TV Lighting & Design: Issue 103 (Spring 2011)

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TV Lighting and Design

Spring 2011

Issue 103

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Where art meets science

www.leefilters.com

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Editorial

Can I start by thanking all the contributors to this issue of Television Lighting and Design.

We have just held the AGM and will report that fully in the next issue. We have other meetings already being planned, and if you have never been to one then it is time you did! They are very sociable occasions, always informative (and not just about lighting!) and almost always free to members. Flyers are posted and e-mailed regularly and if you haven’t been receiving them it is possible that our contacts for you are out of date, so let us know and we’ll check.

The 4th Knight of Illumination Awards take place in September, and to allow for the judging process we have to close the nomination process by end of May, so there are only a few weeks to go once you read this. Do please take the trouble to enter any work worthy of merit - either your own or someone else’s. There is a link on the STLD website, or else contact any committee member if you have any doubts how to do it.

Lastly, the usual plea... if you have thoughts about meetings or articles, or any other opinions or suggestions then don’t keep them to yourself. This is your Society and we want it to be what you want. Contact any committee member and let us know what you think, and let your ideas make a difference.

Bernie Davis

Contents 4

Jaunt to Jordan

38

Oled Conference

14

STLD Visit to Tate Britain

41

‘Allo ‘Allo - Duncan Brown

30

Return to Wembley

42

Obituary

32

Letters

46

Sponsor News

34

Insurance - Who Needs It?

54

Society Committee

36

Talking Point - Bill Klages

55

Society Sponsors

Editor: Bernie Davis E-mail: editor@stld.org.uk Magazine Production: Iain Davidson Editorial Address: 11 Bloomfield Crescent, Ilford, IG2 6DR 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 © Society of Television Lighting and Design 2011

Cover Picture: Paul Middleton Briese Light on LCA Stand at BVE

Deadlines for the next issue:Advertising copy : 30th June 2011.

Editorial : 30th June 2011.

Advertising is accepted only from sponsor members of the Society

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TV Lighting and Design Spring 2011

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

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Lighting

Jaunt to Jordan Travelogue by our reporter Mike Baker

TV Lighting and Design Spring 2011

It started with a phone call from Simon Jago Design (now part of BDA Creative) in London town who wanted to know whether I was interested in working with them on a News studio lighting job in the Middle East in which they were involved. Now I’ll be honest, at that point I hadn’t heard of Simon Jago Design and was surprised that they had heard of me, but that’s because I don’t normally interface with London’s higher echelon companies in the world of TV. A few moments with Google (other search engines are available) filled me in on their profile. They have designed and built many of the sets that are familiar backgrounds on News programmes both in the UK and abroad.

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‘Abroad’ is a big place and the Middle East is an ‘interesting’ part of abroad so I asked for more detail.

All the time we talked, I was thinking who had put forward my name (‘you were recommended’) whilst taking in the detail of the project.

ArabMedia Television has a complex (of buildings!) in Amman, Jordan and our very own Dave Evans had put a lot of design work into the project already. Dave had a great deal of lighting work on his plate and had mentioned my name as one who could possibly pick up the project and take it through to completion. Dave is always a busy

lighting bunny and, aside from the One Show, has recently lit ‘Lambing Live’ and ‘Stargazing Live’ to my knowledge. (Does he feel a nativity coming on?)

As always, this was deemed to be a ‘rush’ job. The client wanted me there tomorrow but yesterday would be better. The compromise would be the Saturday coming.

Saturday 10th April I met Sandra Fattore (of Simon Jago Design) at Heathrow where she talked me through a huge pile of design documents and visualisation.

There were four studios in the complex and Dave had specified lamps and positions for each one. Much of the design involved specifying LED’s and their control gear which I will freely admit is not an area in which I claim to have any useful knowledge. At all.

I did make that clear to Simon and Sandra and it was established that I would attend to the fine lighting of all studios using Dave’s rig and do as much as I could in the time (one week) with recommendations for change where appropriate. Sandra had also provided me with images that had been taken of the studios as well as Dave’s lighting rig.

Now, let’s face it, nobody likes taking over halfway through a lighting job using someone else’s plot.

However, Dave’s rig made sense in many ways and conversation with him cleared up any queries that I had.

The flight was with Royal Jordanian and was OK. Not good, not bad, just OK! We arrived late evening local time (plus 2 hours) and there was the deep joy in standing in the queue from Hell for a £10 Visa that took almost as long as the flight itself.

By 0130 I am checking into a nice hotel. My room number is to be 911. Mmmm. International emergency number. That should have warned me that this was not going to be an event free trip.

Sunday April 11th Having left Heathrow in warm sunshine, it’s a little disappointing to a very murky non view outside my window. Is it smog or is it fog? No, it’s the remnants of a sand storm of a minor variety. The sand in these parts is extremely fine and can stay in suspension in the air for days.

After breakfast, a car duly arrived and took me in to ArabMedia TV for about 10am. (8am UK jetlag time) After meeting the local TV management in the form of Ahmad and Fadi, it was down to meet the crew and a tour of the facilities. First impressions were of a well kitted

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Jordan

I take a walk from the hotel to familiarise myself with my surroundings and in the search of local colour before dark. I soon find that the simple act of crossing a road almost impossible. They are worn as smooth as marble. Hence much squealing of tyres. The pavements more like skateboard parks and are real ankle twisting stuff. They seem to be more a device for separating cars from houses and shops. It doesn’t take me very long to find out that it is much easier to copy the locals and walk in the road! There is another technique for crossing roads in the Middle East and that is always to put a local between you and the oncoming traffic. This hasn’t failed yet but sometimes it does require that you have to wait

until that local wants to cross where you want to cross. My little tour takes me past a petrol station where your unleaded petrol is just 59 p per litre. Well, they do sit on a great deal of the stuff in that part of the world, I suppose.

On my return I reward myself with a very nice meal in the hotel restaurant. Fillet steak accompanied by wine that costs almost as much as the steak. Per glass.

communicate over considerable distance without a megaphone was also impressive.

There were a few issues with the lighting rig such as missing back lights but Abulal assured me that the lamps were on order. The real problem in Studio 3 was where to put them. One of the news desks had the production control room as background with a lowish suspended ceiling behind the presenter.

Monday 12th April On picking me up in the company car my driver tells me he is also a rally driver. I sit quietly in the car as it squeals around a roundabout through impossibly small gaps having just done a kind of handbrake turn outside the hotel. I fumble for a missing buckle whilst gripping the unused dusty seat belt with clenched fingers.

We arrive safely at the studio centre and, formal meetings over; I meet the guys who are going to be working with me. The crew is led by Mr Abulal Hawa. His command of English was good and his ability to

The net result was lack of separation of the Presenter and the dark background of the control room. I suggested taking a ceiling tile out and putting in a small Fresnel lamp on a magic arm. This might have appeared in shot unless the Directors were compliant with my

TV Lighting and Design Spring 2011

out building and modern facilities.

A fairly long day ensued with the usual scenario of lamps going up and down, on and off with an accompaniment of barn door bashing and quite a lot of instructions in Arabic. The first day concludes quite well but also in the knowledge that I am certainly going to be busy for all of the allotted time. Return is scheduled for Friday April 16th.

Inshallah. (God willing)

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caused by sand blowing in from the desert has now gone.

plan. There was also a possible LED solution using litepanels which I had seen demonstrated recently to great effect. Very pricey, though.

TV Lighting and Design Spring 2011

I soon found another issue when I asked for a lamp to be faded up to 70%. An alarming lack of lux reaching my light meter suggested a dimmer law problem. And so it was; and it came to be that boffins were called in to delve deep into setup menus. They consulted the Tablets and lo, it was solved in two shakes of a camel’s tail and great was the peace that ensued.

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I chose a light level of 600 lux as being appropriate to what was expected of the studio in conjunction with the modern SD Sony cameras. I explained the concept of running lamps at 70% as being not only economical in lamp running costs but also giving the desk operator flexibility during a live show. This practice, I believe, dates back to the early days of colour TV and a certain Derek Lightbody.

I noted that wheeled Presenters chairs did not fit in with my ideas on carefully barn doored lamps and precise lighting. Time and time again one finds this in News studios

and readers will be well aware of the lighting angst that ensues.

My lighting training all those years ago in TVC was partly with the iconic Dennis Channon whose attention to precision barn dooring has stayed with me ever since. One lamp, one function was one of his adages that is still just as appropriate today.

Later, my rally driver takes me back to the hotel in another record breaking time passing another traffic accident; second in two days. It is getting warmer and the haziness

The LED system specified by Dave Evans was not the one that had been purchased and the client had already had serious problems with the system engine. Yes, lights have engines nowadays, too. The truly desperate part of it was that they could only be controlled by a mouse and a separate computer display. When I asked for a different colour ‘look’ to part of the set which should have been a simple push of a button, it was a biblical age before it happened. Not a good system for a News studio. Not good at all.

This was the first time I had worked with a set which embodied so many LED’s as part of its construction.

The good news is that they provide punchy, saturated colours which bring dynamic high contrast lighting that cannot easily be done by conventional lighting from overhead sources. As readers will know, the jury is still out on the colour accuracy (or C.R.I.) of them but in the case of scenery, that isn’t nearly

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Jordan

as important as with face and skin tones. The picture here showing Abulal and I at one of the desks does suggest that large areas of flown set lit internally by LED’s can cause a colour cast on people sat at a desk.

One thing that was blindingly obvious to me was the high brightness of the blue content as seen by their SONY Powerhad cameras. I have read articles which confirm that there can be a huge amount of energy at the blue end of the visible spectrum that TV cameras will happily render.

Tuesday April 13th [Unbeknown to me, a certain volcano called: Eyjafjallajökull had just blown its top in Iceland.]

Studio 4 has my undivided attention today. It is a more Magazine type studio where guests sit against a background of the outside world seen through floor to ceiling windows. Bit like Pebble Mill at One for those old stagers who remember that show. The difference here is that technology has come to the assistance of modern lighting directors in that they have decided to use the RoscoView, a two part system to control the brightness of what is seen by cameras in this situation.

Some time ago, I had seen a ROSCO demonstration of how it works. Briefly, a servo controlled rotatable Polarised filter on each camera lens can be adjusted to dim the view through the windows which are fully coated with polarised filter material. I will admit to being cynical about the system and its viability in a multi camera scenario but was very pleasantly surprised by how well it actually does work.

windows. The outside on camera then, of course, quite blue but it actually grew upon us as a ‘look’ and when the director came along he seemed to like it too. We could have half CTB’d our lamps of course, but I wasn’t keen to do that unless we had to.

