set from 2900 to 5600 with a CRI

better than 96, which by use of clever circuitry is maintained throughout the long lamp life. While the high cost compared with a standard Spacelight would put off many LDs on lower budgets this new unit offered advantages that will prove attractive in the right places. Obviously the low power makes a great saving (just 4A per unit), both in supply power and in the air-conditioning needed for large rigs often seen on film sets. Add to that the ability to select the colour temperature of your choice and the desire of productions to add to their ‘green’ credentials and I

Making Light Work Photon Beard is a major provider of studio and portable lighting for the professional broadcast market worldwide, as a result of the proven build quality and reliability of our equipment. With our recent growth, we are now in a position where we are continually developing new innovative products, all designed and manufactured at our UK factory. Our most recent introduction is a range of compact Tungsten studio Fresnels, from 650W to 2kW, featuring our customary dependable design and construction, and incorporating an innovative application of lamp technology and optical design. For full details see our website:

www.photonbeard.com

Unit K3, Cherry Court Way, Stanbridge Road, Leighton Buzzard, LU7 4UH, UK.

Tel: +44 (0)1525 850911 Fax: +44 (0)1525 850922 info@photonbeard.com

TV Lighting and Desing Winter 2010

will merge at the end of this year, Medecin Sans Frontiers was a charity supported by well-known industry PR David Neale, who passed away earlier this year.

Event

have no doubt that this product shows the way forward. And another LED product that looked attractive was the Philips Selecon PL1 LED profile spot. It was clear at Plasa that many manufacturers are looking hard at how to introduce LED light sources to their products, and this luminaire looks to be a very usable contender for future lighting rigs.

TV Lighting and Design Winter 2010

One of the Innovation Awards went to the Clay Paky Sharpy, a tiny and very bright moving beam light to add to their ever-expanding range of well-engineered products. The demonstration theatre being used to show off this latest unit was suitably dark to show them off at their best, but their piercing pencil beams impressed everyone who saw them. The heads were so small that the movement performance was close to that of moving mirrors, and the brightness compared favourably with heads more than twice the power. Hopefully by the time this goes to print they will be available for use, as even in the time I was looking at them several LDs insisted they wanted them on their next show!

Peter Willis of Howard Eaton Lighting had a good display of RDM (remote device management), the protocol which allows two-way communication between the control and the device over a standard DMX connection. Peter Willis has been part of the team advancing the development and use of RMD, and he was giving talks on the subject as well as one-on-one classes on its use. I have no doubt that there are many products of merit that have been missed, but you only have yourselves to blame! Next year when you go to Plasa and see something that grabs your attention why not let us know so we can tell everyone else.

And my own vote for Stand of the Show goes to a small stand off to one side which was handing out Harvey’s Bitter. I’m not sure what they were selling - something to do with theatre communications I think - but the beer was excellent!

Before you start using your 2011 diary - which should be with you by now - please note that there is an error in the Society Sponsors contact page, very near the front. The phone number for Flashlight should be 01706 625866, and not as printed. Our apologies to Flashlight for the error. And since going to print TSL Technique Systems have changed their contact details, and their number is now 07860 290637. And while you are looking at the ‘Useful Contacts’ page see if we have missed anyone out who ought to be included. If we have then please let any committee member know, or you can e-mail secretary@stld.org.uk so that we can improve the list for next year.

TV Lighting and Design Summer 2010

Testing Times

TV Lighting and Design Summer 2010

Obituary

TV Lighting and Design Summer 2010

James Campbell

TV Lighting and Design Summer 2010 Obituary

Sponsor News Sponsors – don’t miss out on being featured in here!

TV Lighting and Design Summer 2010

Send your news, at any time, to SponsorNews@stld.org.uk for inclusion in the next issue of TV Lighting and Design!