Dave had rigged double keys to allow for an increased illumination of, say, 1000 lux for seated positions in this studio (in a similar manner to the One Show) The lamps were close together so double chin shadows were not really a problem. I did some experiments with 0.5 CTO on the window whilst deliberating on controlling the colour temperature difference from outside to inside but quickly found that that negated the RoscoView system completely! We white balanced the cameras to tungsten and adjust the rotators to produce acceptable brightness of the

There was a kitchen area for the inevitable cooking items and a very small area that had to use CSO backdrops in one corner. This area just did not work for me. People sat close to a blue screen that had to be lit from overhead by lamps that weren’t really up to it: you know the score. I suggested one of the LED backlit screens (as seen at

TV Lighting and Design Spring 2011

Each lunch time, I was taken out to a nearby restaurant with the senior engineer of the station for delicious food and to discuss the problems of Television, the Middle East and of the world at general. This is one of the things I like most about working abroad; meeting ‘ordinary’ people who can tell you a lot more about life in that country than Wikipedia and also in the context of face to face conversation.

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precisely. I did point out that what really mattered was that the lighting should just work for the Director in real time situations; head turning, interviews, start and end shots, etc, etc. No matter, that did not happen.

It was felt that they had to have a record on tape of each and every visualisation in order to demonstrate to the owner of the Studios that the ‘Mission’ had been accomplished.

Thursday April 15th

Showlight last year) but they were out of budget, I was told.

Wednesday April 14th [Once again, in my ignorance, the Media was announcing that European air space was being affected by a giant ash cloud.]

TV Lighting and Design Spring 2011

Work continued in Studio 3 where the set was still being constructed around us. I spent some time trying to imagine where seating positions were going to be and lighting them accordingly. Eventually we returned

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to Studio 4 which was the most important in the scheme of things and continued sorting things there.

I happened to see part of a CNN News bulletin that talked of an ash cloud heading through European airspace. That didn’t sound too good for my return home early the next day. 250 million cubic metres of ash were up there and spreading quickly.

In fact, we were forever changing our venue to try and sort out issues as they arose. I made it known that we ought to be aiming for full rehearsals before I finished the following day. The curious thing was that this never really happened.

What we actually did was to set up cameras to match the computer visualisations provided by Simon Jago Design. Each and every shot was slavishly re-created slowly and

On arrival at the Studios, I was told that tomorrow’s Jordanian Airways flight was indeed cancelled and the choice was either later today or Sunday. Later today sounded good so I returned to the hotel and prepared to leave. My mobile trilled: the Thursday option has gone, plane fully booked. Fadi who was coordinating my travel arrangements asked me if I would like to fly from Amman to Beirut at 0310 and then

TL103 v1:TL 85 Spring 2005 23/02/2021 16:59 Page 9

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After lunch I was taken to Mt Nebo for spectacular views over the Dead Sea. Maybe this was another way to get home: camel ride across the desert to the Med. where I could hitch a lift on a cruise ship back home.

onward at 0450 to Bucharest in Romania to catch a maybe flight into London?

Er, no thanks. I opted to stay put in my nice comfy 4 star hotel rather than being stranded in Romania if that was alright, thank you. Much as I would like a chance to explore Romania’s capital. Fortunately that option was alright. The senior managers at ArabMedia TV agreed to pick up my accommodation and food costs ‘for as long as was necessary’. Phew!

Saturday April 17th My first day of comfortable captivity begins. Of course I check out the news but then wish I hadn’t.

Volcanologists take great pleasure in stating that the eruptions could go for days, weeks or even months!

It’s at times like that that you realise that jetting around the planet has some drawbacks. I also realised that there was another problem looming.

I had intended to fly out to Turkey just a week later to run some lighting training there and I had already booked, and paid for the flights.

Of course I was letting Simon Jago know of all the developments as they occurred. There wasn’t much that they could do about the situation from their position anyway except sympathise. I had more or less accomplished all that I could reasonably do in the time anyway.

Fadi promised that he would be in touch to arrange some kind of outing for me on my first day of entrapment!

TV Lighting and Design Spring 2011

Friday April 16th.

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Instead of flying home I went for a one hour walk around the nearby quiet streets (Sabbath Day) whilst waiting for Fadi to wake up after (he told me later) a drunken sleep.

He picked me up in his small car with his lawyer friend Zaid. He was born, he told me, a Palestinian in Bethlehem but went to Chile with his parents at an early age. His father is involved with airport design and he (Fadi) is trained as an architect.

They whisked me to Malaba, about an hour’s drive from the capital, a small bustling town where both had

been to school. I was shown around some ancient churches and saw some Roman relics including mosaics and a paved street. It was a very pleasant outing and helped to take my mind off the uncertainty of when I would get home.

Lunch was super, lots of Arak, (a middle Eastern spirit not unlike Pastis) in a sunny courtyard with an old well and great food. After lunch we went to meet Fadi’s family at a spring re-union for coffee and birthday cake for one of his aunties. His grandfather told me that he has been to Cardiff more than once! It’s a small world and getting smaller.

Not much I could do at that point so I decided to walk into the old part of the city as it was a nice day.

Mistake. Big mistake! It was much further than I thought (local maps were useless) and I once again discovered that pedestrians are actively discouraged in this part of the world. Pedestrian crossings? Dream on. However, I did eventually get there and was not wildly impressed with what I saw. Apart, that is, from the Roman amphitheatre. That was pretty spectacular.

I took a taxi back to the hotel (6 dinars) and had lunch in the Viennese café (part of the Grand Plaza Hotel) for about 10 dinars.

Then I discovered the swimming pools (plural!) on the mezzanine floor so I sat out in warm sunshine whilst I pondered on my fate. Nice.

Later, I ventured to a nearby shop-

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Jordan

Sunday April 18th I am thinking of cancelling my Turkish flights for (hopefully) a full

refund tomorrow. This is the first time I have actually paid up front myself and am now regretting it! I could perhaps go directly there from Jordan or postpone the course.

Like all ‘captives’ I decide to start a routine to break up the day. I had looked into visiting Petra and having seen some staggeringly beautiful photographs that a tourist had left on one of the hotel computers but that would probably have involved two days and quite a lot of money. I also didn’t want to be away from Amman in case the flight situation suddenly improved.

The next big question is: will I get home before my electric toothbrush runs down?

Monday April 19th I decide to go in to the Studios to type up my report which I would normally have done at home afterwards. I spoke to my contact Ebru in Turkey and she was happy to postpone the course. I duly cancelled my flights.

It was a strange feeling being

marooned, albeit in a nice, warm place in a comfortable hotel. Yes, I could swim in the pool, sunbathe or just wander through the back streets of Amman with my camera but I will admit to feeling very cut off and not a little homesick.

Later in the day CNN said that flights are gradually resuming to Europe. I Phoned Fadi and Ahmad to ask them to investigate. A return call said that it might be Friday before I get out.

Tuesday April 20th I went into a travel agent next to hotel to find that there was one seat on an extra flight tomorrow. I met up with Martesh who looks after ArabMedia travel just across from the hotel. In the short time that it took him to check it out, the seat had gone.

Jessica from Simon Jago Design called suggesting a Paris flight at 7am followed by Eurostar. I got a bit excited until I went to Martesh who said they were all booked. He did, however, give me a confirmed flight for Friday.

TV Lighting and Design Spring 2011

ping precinct but had to cross the roundabout of death in order to get there. I noticed that there was actually some slight evidence of white lines in the polished road surface which were intended to slow traffic down here, but now neither motorist nor even the average pedestrian could see them any longer. Today was the first day since my arrival that I hadn’t seen any road crashes.

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passport being ten years hence. This is not a feature of Jordanian National passports and the system didn’t like it. I went round to the travel agent next to the hotel and he suggested that I went to the city terminal of Royal Jordanian being only 2kms away. I legged it down there in record time, crossing two busy dual carriageways and stood in a queue for ten minutes only to be told I was in the wrong queue. The next man gave me a boarding pass but told me my case had to be checked in there, not at the airport.

Television Lighting Spring 2011

Oh, fine! I returned to see Martesh of Arab Media and asked for car to take me down at 6pm with my case and also at 9am tomorrow for the airport.

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Wednesday April 21st

6pm. It was actually cold and had rained and I was ready with my case outside the hotel waiting for the rally driver who I thought would know me. After 40 minutes and three phone calls to Martesh I found out that a different driver was actually inside reception waiting for me!

He duly whizzed me down to the RJ city terminal to check in my case.

Will I ever see it again?

Great excitement (for me) as I hear that some planes landed at Heathrow last night.

Friday April 23rd

I had two shirts laundered at £4 each…

I was in a car on the way to an airport. Vapour trails were in the sky.

Normality was returning. Once there, I was glad that I had checked my case in yesterday as there were long queues. There was still a 35min queue for immigration, but I didn’t mind in the slightest; I was on my way home!

Foreign assignments always involve a lot of preparation and work but can still be enjoyable. This particular one had had the joker in the pack: a once in two hundred years eruption of a volcano with an unpronounceable name.

Finally, I would like to acknowledge the support I had from both ArabMedia TV and also Simon Jago Design that enabled me to live out the crisis in relative comfort. ***************

Thursday April 22nd Much cooler today with a westerly wind bringing clouds from the Mediterranean.

I set about checking in on line.

What a performance that was! It didn’t like the expiry date of my

I would further like to dedicate this article in the memory of the late Graham Rimmington who has been instrumental in preparing many of my previous articles for publication in this journal. Along with many other readers, I will miss his friendship and humanity.

TL103 v1:TL 85 Spring 2005 23/02/2021 16:59 Page 13

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TL103 v1:TL 85 Spring 2005 23/02/2021 17:00 Page 14

Event

British Painters in Tate Britain and the extraordinary work of

Eadweard Muybridge

TV Lighting and Design Spring 2011

Contributors are Duncan Brown, Richard Broadhurst and Andrew Dixon

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On a wet and miserable January afternoon, our party of some forty STLD stalwarts met at the site of the former Millbank Penitentiary, a huge prison facing the Thames near Westminster, not that they had done anything wrong, but it is where the Tate Gallery was built in 1897! Now in happier circumstances, they had their spirits considerably lightened by a guided tour of paintings personally selected by Duncan Brown.

Tate Britain, as it is now known, was named in honour of Henry Tate, sugar magnate and art collector who agreed to donate his valuable collection of paintings to the nation provided that the Government agreed to find it a home. Tate Britain, which now houses the national collection of British Art from 1500 to the present day, is part of a family of four galleries including Tate Modern, Tate St.Ives and Tate Liverpool.

I spoke to Duncan who gave me an insight into his great love of art.

He told me that he had first become interested as a result of spending time with his great mentor and teacher of television lighting, the legendary Ritchie Richardson. Amongst Duncan’s favourite artists are Salvador Dali and Richard Hamilton , his favourite period is the

I became interested in art as a result of the teaching of my mentor Dickie Richardson. My interest in art had a massive influence on my work giving me the ability to see and the vocabulary to discuss with designers and directors.

My three favourite artists are Salvador Dali, Richard Hamilton and Bill Viola for ideas technique and emotion Now is my favourite period as there is so much to learn but it does not eclipse anything in the past back to the Roman. The pictures you saw chose themselves such is the quality of the Tates curating, I had at least 30 pictures cut down by Andrew and the lecturers. I hope that the visit opened some eyes to new styles and names.