TV Lighting and Design Summer 2010

Compiled by Richard Bowles – sponsornews@stld.org.uk

TV Lighting and Design Summer 2010

Sponsor News

TV Lighting and Design Summer 2010

Compiled by Richard Bowles – sponsornews@stld.org.uk

TV Lighting and Design 2010

Sponsor News

TV Lighting and Dsegn Summer 2010

Compiled by Richard Bowles – sponsornews@stld.org.uk

TV Lighting and Design Summer 2010

Sponsor News

TV Lighting and Design Summer 2010

Compiled by Richard Bowles – sponsornews@stld.org.uk

TV Lighting and Design Summer 2010

Sponsor News

TV Lighting and Design Summer 2010

Compiled by Richard Bowles – sponsornews@stld.org.uk

TV Lighting and Design Summer 2010

Sponsor News

Society Committee Secretary and Sponsor News

Chairman

Stuart Gain

07774 161 996

Treasurer

Mike Le Fevre 07956 305 662

Richard Bowles

07973 152 682

richardbowles@stld.org.uk

chairman@stld.org.uk Sponsors Liaison

Bernie Davis

treasurer@stld.org.uk

Sponsor Liaison +Membership

Exhibitions

07762 562 434

07720 446 921

07860 662 736

members@stld.org.uk

sponsors@stld.org.uk

paulmiddleton@stld.org.uk

Publicity

Magazine Layout

07973 745 583

07811 256 283

Advertising Sales

Iain Davidson

Andrew Harris

John King

07860 759 294

iaindavidson@stld.org.uk

publicity@stld.org.uk

Paul Middleton

Robert Horne

Diary

johnking@stld.org.uk

Rick Dines

Website

Lee Allen

Ian Hillson

07711 088 964

07780 707 169

Picture courtesy of Chris Capstick

leeallen@stld.org.uk

rickdines@stld.org.uk

ianhillson@stld.org.uk

Mark Fowler

Jonathan Taylor

John O’Brien

07920 274 769

07717 170 288

TV Lighting and Design Winter 2010

07774 698847

markfowler@stld.org.uk

jonathantaylor@stld.org.uk

johnobrien@stld.org.uk

Index of Advertisers ARRI Avolites ELP

BC 33 9

ETC I-Pix Lee Filters

29 13 IFC

Martin Photon Beard Pulsar

IBC 37 21

Society Sponsors A.C. Entertainment Technologies Ltd. (Glyn O’Donoghue, Gordon Smith) Centauri House, Hillbottom Road, Sands Industrial Estate, High Wycombe, Bucks. HP12 4HQ Tel: 01 494 446 000 ~ Fax: 01 494 461 024 ~ E-Mail: glyn@aclighting.com ~ Web: www.aclighting.com

Anna Valley (Part of Shooting Partners group) (Mark Holdway, Doug Hammond) Unit J12 Brooklands Close, Windmill Road, Sunbury-On-Thames, Middlesex, TW16 7DX Tel: 020 8941 4500 ~ Fax: +44(0)1932 761 591 ~ Web: www.annavalley.co.uk

Architainment Lighting Ltd.(Nic Tolkein) Unit 6 Premacto Business Estate, Queensmead Road, High Wycombe, Buckinghamshire HP10 9XA Tel: 01494 471 340 ~ Fax: 001494 442 627 ~ E-Mail: nic@architainment.co.uk

ARRI (GB) Ltd. (Andy Barnett, Siobhan Daly, Martin Carnell) 2 Highbridge, Oxford Road, Uxbridge, Middlesex UB8 1LX Tel: 01 895 457 000 ~ Fax: 01 895 457 001 ~ E-Mail: sales@arri-gb.com ~ Web: www.arri.com/

ARRI Lighting Rental Ltd. (Tommy Moran, Mike O’Hara) 2 Highbridge, Oxford Road, Uxbridge, Middlesex UB8 1LX ~ Tel: 01 895 457 200 ~ Fax: 01 895 457 201 Manchester 0161 736 8034 (Jimmy Reeves) ~ E-Mail: mohara@arrirental.com ~ Web: www.arri.com

Artistic Licence (UK) Ltd. (Wayne Howell, Simon Hobday, Louise L’Homme) 24 Forward Drive, Christchurch Industrial Estate, Harrow, Middlesex, HA3 8NT Tel: 020 8863 4515 ~ Fax: 020 8426 0551 ~ E-Mail: sales@artisticlicence.com ~ Web: www.artisticlicence.com

Avolites (Phil Blue) 184 Park Avenue, Park Royal, London, NW10 7XL Tel: 020 8965 8522 ~ Fax: 020 8965 0290 ~ E-Mail: steve@avolites.com ~ Web: www.avolites.com

Barbizon Europe Ltd (Tom McGrath) Unit 5 Saracen Industrial Area, Mark Road, Hemel Hempsted, Herts, HP2 7BJ ~ Tel: 01442 260 600 ~ Fax: 01442 261 611 E-Mail: tmcgrath@barbizon.com ~ Web: www.barbizon.com

BBC Studios and Post Production Ltd. (Andrew Breaks, Simon Littler) Room 001, The Hub, BBC Television Centre, Wood Lane, London, W12 7RJ Tel: 020 8576 7666~ Fax: 020 8965 8806 ~ E-Mail: andrew.breaks@bbc.co.uk ~ Web: www.bbcresources.co.uk

Broadcast Video Forum/Emap (Charlotte Bowskill) Emap Media,Greater London House, Hampstead Road. NW1 7EJ

Chris James & Co. Ltd. (Barry Frankling) 43 Colville Road, Acton, London. W3 8BL Tel: 020 8896 1772 ~ Fax: 020 8896 1773 ~ E-Mail: info@chrisjamesfilter.com ~ Web: www.chrisjamesfilter.com

Cirro Lite (Europe) Ltd. (John Coppen, David Morphy, Frieder Hockheim) 3 Barrett’s Green Road, London NW10 7AE Tel: 020 8955 6700 ~ Fax: 020 8961 9343 ~ E-Mail: mail@cirrolite.com ~ Web: www.cirrolite.com

TV Lighting and Design Winter 2010

BBC Training and Development. (Tim Wallbank) Wood Norton, Evesham, Worcestershire WR11 4YB www.bbctraining.com

Society Sponsors Clay Paky S p A (Enrico Caironi, Ashley Lewis) via Pastrengo 3/B, 24068 Seriate (BG), Italy Tel: +39 335 72.333.75 ~ Fax: +39 035.30.18.76 ~E-Mail: cp.sales@claypaky.it ~ Web: www.claypaky.it

Doughty Engineering Ltd. (Julian Chiverton, Mervyn Lister, Stephen Wright) Crow Arch Lane, Ringwood, Hants. BH24 1NZ ~ Tel: 01 425 478 961 ~ Fax: 01 425 474 481 E-Mail: sales@doughty-engineering.co.uk ~ Web: www.doughty-engineering.co.uk

ELP

(Ronan Willson, Tony Slee, John Singer, Darren Fletcher) 15 North Gate, Alconbury Airfield, Huntingdon, Cambridgeshire, PE28 4WX Tel: 01480 443 800 ~ Fax: 01480 443 888 ~ E-Mail: info@elp.tv ~ Web: www.elp.tv Elstree Office 020 8324 2100 Manchester Office 0161 953 6630

Essential Lighting Ltd. (Martin Lubach, Loz Wilcox, Stephen Craggs) Unit E Imber Court Trading Estate, Orchard Lane, East Molesey, Surrey, KT8 0BY Tel: 020 8335 6000 ~ Fax: 020 8398 7205 ~ E-Mail: info@essential-lighting.co.uk ~ Web: www.essential-lighting.co.uk

ETC Europe Ltd. (Mark White, Jeremy Roberts, Lesley Harmer) Unit 26-28, Victoria Industrial Estate, Victoria Road, London W3 6UU Tel: 020 8896 1000 ~ Fax: 020 8896 2000 ~ E-Mail: mwhite@etceurope.com ~ Web: www.etcconnect.com

Film & TV Services Ltd. (Julie Fegan, Eddie Fegan) Unit 3, Matrix Park, Coronation Road, Park Royal, London NW10 7PH Tel: 020 8961 0090 ~ Fax: 020 8961 8635 ~ E-Mail: mail@ftvs.co.uk ~ Web: www.ftvs.co.uk

Finelight Ltd. (Simon Perrott) 708B, Tudor Industrial Estate, Abbey Road, Park Royal, London NW10 7UY Tel: 020 8453 0049 ~ Mobile: 07968 581 440 ~ E-Mail: simon@finelight.co.uk ~ Web: www.finelight.co.uk

Flashlight Ltd. (Andy Dodd, Rob Williamson, Guy Merchant) Unit A3, Axis Point, Hill Top Road, Heywood, Greater Manchester, OL10 2RQ Tel: 01706 625 866 ~ Fax: 01706 620 756 ~ E-Mail: sales@flash-light.org.uk ~ Web: www.flash-light.org.uk