Duncan Brown

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Tate Britain

current one but he believes that modern art has much to teach us and in no way eclipses other forms of great art right back to the early Renaissance.

When I asked him how he chose the particular works we were about to see, he told me that such is the skill of the curators at the Tate that the pictures had naturally chosen themselves!

We started our tour with the most modern work on the list: “Inverse, Reverse, Perverse” 1996 by Cerith Evans (b. 1958), this is simply a concave mirror approx 5ft in diameter attached to the gallery wall. By walking towards it, the body is distorted in a strange way, similar to the old fairground mirrors. This was an interesting first choice as it raised the inevitable question of “what is art”?

To our members this could be seen as purely an optical device manufactured by someone other than the artist, the only input that the artist had was screwing the object to the wall. One supposes that if all else failed, it could at least be used as a pretty decent reflector for a searchlight!

The second of the modern works, “Red Morning Trouble” 1977 by Gilbert & George (b. 1943 & 1942) comprises a huge frame of 25 black and white photographs, some overlaid in red, of the artists in shirtsleeves interspersed with views of the City along the Thames. The work conveys great ordinariness, mocking the mundane life of the city executive. Judging by their expressions, and the overriding colour of the work it would seem that their portfolio of shares has just plunged deep into the Lee 106!

TV Lighting and Design Spring 2011

Gilbert and George, always known by their first names, are controversial characters in the art world who met at college and have worked as “living sculptures” since the 1970s. Among their many trademarks is the wearing of conservative suits, drinking gin & tonic and singing “Underneath the Arches” in the streets around Spitalfields, where they live.

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TV Lighting and Design Spring 2011

In complete contrast we moved from the modern galleries to view “Past and Present” 1858 by Augustus Leopold Egg (18161868). This work is a triptych based on the consequences of adultery. The first picture, which was originally hung in the centre of the other two pictures when first exhibited, shows a colourful but disturbing scene of a prosperous family in turmoil after the discovery of a wife’s unfaithfulness.

The distraught husband clutches a letter from his wife’s lover whilst stamping on his miniature portrait. His devastated wife lies at his feet in submission whist the elder of his two young daughters looks on in incomprehension.

The painting is full of highly symbolic images: an apple has been cut in two, one half lies on the floor rotten to the core representing the wife, whilst the other has been stabbed with a knife representing the husband’s grief.The little girls’ house of cards, supported on a novel by the French writer, Balzac, well known for his tales of adultery, collapses, signifying the breakdown of the family.

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The two other night-time pictures, much more sombre in style, represent exactly the same moment in time five years later when the father has died. The clue is given to us by the identical moons and cloud formation in the two pictures. The first shows the two girls in their chamber praying for their lost mother, whilst the other shows their mother comforting a small child, the result of her affair, under the arches of The Adelphi near Charing Cross on the Thames. In the appalling conditions the mother now finds herself, she is surrounded by the ironic images of posters advertising plays such as “Victims” and “The Cure for Love” and one for “Pleasure excursions to Paris”.

As was popular with many Victorian artists, this is a tale of morals leaving the viewer to decide whether the woman should be pitied or condemned and is a possible reference to the Matrimonial Causes Act of 1857. This act, made law one year before the pictures were painted, allowed for easier divorce, but drew a distinction between adultery of the wife, which was absolute grounds for divorce, and the adultery of the husband, which was not.

This skill of the artist was much admired by our group who appreciated the contrast between the warm colours of the drawing room scene and the abject coldness of the later pictures.

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Tate Britain

The next work, “Brighton Pierrots” 1915 by Walter Richard Sickert (1860-1942) again painted during the early part of WW1, is a very different picture. It shows a concert party of Vaudeville entertainers performing on a make-shift stage, lit primarily by footlights, on the Brighton seafront under a stormy and threatening sky. In their contrasting styles both pictures conjure up images from Joan Littlewood’s “Oh What a Lovely War!“. It is painted in extraordinary pastel shades in a soft focus style and conveys a pervasive atmosphere of melancholy. The pierrots play to an audience of mainly empty deckchairs, hinting both at the absence of so many men at war and the forthcoming demise of this type of outdated entertainment.

TV Lighting and Design Spring 2011

We moved on to see three very different paintings, all on the theme of the First World War, the first, “Merry-Go-Round” 1916 by Mark Gertler (18911939) depicts a brightly coloured fairground carousel.

Traditionally associated with pleasure, it is horrifically transformed into a metaphor for the relentless military machine. With its sinister orange and blue colour scheme, rows of screaming military personal sit on terrifying horses trapped in a never-ending circle of war.

When it was first exhibited in 1916, oddly, the metaphor of war seemed lost on its audience much to the dismay of the artist, who as a conscientious objector, had created the picture as an expression of his horror at the futility of the war.

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Lighting

TV Lighting and Design Spring 2011

The third picture in this series, “The Deluge” 1920

by Winifred Knights (1899-1947) is full of religious imagery, taking it’s theme from the Old Testament Flood. In the foreground, people flee from the rising waters in lines of radiating energy, while Noah’s ark floats serenely in the background. The picture, painted in the cubist style and coupled with it’s almost monochromatic colouring, makes for a most disturbing but highly effective image. Although painted just after the war, the use of the word “deluge” and it’s depiction of fleeing people would, at the time, have been seen as a metaphor for the horrors of the First World War.

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Moving to another picture by Walter Sickert, “La Hollandaise” c1906 shows a completely unidealised nude in an awkward posture in a dimly lit room in seedy surroundings, his contemporary remark that “taste is the death of a painter“ may well have some justification here . This is one of a series of pictures of prostitutes in similar vein by Sickert. Whether this has any relevance to the fact the he was named as a possible candidate for “Jack the Ripper” is a matter of conjecture. The novelist, Patricia Cornwell spent a great deal of time and money in trying to prove her theory that Sickert was in fact the murderer. She purchased 31 of his paintings in an attempt to extract his DNA and link it with letters attributed to Jack the Ripper but never came to any definite conclusion.

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Tate Britain

In passing we looked briefly at another painting by Joseph Wright “Vesuvius in Eruption, with a view over the islands in the Bay of Naples” 1776-80. Here the intense drama and fiery colour of the erupting volcano contrasts markedly with the tranquillity of the sea lit by cool moonlight. It was unfortunate that the artist, who was in another part of Europe at the time, missed the actual eruption and had to paint the scene from his imagination!

TV Lighting and Design Spring 2011

On a brighter note, our next picture “An Iron Forge” 1772 by Joseph Wright of Derby (1734-1797) represents, on the surface, a much more attractive image. Here Wright portrays a small foundry in which the proud iron-worker looks on at the different generations of his family who are lit in a most theatrical manner by the white hot metal which forms the focus of the picture. Some discussion followed about the likelihood of metal reaching this temperature, but the fantastic effect of the light on the faces was more than enough to compensate for any scientific inaccuracy for our audience! That possibility that the setting could be part of a nativity, gives the picture a quasi-religious significance.

The work exudes a feeling of domestic happiness and prosperity, but given the later impact of the industrial revolution on family and community, this has a certain poignancy.

One feels that had television existed in the 18th century, Joseph Wright would probably have been one of the top lighting directors of his day. Not for him the delights of DMX or flicker free ballasts, just a couple of candles would have been sufficient to see him through the day!

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Lighting

TV Lighting and Design Spring 2011

There could be no greater contrast than with our next picture, “Carnation, Lily, Lily, Rose” 1885-6 by John Singer Sargent (1856-1925). This delightful, impressionist painting features two young girls engrossed in the process of lighting Chinese lanterns in a most attractive garden setting.

Sargent was recuperating from a serious accident at the home of his friend and fellow artist where this picture was painted. Its location will be familiar to BBC technical staff, past and present, as it is in the Cotswold village of Broadway, only a few miles from Evesham and scene of many a convivial evening spent on training courses of yesteryear! Sargent wanted to capture the exact light quality of a summer’s evening at dusk, the picture is so evocative you can almost smell the scent of the flowers! The title of the picture comes from the refrain of a popular song of the period.

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Two highly realistic pictures, both recently acquired by the Tate, were now on the itinerary, the first “Portrait of Margaret, Duchess of Argyll” by Gerald Leslie Brockhurst (1890-1978) was painted c.1931. This is a most striking portrait of the beautiful Duchess believed to have been painted when she was 19 years old. The daughter of a Scottish millionaire, her life was shrouded in controversy which reached a crescendo over a sex scandal that was known at the time in the 1960s as the “headless man affair” - you look it up on Google!

She is depicted in classic portraiture lighting against a cold mountain landscape, the picture has a most disturbing feel, her strikingly red lipstick adding to the sense of drama.

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Event

Another stunningly realistic portrait “Sir Clive ForsterCooper” 1945 by Meredith Frampton (18941984) shows the sitter in his office surrounded by the tools of his trade.

Sir Clive ForsterCooper was the director of the Natural History Museum in London and is seen working on specimens of animal skulls, he is represented in soft light which adds greatly to the realism of the subject.

TV Lighting and Design Spring 2011

Unfortunately, time was pressing as we viewed the best known picture on our list: the enigmatic “Ophelia” 1851-2 by John Everett Millais Bt (1829-1896). This picture, full of symbolic detail, shows Shakespeare’s Ophelia from Hamlet lying dead in a stream surrounded by flowers; poppies representing death, daisies innocence and pansies unrequited love.

Highly regarded in its day for its accurate portrayal of nature, the poser was Elizabeth Siddal who sat for the artist in a bath of water is said to have been kept warm by the heat of lamps from underneath.

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Time had beaten us as the gallery was about to close and it had taken longer to do our tour than anticipated due to the great interest in the subjects that Duncan had chosen. A short stroll down Millbank took us to the Pizza Express for a very pleasant meal courtesy of the STLD. It was unanimously agreed that it had been a most enlightening tour and that, hopefully, we could meet up in the not too distant future for another foray into the world of the great British artists.

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Tate Britain

Eadweard Muybridge exhibition One of the things that’s so good about living in London is the easy access we have to some wonderful special art exhibitions.

This particular one attracted my attention as I had been aware of the zoetrope for years but had never known any more about its origin or about anyone who used it.

The exhibition not only showed examples of Muybridge’s grand landscapes of the western USA using stereoscopic paired photos, his panoramas of San Francisco, his work on the freezing of the motion of animals, and also gave an insight into his personal life.

He was born Edward Muggeridge in 1830 in Kingston upon Thames, son of a grain and coal merchant. He left home in 1851 to make his way in life as a sales agent for a publishing and printing company moving via London and New York to San Francisco in 1855. Here he may have made his first name change to Muygridge. He may well have been attracted to the alternative spelling of Edward by the two Saxon kings, Eadweard, crowned as five others were between 900 and 1016 in Kingston.