Fountain Studios (?) The Fountain studios, 128 Wembley Park Drive, Wembley, HA9 8HP Tel: 020 8900 5800 ~ E-Mail: ? ~ Web: www.ftv.co.uk

TV Lighting and Design Winter 2010

Gekko Technology (Ian Muir) Units 3 - 4, Cotton Drive, Dalehouse Lane, Kenilworth, CV8 2UE Tel: +44 (0) 844 8005326 ~ E-Mail: ian@gekkotechnology.com ~ Web: www.gekkotechnology.com

Green Hippo (Samantha Bailey) Unit 307 Parma House, Clarendon Road, Wood Green, N22 6UL Tel: +44 (0)203 301 4561 ~ E-Mail: sam@green-hippo.com ~ Web: www.green-hippo.com

GrandPa (Tim Routledge, Pryderi Baskerville) “Inca”, Taggs Island, Hampton Court, Middlesex TW12 2HA Tim: 07739 316307 ~ Pryderi: 07802 155414 ~ E-Mail: info@grand-pa.co.uk ~ Web: www.grand-PA.co.uk

Havells-Sylvania Ltd (David Hogan) Havells-Sylvania Ltd., Avis Way, Newhaven, BN9 0ED E-Mail: david.hogan@havells-sylvania.com ~ Web: www.havells-sylvania.com

Hawthorn Lighting (Dave Slater, May Lee) Head Office 01664 821111 - London Office 020 8955 6900 info@hawthorns.uk.com - www.hawthorns.uk.com

Please mention Television Lighting when contacting Sponsors

High End Systems (A member of the Barco Group). (Mark Leahy) 2105 Gracy Farms Lane, Austin Texas 78758 USA Tel: 07919 007 960 ~ E-Mail: mailto:mark_leahy@highend.com ~ Web: http://www.highend.com & http://www.flyingpig

Howard Eaton Lighting Ltd. (H.E.L.L.) (Howard Eaton, Peter Willis) Winterlands, Resting Oak Hill, Cooksbridge, Lewes, East Sussex BN8 4PR Tel: 01 273 400 670 ~ Fax: 01 273 408 900 ~ E-Mail: general@helluk.com ~ Web: www.helluk.com

HSL Group Ltd (Simon Stuart, Mike Oates, Graham Ramsdale, Sean McGlone) Unit O, Ribble Business Park, Challenge Way, Blackburn, Lancs. BB1 5RB Tel: 01 254 698 808 ~ Fax: 01 254 698 835 ~ E-Mail: simon@hslproductions.com ~ Web: www.hslproductions.com

i-Pix (Christopher Ewington) Broadstone Mill, Broadstone Road, Houldsworth Village, Cheshire, SK5 7DL Tel: 0161 443 4140 ~ E-Mail: info@i-pix.uk.com ~ Web: www.i-pix.uk.com

James Thomas Engineering Ltd. (Paul Young) Navigation Complex, Navigation Road, Digilis Trading Estate Worcestershire WR5 3DE Tel: 01 905 363 600~ Fax: 01 905 363 601 ~ E-Mail: pauly@jamesthomas.co.uk ~ Web: www.jamesthomas.co.uk

Key Light Hire Ltd. (Alex Hambi) Unit 24, Sovereign Park, Coronation Road, Park Royal, NW10 7QP Tel: 020 8963 9931 ~ Fax: 020 8961 236 ~ Mobile: 07949 68 68 02 E-Mail: alex@keylight.tv ~ Web: www.keylight.tv

Lights Camera Action. (Nick Shapley) Unit 30, 8 Taunton Road, The Metropolitan Centre, Greenford, Middlesex, UB6 8UQ Tel: 0208 833 7600 ~ Fax: 020 8575 8219 ~ Web: www.lcauk.com

Lee Filters Ltd. (Eddie Ruffell, Paul Topliss, Ralph Young) Central Way, Walworth Industrial Estate, Andover, Hants. SP10 5AN Tel: 01 264 366 245 ~ Fax: 01 264 355 058 ~ E-Mail: ecruffell@leefilters.com ~ Web: www.leefilters.com

Lighting Logic Ltd. (Mick Cocker, Matt Miles) The Hopkilns Building, Goblands Farm Business Centre, Cemetery Lane, Hadlow, Kent, T11 0LT Tel: 0845 260 0540 ~ Fax: 0845 260 0541 ~ E-Mail: mick@lightinglogic.co.uk ~ Web: www.lightinglogic.co.uk

Litestructures (GB) Ltd. (Adrian Brooks, Adam “Bullet” Bettley) Unit 55, Lidgate Crescent, Langthwaite Grange Industrial Estate, South Kirkby, Wakefield. West Yorkshire WF9 3NR Tel: 01977 659 800 ~ Fax: 01977 659 801 ~ E-Mail: sales@litestructures.co.uk ~ Web: www.litestructures.co.uk

LSI Projects (Russell Dunsire, Nick Mobsby) 15, Woking Business Park, Albert Drive, Woking, Surrey. GU21 5JY Tel: 01 483 764 646 ~ Fax: 01 483 769 955 ~ E-Mail: nickM@lsiprojects.com ~ Web: www.lsiprojects.com

MA Lighting UK ( Philip Norfolk) 55 Lonsdale Road, London. NW6 6RA Tel: 020 7625 4371 ~ E-Mail: infoUK@malighting.com ~ Web: www.malighting.com

TV Lighting and Design Winter 2010

Lightfactor Sales Ltd. (Peter Coles) 20 Greenhill Crescent, Watford Business Park, Watford, Herts. WD18 8JA Tel: 01923 698 080 ~ Fax: 01923 698 081 ~ E-Mail: info@lightfactor.co.uk ~ Web: www.lightfactor.co.uk

Society Sponsors Martin Professional Plc. ( Mike Walker, Matthew Pitman) Martin Professional PLC, 175 Long Lane, London SE1 4PN Tel: 0203 207 2960 ~ E-Mail: michael.walker@martin.dk, matthew.pitman@martin.dk ~ Web: www.martinpro.co.uk

MGC LAMPS LIMITED (James Greig) 1 Sovereign Centre, Farthing Road, Ipswich, Suffolk, IP1 5AP. Tel: 01473 466 300 ~ Fax: 01473 240 081 ~ E-Mail: uksales@mgc-lamps.com~ Web: www.mgc-lamps.com

Osram Ltd. (Alison Quinn, Graham Lewis, Jason Hicklin) Osram House, Waterside Drive, Langley, Berkshire. SL3 6EZ Tel: 01753 484 227 ~ Tel Tech Advice: 01753 484 144 ~ Fax: 01753 484 222 E-Mail: photo.optics@osram.co.uk ~ Web: www.osram.co.uk

Panalux Limited. (Ed Pagett, Simon Roose) Unit 21, The Metropolitan Centre, Derby Road, Greenford, London, UB6 8UJ Tel: 020 8832 4800 ~ Fax: 020 8832 4811 ~ E-Mail: info@panalux.biz ~ Web: www.panalux.biz

Philips Lighting Ltd. (Stuart Dell, Lee Bensley, Sylvia Van Der Plas) Philips Centre, Guildford Business Park, Guildford, Surrey. GU2 8XH Tel: 07774 122 735 ~ Fax: 01 296 670 956 ~ E-Mail: stuart.dell@philips.com ~ Web: www.lighting.philips.com

Photon Beard Ltd. (Peter Daffarn, Mike Perry, Simon Larn) Unit K3, Cherry Court Way, Stanbridge Road, Leighton Buzzard, Bedfordshire. LU7 8UH Tel: 01 525 850 911 ~ Fax: 01 525 850 922 ~ E-Mail: info@photonbeard.com ~ Web: www.photonbeard.com

Pinewood Group (Simon Honey – Head of Studio Ops., Peter Lawes – Production Lighting Manager, Paul Darbyshire – Operations Director) Pinewood Road, Iver Heath, Bucks. SL0 0NH Tel: 01753 785 200 ~ Fax: 01 753 656 103 ~ E-Mail: simon.honey@pinewoodshepperton.com ~ Web: www.pinewoodshepperton.com

PLASA (Ruth Rossington, Norah Phillips) The Professional Lighting and Sound Association (PLASA) is a trade association representing companies and individuals who work within the TV, film, entertainment, installation and leisure industries. Its aim is to develop and promote all aspects of the industry on a worldwide basis, acting in the common interests of its membership. Redoubt House, 1 Edward Street, Eastbourne, Sussex. BN23 8AS Tel: 01 323 524 120 ~ Fax: 01 323 524 121 ~ E-Mail: ruth@plasa.org ~ Web: www.plasa.org