On his way to Saint Louis by stage coach in 1860 he sustained a head injury when the horse team broke away and the coach hit a tree. He was in a coma for days but the compensation $2,500 helped finance his first patented inventions which included a clothes washing machine. He convalesced in London where he discovered a fascination for stereo photography. He returned to San Francisco following the slump of 1866 to make a fresh start in the photography business. He called his new business “Helios Flying Studio” indicating that he was capable of producing pictures in the great outdoors at a time when it was much easier to control the “wet-plate collodion” process in the safety of an indoor studio. He was now on the way to make his name with fabulously adventurous photographs in the Yosemite Valley.

Heavy cameras, boxes of glass plates and chemicals were packed into the wilderness on horses and mules to be set up in his dark tent. Stereoscopic pair.

TV Lighting and Design Spring 2011

With the Collodion process, a long exposure was needed to bring out details in the shadowy tones of the rock, so moving water appears smooth.

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Self portrait seated at base of 250 foot high sequoias trees found in the Yosemite valley. This one is 85 feet in circumference.

He also turned his attention to more urban subjects, often pointing the camera directly into the sun to generate moody impressionistic images. He would underexpose the foreground, using the blue insensitivity of the collation process to his advantage, exposing the sky and even painting in a tiny moon.

He was also brilliant at marketing his results, putting them together in sets and using florid language to impress his public, describing himself as “director of photographic surveys on the Pacific Coast” How could he fail with images like the steamship “Golden City“ in the first permanent dry dock on the Pacific coast.

TV Lighting and Design Spring 2011

He recorded twenty three lighthouses on the western coast often using huge glass plates of 17”x22”.

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Pigeon Point 1873. Light source?... A five wick lard-oil lamp!

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Tate Britain

It may well have been in 1872 that he got the taste for stop motion photography entering the widespread debate on whether a running horse had all four hooves off the ground at any point in its gait. He would have to wait until 1878 before he and others developed new techniques and the scientific methodology to meet the demands of high speed photography.

In 1871 he married Flora Downs from Alabama, who had worked with him as a retoucher and was twenty years younger than him. During his many photographic expeditions he grew suspicious of the attention she was getting from theatre critic and raconteur Harry Larkyns. By October 1874 he was convinced of her infidelity, suspecting Larkyns of being the father of their son Floredo. He sought out his opponent at his home, greeted him at the front door saying” I have a message from my wife, take it” and at the same time fired a fatal shot at him. Following a spectacular trial Muybridge was acquitted of all charges after an emotional summing up speech by his lawyer, who based the defence on his being so distraught over his wife’s alleged affair. Flora sued Muybridge twice for divorce in 1875 but after the second successful attempt died a few months later at the age of twenty four. Floredo was soon living in an Orphan Asylum in San Francisco, Muybridge being on a photographic expedition to central America.

Unperturbed, Muybridge created several staged images on his tour entitled “Reception of an artist” including this one in Panama.

TV Lighting and Design Spring 2011

The culmination of his interest in urban architecture came in his astonishing 360 degree panoramic photos of San Francisco made in 1877/8. Panning his camera in a circle he made exposures over the course of five hours. His enormous 23” by 26”plates, up to 13 in number gave a final picture seventeen feet long. The first and last frames showed clearly the change in the sun’s position and no people can be seen as they would have moved during the long exposures involved. Only a few patiently waiting horse and carts can be seen.

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Event

Muybridge started his “Horse in motion” photos with a series of a horse called Occident owned by his colleague Governor L Stanford.

Often the pictures would be touched up to increase the impact. By 1877 he had improved shutter and chemical formulas to achieve shutter speeds of around 1/1000 sec.

By May 1878 he had constructed an outside studio in Palo Alto using signalling equipment from the San Francisco Telegraph Supply Company to produce sequential photos.

The track was painted white and had from twelve to twenty four camera trip wires arranged 21” apart so that when the sulky wheels depressed the wires the appropriate camera would be fired electrically.

TV Lighting and Design Spring 2011

For sets of photos where no sulky was used breast height threads were first used.

Muybridge soon applied for a patent for a clockwork

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mechanism that automatically tripped the shutters. Such was the excitement generated by the new technique that Muybridge’s results were published internationally. He soon adapted them to be displayed inside zeotropes.

Over the next few years from 1879 he refined a machine which he eventually called a Zoopraxiscope which projected sequentially images derived from his camera banks and printed onto 12” or 16” discs to give a few seconds of apparently continuous motion.

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Thorn Lighting

TV Lighting and Design Spring 2011

Following a hero’s tour of Europe, he came to lecture at the Royal Society and Royal Academy in London in 1882 but soon learnt that his results had been published without crediting him by his former partner Stanford. Once back in America, Muybridge tried, unsuccessfully, to sue him. Undeterred, Muybridge continued to lecture throughout the States and started a new project studying the motion of animal and human locomotion, based at Pennsylvania University He published “Animal Locomotion” in 1887, and continued lecturing his quasi-scientific view of the physiology of locomotion.

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Muybridge continued to photograph for his Zoopraxiscope even opening a specialised theatre in Chicago where they could be more easily appreciated. However emerging technology of motion pictures and the public hunger for more popular entertainment overtook the Zoopraxiscope during the 1890’s.

By midsummer of 1894, at the age of 64, Muybridge returned to live in Kingston upon Thames. He published two more books in which he connected his work to the birth of cinema, writing ” and if the photographs should have been made stereoscopically, and if projections from each series be independently and synchronously projected on a screen, a perfectly realistic image of the original performance will be seen.” Roll on 3D TV! At the dawn of the 20th Century Muybridge’s role in those times of rapid change was that of a catalyst in a technological and aesthetic revolution that has continued, with ever - accelerating speed to transform our representation of time and space.

My grateful thanks in preparing this article must go to the Tate Publication on the exhibition written by Philip Brookman.

Photographs by John O’Brien

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TV Lighting and Design Spring 2011

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Lighting

Return to Wembley Durham Marenghi - Theatrical Lighting for Stadium Events Dan Cranefield reports Durham is a very experienced lighting designer and has lit many important and elaborate events and his talk was entitled Theatrical Lighting for Stadium Events.

He went on to explain the design, the preparation and the finished article for the opening and closing ceremonies of the Winter Olympics at Turin in 2006, the “London 2012” part of the closing ceremonies of the 2008 Olympic and Paralympic games at Beijing and others.

TV Lighting and Design Spring 2011

Turin Winter Olympics 2006

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The opening ceremony had a cast of thousands and was transmitted in HD. There were 24000 DMX channels used and “virtual” diagrams in 3D were developed using WYSIWIG Perform beforehand for each sequence. The event took place in the winter with its expected bad weather and the luminaires needed to be protected each night. The arena was oval in shape, the size of a football pitch with a stage with huge curtains at one end where Luciano Pavarotti would perform the finale of the opening ceremony. The “sky” was required to be “lit” to be visible on the Turin nightscape. Football matches in this area were often cancelled as even the players could not see the ball in the fog.

Roof loadings were not available as the roof was being renewed so independent towers at each “corner” of the field were designed for the lighting of the ceremonies. At one end was a huge moving ring structure forming the Olympic symbol and this was lit in the appropriate colours. LED fixtures lit the ramp surfaces and the people on them.

Robust light sources were needed in the pit below the stage and the beams from

these needed to move slowly across the performers due to possible flare from the number of camera positions. An Italian Company, Space Cannon, was asked to develop a 4kw unit with dichroic colours and an even coverage of 10-30 degrees for key lights. Eight of these units were taken to Doha for a “try-out” as using them for the first time at the Olympics was not a good idea. Unfortunately, they were not “up to scratch”. Durham, asked to name them, called them “Stella” because they looked like beer kegs but the Italians thought the reference was to starlight.

Although 140 of them were rigged, they produced less light than the 1200 watt fixtures so all were replaced at short notice by units from Martin, Robe and Coemar. The fault apparently lay with the gas mix in the lamp but this was not discovered until it was too late and meant that none could be used.

The interactive audience were clothed in white smocks and were lit with LED backlights. HDTV requires faces to be lit in a more flattering manner than in SD. Each segment of the opening ceremony had its own director, choreographer and costume designer so there were many meetings and a lot of information to absorb. Many of the directors had no TV or stadium experience so much explanation was required to explain the needs for TV. Two main complementary colours were used for each sequence for a recognisable “look” for each multi-camera sequences.

The houselights in the roof consisted of 40 trusses of six lamps each around the stadium and, having set one the parameters were copied for the other 39

which saved a lot of setting time.

As most of the setting had to be carried out at night, with no cast or set, this was quite difficult. During the day directors often changed things which caused a relight the next night.

Durham never saw, before the opening night, a single scene with all the performers, set and special effects.

He felt that 80% of his time was spent on politics and 20% on lighting design. He became the first British Lighting Designer to have lit an Opening Ceremony Event.

This was followed by the closing ceremony two weeks later, with a different director, and then the opening ceremony of the Paralympics.

Beijing Olympics 2008 “Handover to London” ceremony.

This 8 minute piece used part of the lighting rig designed by the Chinese LD Mr Sha Xao Lin who lit the main ceremonies which consisted of 2500 Martin, Clay Paky and Varilite moving heads and 24 follow spots.

The Chinese kept much information about the ceremonies confidential which made the task much more difficult, particularly for the UK production team.

The London bus used in the feature travelled round the stadium and the top deck then opened up to reveal the stars performing their acts. It is not often realised that the lighting for TV also becomes the lighting for all newspaper and internet images around the globe. Rehearsals for this part of the show were done at a pri-

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Wembley

The final preparation for the show took place late evening a week or so before and during a period that the stadium was being prepared for a football match so the stadium lights were required to be left on, so it was impossible to see the lighting designed for the ceremony.

The dress rehearsal was also rained off!

The bus had a large number of LED fittings and there were many umbrellas also fitted with LEDs. As the on-boardthe-bus fittings did not work well using Windows Vista so Windows XP had to be used on the PCs and, fortunately, the London IT people had brought a copy with them, it being impossible to buy this in China.

Two weeks later the same bus, in a different livery, was used again for the

Paralympics. Unfortunately, the Chinese programmers had wiped all Durham’s cues from the previous show so it all had to be programmed again!

During the closing show 5 million plastic leaves were scattered over the floor which caused a number of problems when the bus arrived in the arena, with the possibility of clogged air intakes, a slippery floor for the dance routines and, since the leaves were not flameproof, some interesting possibilities with the following fireworks display!

Durham then went on to cover the opening ceremony of the Donbass football stadium, in Donetsk, Ukraine which was developed in a desolate and very poor area. He hoped the football fans could afford to visit it.

This event included a performance by Beyonce, an audience holding LED torches and the requirement for a blackout before a Ukrainian star singer was to appear in the middle of the pitch.

This came immediately after the “mass choreography” which needed some of the stadium lights to be on.

There were many difficulties involved with getting the lights switched off in time using a mobile phone whose battery went flat at the wrong moment.

Lastly Durham went on to explain the difficulties of lighting an event such as the half time show of American football matches because of concerns about the time it takes for the normal stadium lights to reach full temperature and output in time for the second half.