TV Lightingand Design Winter 2010

PRG Lighting Ltd. (Mick Healey,Kelly Cornfield, Jon Cadbury)

The Hoover Building, Western Avenue, Perivale UB6 8DW The Cofton Centre, Groveley Lane, Longbridge, Birmingham, B31 4PT ~ Tel: 0845 470 6400 ~ Fax: 0845 470 6401 ~ E-Mail: prglighting@prg.com www.prglighting.co.uk

Projected Image UK Ltd. (Jim Douglas) Unit 17 Hoults Estate Walker Road Newcastle-Upon-Tyne NE6 2HL. Tel: 0191 265 9832 ~ Fax: 0191 265 8742 ~ E-Mail: gobo@projectedimage.com ~ Web: www.projectedimage.com

Prolyte Products Group (Peter Draaisma, Marina Prak) Industriepark 9, 9351 PA Leek, The Netherlands. Tel: +31-594-851515 ~ Fax: +31-594-851516 ~ E-Mail: pdraaisma@prolyte.com ~ Web: www.prolyte.com

Please mention Television Lighting when contacting Sponsors

Pulsar Light Of Cambridge Ltd. (Andy Graves, Paul Mardon, Snowy Johnson) 3 Coldham’s Business Park, Norman Way, Cambridge CB1 3LH Tel: 01 223 403 500 ~ Fax: 01 223 403 501 ~ E-Mail: andy@pulsarlight.com ~ Web: www.pulsarlight.com

Richard Martin Lighting Ltd. (Richard Martin, Steve Wells, Amy Helps) Unit 24, Sovereign Park, Coronation Road, Park Royal, NW10 7QP Tel: 020 8965 3209 Fax: 020 8965 5562 ~ E-Mail: info@richardmartinlighting.co.uk ~ Web: www.richardmartinlighting.co.uk RML Admin: Lantern House, Old Town, Moreton-in-Marsh, Glos. GL56 0LW

Robe UK Ltd. (Ian W Brown, William Jones) 3 Spinney View, Stone Circle Road, Round Spinney Ind Est., Northampton, NN3 8RQ Tel: 01 604 741 000 ~ Fax: 01 604 741 041 ~ E-Mail: info@robeuk.com ~ Web: www.robeuk.com

Philips Entertainment Marssteden 152, Enschede 7547 TD, the Netherlands. Web: www.seleconlight.com

Schnick-Schnack-Systems GmbH (Thomas Werr) Mathias-Bruggen-Strasse 79, 50829, Germany E-Mail: thomas.werr@schnickschnacksystems.com ~ Web: english.schnickschnacksystems.com

Sony UK Ltd. (Daniel Robb) The Heights, Brooklands, Weybridge, Surrey.KT13 0XW Tel: 01 932 816 368 ~ Fax: 01 932 817 014 ~ Neil: 07774 142 724 ~ E-Mail: Jane.Green@eu.sony.com ~ Web: sonybiz.net/uk

Roscolab Ltd. (Denise Piquet) Blanchard Works, Kangley Bridge Road, Sydenham, London. SE26 5AQ Tel: 020 8659 2300 ~ Fax: 020 8659 3153 ~ E-Mail: marketing@rosco-europe.com~ Web: www.rosco.com

Specialz Ltd. (Dave Smith) 1 Althorpe Street, Royal Leamington Spa, Warwickshire. CV31 1NQ Tel: 01 926 745 366 ~ Fax: 01926 745 344 ~ E-Mail: info@specialz.co.uk ~ Web: www.specialz.co.uk

The Hospital (Anne Marie Phelan) 4 Endell Street, London, WC2H 9HQ Tel: 020 7170 9112 ~ Fax: 020 7170 9102 ~ E-Mail: annemariep@thehospital.co.uk ~ Web: www.thehospital.co.uk

The London Studios (Dave Stevens) Upper Ground, London, SE1 9LT The London Studios is a unique production complex situated on London’s Southbank that boasts fantastic studios, post and lines facilities. With first rate service and an abundance of techincal expertise and talent to compliment the superb facilities and equipment The London Studios is a one stop shop that will give your programme the quality that audiences admire.