Syncrolite of Dallas have developed a system of fittings and lenses to help solve these problems and we were introduced to Jeffery A Smith who had travelled from there especially for the night’s demonstration.

The Arena fitting contained two

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

TV Lighting and Design Spring 2011

vate airfield and there was only a two hour window to set up the eight lighting and follow spot cues and the operators did not speak English.

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Letters

Lighting

scrollers with dichroic polymer filters or variable CTO and specially made holographic lenses, made from a very light plastic material and weighing just ounces, can be fitted inside or on the front of the units.

These lenses were very impressive; they have 92% transmission and can range from 9 degrees to 90 degrees and there are anamorphic lenses as well, the most common one that Jeffery uses is 40 degrees wide by 10 degrees high.

They have a very impressive flat field and do not suffer from haloing or dark spots. The Syncrolite luminaires themselves come in the range of 4Kw, 7Kw and 10 Kw and, for illuminating a large sports arena or swimming pool for instance, 12 x 4ks with 10 degree lenses can be the equivalent of 800 par cans.

These holographic lenses also give a more comprehensive range of colours when used with the dichroic filters.

The other lighting demonstration was by i-pix, a British firm and Christopher Ewington, the managing director, was present to demonstrate his LED fixtures. They come in single units, pairs, fours and sevens and there was also a prototype LED fresnel on show either tungsten or daylight CT. Compared with conventional sources the big advantages are that a much lower current supply is required and less heat is produced, they also have a very good CRI figure.

To the Editor Grumpy Old Men continued Sorry to upset you Brian, you were always a gentleman but there were others. Also you were working at a time when multi-camera shooting still had some relevance. Obviously the skills are still needed in Sit Coms and Events.

Jack Hughes is of course a nom de plume but more than that it is an exhortation, try saying it with a french accent. The accusation is that multi camera drama long outlived its purpose, the first person to explain to me the merit of “roll back and mix” will get a free pint of Youngs.

Constantly one hears the cry of how clever we are lighting for four cameras without considering if it was sensible. I have carried out numerous real tests both official BBC ones and my own personal ones and always the result was that single camera or of 1+, that is second camera for matching two ways was quicker, better and far less stress. I found that the best possible output at the medium level was by 1+ under warehouse conditions even if it was a real studio. By that I mean decamping the control to the studio floor thus having line of sight for the vision staff.

The resulting increase in productivity meant that we usually went home at dinner time - no more time wasted on the stairs. I tried the same method at Sadlers Wells with great results.

Sadly about the same time the BBC and I parted company the serious drama seemed to cease. I found a nice home with Disney practising what I have just preached. Now apart from a few laudable examples such as Sky and the soaps all major drama is produced by the “film” method. What a loss and what a lack of foresight somewhere.

Jack Hughes.

TV Lighting and Design Spring 2011

The three websites to visit for each of the above are www.durhamld.com ; www.syncrolite.com; and www.ipix.com.

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Welcome to New Members Jon Harris Full Steve Mackie Full Philip Lindley Affiliate (retired) Roger Harris Full David Laskey Full Daniel Martin Full

Michael Gorman Full Andrew Louca Full Gregory Mandry Full Andrew Collier Full Paul Nicholls Full

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Information

Insurance - who needs it?

The TV lighting industry has changed beyond recognition in quite a short space of time with most lighting directors going freelance, as have console operators and electricians. We have all moved out of the protection of an employer and had to start to look after ourselves, but that responsibility goes beyond just sending out invoices whenever we work. A quick straw-poll amongst friends showed some quite different views on our approaches to insurance - most of us know that we have to have Public Liability insurance although the level of cover needed is less well understood. But what other insurance products are there? And are they really necessary and what do they offer? Many people have joined BECTU just to get their very cheap public liability insurance, but if all you are getting from BECTU is the insurance then the added cost of the subscription makes it not quite such good value.

Through the STLD’s association with Plasa and their access to business advice we spoke to Simon Miller of Allan Chapman & James Insurance Brokers Ltd. ACJ are specialists in media insurance and understand the business we are in.

Simon listed an overview on the possible types of cover that are available: As a freelancer there are several key areas of insurance cover, which to varying degrees protect your income and assets, whilst at the same time providing proof of the relevant cover required by broadcasters and the like.

The different areas of cover can basically be broken down as follows: Public Liability Insurance This policy protects you for any third party injury or damage that you may cause and typical limits range from £2,000,000 to £5,000,000. Most production companies, studios, facilities etc will now insist on proof of this cover.

BBC and ITV in particular have recently made a significant push to ensure that freelancers carry Public Liability cover to a limit of £3,000,000.

TV Lighting and Design Spring 2011

Employers Liability Employers Liability provides you with protection for any negligent injury caused to people working on your behalf where you could be deemed to be in control of their actions. The key to deciding whether you are placing yourself in such a position boils down to the old master and servant rule and our advice would always be to carry the cover where you are directing people and their actions, regardless of the contractual position.

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Technical Equipment Our advice for your own technical and hired in equipment would be to always insure for the full reinstatement value and to review these values on a regular basis. Always ensure that the policy cover is as wide as possible and the following benefits should really be included as standard to ensure you are properly covered: Full theft including whilst in unattended vehicles.

Alternative hire costs – this provides cover for the costs of hiring alternative equipment whilst your own is being repaired or replaced following a claim.

Continuing hire charges – this aspect provides cover for continuing hire charges following the loss of hired in kit, as the vast majority of hire companies will make you responsible for these costs until their kit has been replaced.

Personal Accident Insurance This is probably the most overlooked area of cover for freelancers, but in many ways is the most important as it protects your income should you be unable to work due to injury or illness. Premiums vary depending on the limits and breadth of cover selected.

Allan Chapman & James Insurance Brokers have specialised in the Film & TV industry for over 20 years. If you have any

TL103 v1:TL 85 Spring 2005 23/02/2021 17:01 Page 35

Information

queries or require impartial advice please do-not hesitate to contact Simon Miller on 01206 500000 or email him at simon.miller@acjltd.co.uk.

ACJ offer 10% off their Focus policy standard rates to all Plasa members, and with the Plasa initiative that now includes all Full STLD members.

It is worth adding to this article that there has been much internet talk about an insurance problem recently, in that some lighting companies have been asking for higher levels of cover than was provided by the insurance provided by Bectu. We know that many people have joined Bectu primarily for their cheap public liability cover, and these raised requirements left many people without cover. I believe that the situation has been resolved for the time being, but if you are working freelance you will know that all those contracts you regularly have to sign include conditions of insurance required. If you don’t meet these requirements then not only are you in breach of contract you are vulnerable to substantial financial penalties in the event of an incident. The company you work for will have insurance, but if there is a claim their insurance company will immediately turn to every individual’s insurance to offset their losses.

So please check your contracts and your policies to make sure they are sufficient for your needs.

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Please Read!

You should all have received notice that the AGM was held at the end of March, and it will be reported more fully in the next issue of the magazine. But there was one point raised that rather surprised everyone, and that is the amount of money going missing due to careless subscription payments. We really need your help here as it is something your committee can’t do on its own.

Second, please check the amount you are paying. Many people have still not caught up with the rationalisation of subscriptions a few years ago. There are now only two rates: if you are a member then it is £45 per year and if you are an affiliate (retired member / student member / overseas member) then it is £25 per year. We no longer differentiate between London and Regional members on the basis that everyone benefits from the Plasa membership .

It is worth noting that other societies charge substantially more for membership, and we hope that you would agree that STLD membership still offers good value for money. So do please take a moment to check if you are paying the correct amount and that standing order references are appropriate.

Our preferred method of payment is now on credit card. We can’t use direct debit as banks would charge us far too much to do it, and if you are like me then it you probably don’t want to do that anyway. But through Plasa we can now draw on your credit card which means we can ensure we take the correct amount. The STLD will always notify you of any changes to the amount and will of course guarantee returning any incorrectly drawn money. Not that we are expecting that to happen, but the promise is there.

And don’t forget to offset your subscription against tax - even if you are on PAYE this can be claimed.

TV Lighting and Design Spring 2011

First, if you pay by standing order please check that your bank uses an appropriate reference. We get many payments attached to meaningless letters and numbers making them impossible to attribute to any particular member. Please ensure that your payment has your name and membership number. If you are unsure of either please ask us!

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Lighting

Talking Point Thoughts from Bill Klages

TV Lighting and Design Spring 2011

What Am I Missing?

I was recently reading a lighting periodical when I came across a lighting-instrument manufacturer’s claim that stopped me cold. A very popular and useful LED fixture was being touted as “HD friendly.”

Perhaps the copywriter responsible for this catchphrase needs a reality check and a review of the meaning of HD. The last I heard, “HD” meant High Definition. This manufacturer was claiming that the softness of light emanating from his fixture would result in a HD image that would be more flattering to a person’s features. His implication was that the higher resolution of the HD camera causes unflattering images. I would have felt more comfortable if the statement had been that unflattering lighting, soft or otherwise, might be more evident under the higher resolution of the high definition camera viewed on a monitor capable of reproducing the high definition image.

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HDTV Even though I am amazed by the incredible image quality of today’s video cameras, particularly those designed for “film” acquisition, I would be the first to admit that the benchmark for HD is represented by results obtained using 35mm film.

In other words, we have been experiencing HD for at least 60 years or more at our local movie house. The measure of the success in the devel-

opment of the high definition television has always been how close it is to the image quality of motion picture film.

Experienced entertainment lighting professionals are generally comfortable with their own personal methods for flattering the human face – and will have numerous approaches in their bag of tricks. One of those schemes might even be accomplished, for example, without any change in the lighting by the use of

a diffusion filter. If his objective is to use a soft main light approach, as suggested by our press release, he has a multitude of fixtures as well as grip devices and configurations at his disposal. It becomes a choice of high much and to what degree of “softness” he desires. His decision might also be influenced by many more realistic factors as space or convenience, yes, and even cost. So, it would have been more helpful that the copy writer of the “HD”

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Lighting

The ill-advised “HD friendly” statement could have another adverse result. It could offend the image maker: lighting designer, director of photography, gaffer or lighting tech.

It might be taken as an assumption that he or she is unable to choose a proper soft-lighting source for High Definition. Luckily for the manufacturer of the fixture who I am sure has good intentions, most lighting people are straight thinking, common sense individuals will choose a proper instrument after some investigation and use and evaluate performance with a high degree of objectivity… and not take offence.

A Silly Idea I just had a funny thought. Rather than discuss the pros and cons of what’s suitable or certified for “HD” or any other “D,” let’s design, and distribute, a label. This label will have large bright fluorescent yellow letters that say “HD.” Placing this label on your lighting instruments will announce to even the casual observer that you have up-to-date instrumentation that meets the stringent requirements of High Definition. This label can be attached to every fixture in your complement (although I suggest that instruments that are showing their age and are no longer performing properly not be marked). The

replacement of these unwanted fixtures could now be justified as they do not meet the standards of HD lighting. Of course, any instrument whose history includes being used in film production during the 1930s should get a unique label, perhaps starred as “*HD*” to show that it was used to make HD, circa preWorld War II. Pity the Chief Engineer There is another undesirable result that could happen. In the conversion to a digital and HD format, most television stations have had to exercise great ingenuity in the use of their limited resources to complete the conversion. Additionally, this conversion has also placed a great strain on station personnel in all areas who are trying to meet deadlines. Most stations do not have a staff member with even limited lighting experience. In many cases, the responsibility falls upon the Chief Engineer, whose plate is very full with a million details as a result of the crush to complete his work.

The last thing on his mind is the lighting of his “new” HD news set.

As a result, he probably can only rely on his intuition and common sense to light his station’s live studio production. Reading the truckload of trade magazines he’s subjected to each month, he may be intrigued by a press release of a special lighting instrument intended to be “HD friendly.” Problem solved?

No, I’m afraid not. Mislead by this claim, he may invest heavily in a quantity of these new devices. The depth of his situation becomes a harsh reality when he can’t even obtain better results than he experienced before with his complement of “non-HD” instrumentation. In many cases he may swallow his

pride and employ the services of an experienced lighting person, who gets exactly the envisioned result by using the “old” conventional instrumentation (only properly employing the “HD” units as appropriate).

When probing the professional about how he did it, the reply may be that, in order make the new set work, HD or otherwise, precise control (particularly of ambient spill light) was necessary. Softness had to be obtained by methods other than large aperture sources because of the control required...

Silly Idea #2 Of course, why stop at HD? With 3D approaching at incredible speed, can we look forward to a new lighting instrument category that is “3D,” or better yet, “3-D certified and-HD compatible”? Some imagination can be used in the design of this new label. Perhaps the label should have a holographic image that shows movement, yes, like 3-D (but still HD compatible, of course).

Back to the Basics Now that I’ve gotten the HD issue off my chest, we can return to less controversial subjects. I would rather not revisit a discussion of color temperature; that subject has been beaten to a pulp. I think it would be more useful to return to the real world and everyday lighting problems. Next, I plan to discuss how to handle the lighting of the more typical camera and subject movement. Let us see how “friendly” that will be.

Bill Klages would like to extend an invitation to all the lighting people out there to give him your thoughts at billklages@roadrunner.com.

TV Lighting and Design Spring 2011

fixture advertisement tell of the advantages of the new fixture rather than emphasize the softness of his product in a market place that has a great selection of large aperture “soft” sources already. In reality, the fact that the new fixture in question does have some major improvements over current fixtures of equivalent “softness” should have been reported and noted.

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Event

OLED Conference Report by Bob Anderson

This is a report of the proceedings at an expensive specialist international lighting conference that I did not attend.

It was held at the Kensington Hilton Hotel (Shepherds Bush) in mid June. I did see early publicity, but although interested, entrance seemed to be about £1000 for two days, without accommodation or perks, so I decided to pass (but see below). But a member of the STLD magazine committee also saw the advertising and decided that this was a subject that STLD members would need to know about. So, a month too late, in mid July, I was asked to write a report! But how?

TV Lighting and Design Spring 2011

By accessing the on-line record of course. The magic of the Internet!

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Technically, it was straightforward.

Someone gave me the conference web site address and the password and there, on the screen, were pointers to PDF files for all the speakers’ ‘powerpoint’ slides, and streaming audio feeds of the spoken part. So all I had to do was to listen and click to get the right slide to match what the speaker was showing to the audience in the hall. But wait, two days worth of papers in real time is about 10 hours! And what if the site was taken down before I was finished?

Downloading the PDFs to my hard disc was quick and easy, but I did not know how to capture the audio, so it was lucky that the site was still up until my work was done.

This, then, is what I managed to understand of the essence of the presentations.

OLED Lighting Design Summit Europe First, of course, I must explain what OLEDs are. OLEDs are LEDs manufactured as flat panels. Big, bright, ‘Light Emitting Diodes’ made from

organic semiconductor materials rather than silicon: thin, large area soft sources rather than hard points of light, dimmable, long life, flexible if required and available at a choice of colour temperatures or with integral RGB colour mixing. And now they are coming on to the world market for top-end commercial applications. But still very expensive.

The speakers were a mixture of manufacturers explaining their latest products and ambitions and real lighting designers - artists, with opinions (and axes to grind) about how this new medium should develop and with extensive case studies to show off their own achievements.

The technical speakers were emphatic that reliable products are now on the market and great strides even further forward are already happening.

Luminous efficacy was a major interest for obvious green energy saving reasons. Among the several manufacturers, about 30 lumens per watt were claimed but all had ‘route maps’ aiming for 50 and upward over the next few years.

And, for the Health an Safety lobby, OLEDs contain no mercury an need only 3.5volts power. So, for the people selling hardware the slogan was clearly OLEDs ARE GOOD FOR YOU, and for them and, perhaps, for the world.

But the panels illustrated on the PDF views all seemed small at about 300 mm x 300 mm. Larger luminaires were multiples of these. I could not, of course, see how big the displays were in the exhibition.

The professional lighting designers,the Artists, were not so sure. An OLED is inherently a soft light, and while an old fashioned point source LED can be diffused to get soft shadows it does not seem possible to do the reverse and get

hard shadows and defined, tailored, beams from OLEDs. So, as many of the lighting design speakers argued, the many varieties of lamp, luminaire and luminaire optics in use today are unlikely to be replaced until new clearer advantages are discovered. So why change? But if you want a soft light that is only a few millimetres thick, lightweight, instant start and cool enough to touch, reasonably efficacious and allowing colour changing and dimming, then OLEDs may be what you are waiting for.

Among the other attractions described were OLED signs and display panels with graphics stencilled directly on to the surface and see-through mirrors which give light from both sides when power is on but give perfect reflections when off. And, since the construction of the device allows it to be a presence detector without extra components, it can switch itself on or off according to need. An internally lit mosaic shaving mirror which tries not to blind you!

Television, then, will not be able to ignore these new sources. Big, large area, lightweight, colour changing, dimmable soft lights are the obvious imminent application. Ideal perhaps for high key lighting styles or for low headroom news studios. But what else?

Probably only, as yet, another option for flamboyant set decoration and they are undoubtedly capable of providing spectacular effects. Fresnels and profile spotlights and multi-lamp point source LEDs should be with us for many more years yet. I did not hear any mention of entertainment lighting in the conference, either from platform speakers or in the discussion from the floor. But perhaps the next Showlight will be when OLEDs R US becomes the unavoidable slogan for with-it Television Lighting Designers.

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Is attending a product conference by internet a good idea? Well, at least, it is better than missing out all together. But you miss the demonstrations, the exhibition, arguing with old friends and meeting new, and the “free” coffees, lunch and drinks party. So, STLD committee, please try to get me a free pass next time but do not on any account pay the top advertised price. That is for the big time players.

To find out more about OLED physics, products and manufacturing techniques there is a wealth of information in Wikipedia on the internet.

Also, visit the OLED Insider web site, www.OLED-info.com, who organised this conference. There is another one promised for 2011 and prices are very much less than I reported at the beginning of this article, especialy if you take

advantage of discounts promised for members of STLD and similar organisations. Special thanks to Tim Lovatt, VP Europe Buisness Division, who gave full assistance to me to collect the material to write this article and to the speakers and their companies who allowed us to reproduce their pictures.

TV Lighting and Design Spring 2011

Oled

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Event

TV Lighting and Design Spring 2011

Making Light Work

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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.

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

TL103 v1:TL 85 Spring 2005 23/02/2021 17:01 Page 41

Lighting

‘Allo ‘Allo The Lighting Story by Duncan Brown

The story is really one of consistency and soft keying. As far as the main sets were concerned every light was an eggcrate soft with just one 5K Fresnel on the back wall upstage of the piano.

This method of lighting had been researched on “Are You Being Served?” and brought to maturity on “Hi-de-Hi”. It consisted of upstage three quarter back Berkey softs set so that their penumbral zone, which can only be seen when the lamp is being tilted falls just behind the artist.

long activity provided the spur for the look of “Allo Allo”.

I think that the look survived the moves between all the major TVC studios and at last the move to standing set at Elstree. This concept ran through to “You Rang My Lord and “Oh Dr Beeching” culminating in a performance drama “Absolute Hell” after which I changed tack completely becoming obsessed with Brutes, Dedos and fluorescents.

As a technique it was fast, my fondest memory was when we set all principles on a Hi de Hi in 9 minutes and never needed to back to them. You need a good team for that. It was economic because it only used standard studio lamps.

The type of picture is a matter of taste but remember every key light is a now redundant soft. If I were do it again I would probably use Kino Flo in a linear rather than a block sense.

Years before on classic dramas I had been told that I set my top barndoors too low; for me this gives a dynamic as the light varies with slight artistic movements. Don’t be afraid of the penumbra be it Northlight, Eggcrate, Fresnel, profile or moving light. On a wide set such as the Cafe another row of softs was needed and the takeover has to be juggled carefully with the artists positions.

Location insets were shot mostly in the usual film method, some electronic shooting was attempted but this is a story for later. I often attended the locations and grew a friendship with the lighting cameraman which proved later in my career.

So much for the technique, the atmosphere had been observed and remembered years earlier when I was in Amiens, Northern France, to watch the play of light, throughout the day, on the Cathedral. I stayed over a very French Cafe whose day-

When a huge deal loomed it was decided to build an enclosed location in an old workshop at Elstree.

The village square was built under a low roof complete with front of Cafe, Pissoir, Police Station and shops. Sparsely lit with Berkey soft

later Spacelights and the odd 10K. Very little power was available so a lighting console was inevitable which meant I could have an assistant. Roger Francis followed by Roger Duncan both did an honourable job. The nerve racking decision was to offset line up for the night scenes, untried by me so a great risk. The line up chart was lit with CTO thereafter the colour balance of the scene was CT Blue. Any pracs or keys that had to be white were fitted with CTO and were then the appropriate colour. It worked, saving re-gelling or a separate night rig and I could use any of the day rig.

The equipping of the warehouse was a totally studio personnel job, at the same time studio D was being equipped to the requirements of the show by P &I D. It was interesting to compare our methodologies.

Later this space was enlarged to house EastEnder standing sets, Roger Duncan very much to the fore again.

We would record blocks in the shed - bombing raids, exploding armoured cars, that sort of thing and then week by week in the studio.

On the whole I think it was a success, not sunny enough for David Croft who as usual was right. When sadly it ended we still had two more David Croft shows to do which firmed up the Electronic Comedy Location Story, more on this later maybe.

TV Lighting and Design Spring 2011

Having being asked by Richard Bowles for an article I looked up my last one, it was Autumn 1988 doesn’t time fly! I lit all but one of the main shows but not the franchised or revival shows.

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Obituary Graham Rimmington 1944 - 2010 GRAHAM I first got to really know Graham when he and I took over publication of Television Lighting magazine nearly 20 years ago. But to learn of his early days working for BBC Television I had to talk to his colleagues from TV Centre.