TMB (Paul Hartley, Bill Anderson, Andrea Van Caspel) 21 Armstrong Way, Southall, UB2 4SD Tel: 020 8574 9700 ~ Fax: 020 8574 9701 ~ E-Mail: tmb-info@tmb.com ~ Web: www.tmb.com

TV Lighting and Design Winter 2010

Stage Electrics Ltd. (Matt Cowles, Adrian Searle) Third Way, Avonmouth, Bristol. BS11 9YL ~ Tel: 0117 938 4000 ~ Tel Chris: 07836 248660 ~ Tel Richard: 07836 249 627 Fax: 0117 916 2828 ~ E-Mail: sales@stage-electrics.co.uk ~ Web: www.stage-electrics.co.uk

Please mention Television Lighting when contacting Sponsors

TSL Teknique Systems Ltd. PO Box 3587, Glasgow, G73 9DX Tel: 07860 290637 ~ Web: www.tekniquesystems.com

VectorWorks (Martyn Horne) Computers Unlimited, The Technology Park, Colindeep Lane, London, NW9 6BX Tel: 020 8200 8282 ~ Fax: 020 8358 9479 ~ E-Mail: 3ddesign@unlimited.com ~ www.vectorworks.uk.com

White Light Ltd. (Bryan Raven, John Simpson, Jason Larcombe) 20 Merton Industrial Park, Jubilee Way, London SW19 3WL Tel: 020 8254 4800 ~ Fax: 020 8254 4801 ~ E-Mail: info@WhiteLight.Ltd.uk ~ Web: www.WhiteLight.Ltd.uk HireTel: 020 8254 4820 ~ Hire Fax: 020 8254 4821 ~ Sales Tel: 020 8254 4840 ~ Sales Fax: 020 8254 4841

XL Video Ltd. (Hugh Davies-Webb) 2 Eastman Way, Hemel Hempstead, Hertfordshire HP2 7DU Tel: 01442 849 400 ~ Fax: 01442 849 401 ~ E-Maill: info@xlvideo.tv ~ web: www.xlvideo.com

XTBA (Chris Cook, Fiona Fehilly, Simon Peers) 35 Fernleigh Road, London N21 3AN Tel: 020 8882 0100 ~ Fax: 020 8882 9326 ~ E-Mail: dmx@xtba.demon.co.uk ~ Web: www.xtba.demon.co.uk

SPONSORS DIRECTORY

TV Lighting and Design Winter 2010

Zero 88 Lighting Ltd. (Claire House) Head Office: Usk House, Llantarnam Park, Cwmbran, Gwent. NP44 3HD Tel: 01 633 838 088 ~ Fax: 01 633 867 880 ~ E-Mail: sales@zero88.com ~ Web: www.zero88.com

The STLD interactive Sponsors Directory has been available for sponsors use for over a year now. It is proving a very useful tool to the STLD and we hope for those of our sponsors who now use it. Its main advantages are that it enables the STLD to display up to date and accurate information about your company on its website. In doing so, it also helps us update our records and ensure that we have accurate mailing and invoicing details. STLD sponsor companies can make use of this facility by contacting Bernie Davis sponsors@stld.org.uk. with the name and e mail address of the person who will become the company’s ‘sponsor user’. They will be registered on our secure database and will then be able to modify their company’s information within the sponsors directory. Please note that the directory can now enable companies to be searched for by category and area. Bernie Davis – STLD Sponsor Liaison

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Who’s the Daddy? The BabyMax M18 has arrived

www.arri.com/d-21

ARRI is proud to announce the M18, first offspring of the Academy of Motion Pictures Arts and Science, Scientific and Engineering award winning ARRIMAX 18/12 presented February 7, 2009. Baby weighs 20lbs, looks just like daddy, and is already proving extremely capable and bright. Lensless ARRIMAX technology New 1800W lamp technology using existing 575/1200 cables Virtually the same size as a 1200W lamphead but more than 70% brighter Unique EB1200/1800 with CCL and ALF Runs from most domestic sockets world-wide 2008 ©A.M.P.A.S.® Scientific and Technical Engineering award to Erwin Melzner for the overall concept including the optical and cooling systems; Volker Schumacher for the optical design; and Timo Müller for the mechanical design of ARRIMAX 18/12 lighting fixture for use in motion picture production.

ARRI (GB) Limited 2 Highbridge, Oxford Road, Uxbridge, Middlesex UB8 1LX For information about our new baby, please contact: sales@arri-gb.com or telephone +44 (0)1895 457000