TV Lighting and Design Spring 2011

Graham Rimmington’s death came just as the last issue of the magazine was going to print, and yet we are all still coming to terms with his loss. Only last night I was watching a repeat of ‘Victoria Wood’ on a digital channel and watched to see who had lit it so well, and of course it was Graham.

Graham was a committee member for many years, certainly he was there when I joined the committee. He later left the committee, and continued to do more work for the STLD than most committee members. His skills raised the standard of the magazine to a level that is still the envy of other societies, and it is only now that he is not doing all the work he did that we are realising just how much work he did do.

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On a personal level Graham was a great support when I was STLD chairman and his no-nonsense advice was always welcome. Graham’s illness went on for so long it was easy to start believing that he would beat it, but sadly that was not to be. Like many others I was working on the day of Graham’s funeral but was delighted to hear that so many people were able to attend, which we have since heard was a great support to his wife, Anne, and his family. Graham will be missed by so many people for so many reasons, but no-one more than them.

Ian Dow gave a eulogy at Graham’s funeral, which he has allowed us to publish.

Bernie

I was surprised to find that he actually started in the Sound Department as a boom operator, sitting high on a mobile platform and winding a handle to extend the heavy microphone boom over the heads of the actors. He didn’t last long in sound, perhaps because one day his boom struck David Frost on the head – some might say not quite hard enough.

But lighting was his forte, and it is remarkable how similar the comments are from his peers.

A superb Lighting Director, always made it look easy.

An entertaining and fun person to be with in and out of the studio.

He went the extra mile every time.

A damn good operator, a good all rounder, with a dry sense of humour.

Such a lovely man, never ever complained.

But another theme came into their remarks.

He made it look easy, but he didn’t actually find it easy.

He suffered twisted stomach syndrome like the rest of us.

One of those guys who was outwardly jovial, but inwardly full of angst.

He was often first in the studio, in early to be on top of the job.

Underneath the outward confidence he could be incredibly stressed.

The list of shows Graham lit reads like a history of television light entertainment. Blankety Blank was one of his earliest spectaculars, although on one occasion he apparently got trapped in the rotating scoreboard. Will and

Frances, who worked a lot with Graham, have flown down from Glasgow to be here today. Frances recalls working on the Generation Game with Graham. He was asking her by radio to read numbers above her head on the lighting grid. Stepping back to get a better view she found herself immersed in the 4 foot deep water tank, wondering what on earth had happened.

Graham simply told her he was very proud that she had surfaced still clutching his lighting plot!

Graham had a particular talent in lighting Situation Comedy, the bread and butter of television. Single dramas and musical spectaculars tend to get the kudos, but Sitcom was particularly challenging. Graham had to be a quick worker. One of his console operators says he didn’t mess around, he wasn’t a fiddler, but he had to get it right with little rehearsal time before the recording. The proof of his skills was that he was asked time and time again to come back and light yet another series.

Absolutely Fabulous French and Saunders Only Fools and Horses As Time Goes By were just some of his triumphs.

We’ll perhaps skip over Roland Rat – the series.

Sydney Lotterby, the producer of As Time Goes By, starring Judi Dench and Geoffrey Palmer, remembers Graham as a lovely man who never ever complained no matter what the difficulty, but just got on with the job. When the show was revived for a few episodes in 2005 he particularly wanted Graham to come out of retirement and light them, but on this occasion Graham decided he didn’t need the stress of going back to work.

When Graham was operating the lighting console John Farr remembers that he could happily stay on the floor

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Obituary

Graham and the BBC parted company towards the end of his career, and this gave him the opportunity to light on location, and to work in the ITV studios. He was welcomed with open arms at the London Studios on the South Bank where they regarded him as a breath of fresh air. However on his first show at Teddington Studios the console operator remarked that Graham was using rather a lot of lights. “So how many do you think I should loose”, asked Graham. “Oh, about 20” said a startled operator. So next week Graham’s plot used 20 less lights, but had just as good a result on screen. I’m not sure who came out best on that one!

Graham was an active member of the Society of Television Lighting Directors, and in 1993 the two of us took over production of the Society’s magazine, Television Lighting, which has readers in 17 countries. This was a steep learning curve for both of us, but Graham was just the right person to take on the challenge of mastering a new desktop publishing programme.

Because we could only afford a few pages in colour we needed to understand how the printer split the magazine into groups of 4 pages printed on both sides of an A2 sheet. This overtaxed our brains and I well remember

Graham’s lateral thinking in taking apart the previous magazine and laying it down the length of the lounge carpet, as we crawled along on all fours trying to grasp what combination of pages fitted on each sheet.

We operated from a desk on a landing in Graham’s house, and Anne and my wife would sit downstairs putting the world to rights, occasionally sending up sandwiches and coffee. My ideas would sometimes be met with a look of complete disbelief by Graham, his head tilted to one side questioning my sanity.

But then I would spot the twinkle in his eyes, fingers would skim across the keyboard, and a much better version of what I had thought of would miraculously appear on the computer. I would often not leave for home until 1a.m., knowing Graham had another two hours of work to do, then a show to light the next morning.

Graham was a meticulous organiser, and later took over the administration of the Society’s membership of several hundred people. In 2008 he was made an Honorary Member of the STLD in recognition of his total dedication and hard work in the day to day running of the Society. Somehow he managed to approach all these onerous tasks in a pleasant manner and with a sense of humour.

Except that is when dealing with a particular Sound Supervisor. Their battles over boom shadows were legendary, with our sound friend always wanting to position his boom directly in the beam of Graham’s key light. They both worked on the first of a new series of the Generation Game when Bruce Forsyth returned to the BBC after a spell with ITV. Come the recording Brucie is first seen in silhouette with his trademark hand on forehead stance.

Then a follow spot snaps on – and produces the world’s biggest boom shadow right across Brucie’s face and the set behind. STOP shouts the producer. The Sound Supervisor blusters a bewildered apology, but had he looked across to the lighting gallery he would have seen Graham chuckling into his grey beard

and producing a boom shadow shape which he and his friend Roger had slipped into the follow spot. One nil!

Graham would often chat about his family at work, and Frances remembers him speaking with such warmth about Anne, and her “short“ phone calls to her sisters, and of how much he loved becoming a Grandad. The love he felt for his family was always evident; he would tell of their Sunday dinners, especially the time he fed roast beef to their dog, but forgot to wipe off the mustard; the poor thing was yelping round the house like a mad thing.

Graham had tears running down his face as he and Frances laughed themselves silly.

We will all have particular memories of Graham, and will miss him in our own way, but our thoughts are with Anne and all the family whose loss is so much greater.

Graham - A Real Star.

Alexandra Moscrop-Brown.

Graham was one of the finest people I met in twenty years of working in the entertainment industry. He had seemingly infinite patience, integrity and perseverance, and with vast experience and knowledge was a fantastic teacher and mentor to the army of young people he took under his wing. He always had time and advice for inexperienced or nervous crew undertaking new challenges. Above all, he was very funny, which in so many situations is essential to surviving the absurd physical and mental challenges which producing a show can require.

When I first started working for Graham, I was programming moving lights for him. He was instantly a favourite with me, as he appreciated my efforts and gave me complete freedom to produce my best work. Graham readily admitted his fascination with new technology and ignorance of its operation, and always trusted and respected the skills of his crew. He was unstinting

TV Lighting and Design Spring 2011

adjusting the lamps, secure in the knowledge that Graham was a safe pair of hands setting up the lighting memories. He also remarked that Graham was always patient with trainee operators, who benefited considerably from his teaching. Indeed another recurring theme from those I have spoken to is that they were always learning something new from Graham Graham’s skill in setting lamps quickly did however backfire on him when lighting the Lottery. It was the same plot every week, and so after a quick adjustment he led his team down to Shepherds Bush Green for an extended pub lunch, but unfortunately the demon drink overcame the follow spot operators whose performance that evening had the stars ducking in and out of their light. Never again!

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Obituary

TV Lighting and Design Spring 2011

with praise and admiration when anyone did something well. At the same time, it soon became clear to me that Graham was an excellent Lighting Director, and seemed to know everything about lighting, in any situation. I learnt something from him every time I worked with him. His plans were apparently sparse, but extremely efficient: all areas would be covered, and he would not waste crew time rigging hoards of ‘just-in-case’ fixtures. His forward planning however had been meticulous. On the rare occasions that something additional needed to be rigged in a hurry, crew were happy to accommodate his requests as he treated us all with such courtesy and thoughtfulness.

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Graham was a pleasure to work with.

He dealt with apparently impossible situations or demands from producers with outward calm and equanimity.

However, you knew that Graham was riled as he became extra polite and super helpful. A stubborn man, the more absurd the challenge, the more doggedly he would insist on fulfilling it. We would occasionally go to extreme lengths to achieve an effect which had been requested against our better judgements, but Graham’s skill was in ensuring that egos were appeased, then subtly steering the situation so that the look of the show was eventually uncompromised. He never said ‘I told you so,’ but might have had it tattooed on his forehead for the amount of times it was needed. Those of us who knew him well can recall the smirk easily.

Graham never baulked at a challenge, and he wouldn’t allow others to either.

On my first job with him, having met several television L.D.s that I wasn’t so impressed with (my background had been in theatre and music which is a very different world), I pompously announced at one point that, ‘I wasn’t a follow-spot.’ We were trying to cover a run down the aisle of a small theatre, where the presenter would dash from the back door and down onto the stage to open the show. Graham simply laughed at my bad temper. After a cou-

ple of days putting the show together and getting to know him, I programmed the fifty-odd cues needed, it looked great, and my first lesson had been learned. If the job required it, then yes, I was a bloody follow-spot, and I didn’t mind at all...

Graham’s slightly evil sense of humour was always bubbling under the surface, and he had no qualms about winding someone up or stitching them up completely if it was going to be funny. We were working on a game show with a notorious presenter. Graham had carefully shielded me from contact with this man throughout the series, knowing how my political opinions differed so enormously from his, and wanting to avoid any potential explosion. On this night however, we had gone to a local establishment for tea as usual, and had missed a schedule change, so that the lighting team arrived in the studio to find the turn and everyone else had been waiting for half an hour on set.

Graham popped off to have a discreet chat, and returned saying that he’d sorted it and we began the show. I was hugely alarmed when in the break, the presenter arrived at my console to ask with apparently genuine concern whether I was feeling better now, and hoping that I would make it to the end.

Graham was grinning and twinkling behind him. To ‘sort it out’ he had explained that I had had a terrible and embarrassing episode of food poisoning.... Thanks a bunch, Grazza!

His stubbornness extended to all aspects of life: not only would Graham always go the extra mile, or ten, to ensure perfection in his lighting, but he also refused to be beaten by a personal challenge. When Graham gave up smoking, we were working on a latenight karaoke show at Teddington studios, where snacks and treats were provided on an almost continual basis.

Crew always got fatter working in those over-generous control rooms. Graham had started munching on sweets instead of smoking, and jelly babies were the preferred delicacy at that time, so someone had very kindly brought an

entire jar. Foolishly, the challenge was thrown in: ‘you’ll never get through all those’ and so Graham set to work.

During the show, those of us at the front desk began to get vaguely alarmed as he soldiered on. Eventually, the very last jelly baby was pushed in, and popped straight back out. Looking green, Graham turned to us all and said, ‘I’m full.’ Demonstrating that humility will finally defeat gluttony, but he gave it a damn good shot.

Graham had a huge and loyal following of younger people, who admired and liked him for the trust and respect he showed us. He gave everyone a fair chance, and would push to get the best work from all. If over your head, he would be instantly there to advise and support, and rescue any potential disaster with his own skill and experience.

He always gave credit to those who had earned it. I particularly admired the way that if praise was given for lighting over talkback, Graham would invariably deflect this by replying that it was his crew that had done the work, and publicly thank them. It is perhaps surprising how many HODs fail to do this, but I certainly appreciated Graham’s courtesy and gratitude.

To myself and many others I know of, Graham soon became a great personal friend as well as a favourite colleague.

In getting to know him and his family, it was obvious that his kindness and integrity extended to all aspects of his life. He and Anne came to my wedding in Durham, where he took my wedding photographs, and of course they were superb. I know that he extended warmth and charity to a great deal of people, from all walks of life, without prejudice or self-interest.

What a gentleman! What a lovely person! What a loss. I have no doubt that he has been a huge influence in my career and my life, and I’m certain that others would agree. His work remains as testimony to his art, and I am sure that his memory will remain with me as a positive force. I’m glad that he was a significant part of my own story.

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Obituary

Henry Anthony Marcuzzi der. During this time he also worked for Video Arts, Red apple, Helifilms, M.P.C amongst others. Awards came his way in the shape of Bronze Award/Best Photography.

I.V.C.A.Gold Award/Best Photography in 1999, BronzeAward/BestCinematography in 2004, Best Photography nominee in 88 & 95. A Certificate for Creative Excellence from the New York Film & T.V. festival in 92.

When John Tasker had set up a Television Training scheme at Thames, Henry gained a place on the 1976 course. This gave trainees a chance to gain experience in all aspects of television. Henry chose to develop his camera skills and joined the Thames Euston Studios and then transferred to the Teddington Studios.

Henry worked as a D.o.P. on Doctors completing 87 episodes in all. As well as “Casualty “and “The Stretch” for Sky T.V. he worked on Independent Televisions, “The Bill” for talkbackthames, being responsible for lighting 16 programmes.

In 1979 at the age of thirty four he decided to taste the freelance market whilst he had no commitments. During the 80’s Henry worked a wide range of commercial, documentaries and corporate shoots. Henry used his considerable enthusiasm working on ITV’s “Inteceptor” programme, similar to Treasure Hunt, rushing around the countryside with a camera on his shoul-

In 2006 Henry noticed a stiffness in his leg which was an early sign of incurable Motor Neuron Disease. The illness progressed and Henry continued working as a Lighting Consultant on “The Bill” until the end of transmission in 2010. In 2009, Henry appeared programme “Into That Goodnight”, a documentary which featured three people with terminal illnesses,including him, who create portraits of each other to help them make sense of their lives.

Although his body was failing, he kept his passion and a positivity, wanting the best possible photography to come from the Studio. Henry was well liked and loved by the cast and crew that he worked with, and will be remembered for his keenness and ardent love for excellence in Photography. He leaves behind a widow Kate and two daughters Rachel and Zoe. John O’Brien

More Sad News With echoes of hearing of Graham Rimmington’s death just as we were going to print, I have just heard the sad news that John Mason died suddenly last week. John retired from BBC Outside Broadcasts early back in 1992 and right up to when he left the BBC he was lighting programmes to great acclaim. John was a larger than life character with his familiar laugh, and was an extremely talented lighting director - particularly with drama programmes. For me personally he was a great support and inspiration in my early lighting days, and we will of course bring a fuller obituary in the next issue of the magazine.

TV Lighting and Design Spring 2011

Henry was born in Hamilton, Ontario in Canada on the 21st of July 1945. After leaving school he worked in the towns main industry, steel for a year before going to Guelph University to study English and Drama. He then moved to England to pursue an acting career by studying Drama at Ealing before gaining his Equity card and appearing in Repertory. When in his mid twenties he had like most actors a second job, and was driving deliveries for Euston Films, a subsidiary of Thames Television.

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

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

A.C. Entertainment Technologies AC has been appointed as a reseller for Gekko Technology’s range of high quality and versatile LED lighting products for the film, television, studio and photographic industries.

Since its incorporation in 2004, Gekko has rapidly gained a reputation for designing and manufacturing innovative, robust and durable LED products with all their advantages of reduced power consumption, long life and minimal weight.

The product range includes the Kelvin Tile true white colour tunable light, the Karesslite high quality soft light source for studio or location use, and the Kezia colour-tunable, quality, hard single source LED spot lamps for studio or location use.

AC Special Projects were approached to specify and supply a high power outdoor gobo projector to provide a visually impactful logo above the entrance to the Hayward Gallery’s trendy Concrete cafe and late night bar, which takes its name from the building’s striking 1960s architecture.

Based on the available throw distance to achieve a 6m wide projection of the logo, the company specified a Griven GoboStorm IP65 rated outdoor gobo projector with a 575W metal hallide lamp and high precision zoom optics to achieve the required image size, brightness level and clarity.

TV Lighting and Design Spring 2011

AC Special Projects were also contracted to specify and supply outdoor LED lighting to highlight an area under a railway bridge leading from the Royal Festival Hall to a restaurant and other visitor attractions along the South Bank area.

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To overcome planning restrictions that prohibited the use of fixings into the tunnel wall, the company specified Pulsar ChromaStrip 2 LED tube architectural lighting. Featuring an IP66 rated waterproof plastic enclosure, the 1.2m length LED tubes were lightweight enough to be hung via clips from a rain drainage guttering running along the inside of the tunnel.

The fixtures were manufactured to order with Blue LEDs to provide a much higher brightness level than the standard RGB configuration and are comparatively energy efficient, running on a 12V power supply.

Finally, one of the most familiar faces at AC has resigned Glyn O’Donoghue has left after 19 years. His work, which many members will be familiar with, received great praise from AC-ET Managing Director, and Glyn would like to thank his industry colleagues for their great support over the

years, and looks forward to meeting them again socially in the future. The new Chroma-Q contact at AC-ET is Thor-Andre Saether (Spantax), and for Jands, contact Neil Vann.

Architainment Architainment Lighting Ltd welcomes in the year with new distribution partnership and team member. The company has formed an exclusive distribution partnership with European LED manufacturer, Atlantic Star, to supply the ORBIS range of modular and scalable LED display systems across the UK. Based in Latvia, Atlantic Star specialises in designing and manufacturing practical, low maintenance, and reliable LED lighting systems for event designers and architects.

Architainment will be distribution partners for the entire Orbis range as it grows and develops, but will initially focus on the distribution of the Orbis-120.

A series of 360° viewable pixels, the Orbis-120 is made up of LEDs and control circuits, housed inside a white diffusing plastic sphere. The fitting has been designed to build up three dimensional structures, two dimensional backdrops and also curved or irregular 2D/3D shapes. Fibre optic technology is used to transmit video and control data between components of the system. It moves signals digitally using light, not electricity, thus meaning it is completely immune to ground loops, EMI, RF and virtually every prohibitive characteristic of copper-based cabling.

The technology’s modular structure makes it ideal for use as a temporary installation at corporate events, TV and tours.

The Orbis-120 has been developed for ultimate flexibility as it can be assembled and disassembled in a very short time, and the pixels can be connected to each other to achieve desired string length and configuration. The fitting is available in either low resolution (120mm) or high resolution mode (120mm x 60mm – star configuration), and there are no visible connections between pixels, making it incredibly aesthetically attractive.

In addition to this new distribution partnership, Architainment has announced the appointment of Bryan Kelly as Key Account Manager. Bryan has a wealth of experience in the lighting industry, having worked in the sales department for both Robe Lighting and Zero 88, and in the hire department for White Light. Prior to joining Architainment, Bryan also worked for entertainment company, Stagecraft as a Business Development Manager. Bryan will work on both architectural and entertainment projects for Architainment, however his wealth of experience in the entertainment industry will lend itself to the company’s drive to become more engaged in this sector.

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Arri was proud to have both exhibited and sponsored the ARRI Production Skills theatre at the BVE show this year.

Dave Lock, lighting director, led two seminars on portrait lighting techniques and also presented Arri’s latest LED technologies. Dave is the highly experienced tutor for the Arri Lighting Academy, which is run regularly from their UK headquarters in Uxbridge, West London. The Academy is a three-day course that provides an intensive, hands-on education in effective, practical lighting for the film, television and creative industries. Attendees learn how to select the right tools for each job and work through portraiture; the lighting of groups for interview; lighting for single camera location shoots; and complex mixed lighting scenarios with challenging extremes of contrast.

Seminars on the Arri Alexa camera system were held every day at BVE, each hosted by a different DoP who explained how they had used the camera and screened clips from their productions. On display at the Arri booth were the new Arri Alexa Plus, the Arri/Fujinon Alura Zooms and a diverse range of Arri Professional Camera Accessories.

Arri also unveiled its new LED Fresnel concept at the show.

By combining the cool-burning, energy-efficient advantages of LED illumination with the controllable versatility of traditional Fresnel fixtures, Arri has taken the best of both worlds and created a truly revolutionary lamphead.

No longer must lighting designers choose between the quality of a tungsten Fresnel light field and the power-saving benefits of LED technology. The new Arri LED Fresnel concept offers remarkably clear and defined shadow rendering, excellent field homogeneity and smooth, continuous flood-to-spot focus. The beam is easily controlled with both Barndoors and Flags, enabling the light to be precisely cut, just like conventional Fresnels. Dimming is smooth and continuous, enabling seamless fades to black. The broad spectral output means skin tones, costumes and scenery appear vivid and lifelike, while the lack of forward heat enables closer fixture placement to talent and objects.

Following up on the success of the Arri LoCaster and BroadCaster LED products, they also displayed the next advancements in the Caster series, the LoCaster A2 (Advancement 2) and BroadCaster A2.

The enhancements with the LoCaster A2 are focused upon integrating the full tuneable white control of the BroadCaster into an on-board configuration. With an additional tuneable green knob, users can now adjust the green / magenta shift to match that of their camera or meter, and are no longer limited to the factory-preset neutral point. Additionally, the colour temperature is continually adjustable, enabling fine tuning between the calibrated preset marks.

With the growing number of digital cameras entering the market and the variance of spectral sensitivity from one sensor model to the next, they are excited to introduce these often requested features from customers. Both the LoCaster A2 and the BroadCaster A2 have increased light output compared with the existing versions, while still maintaining the same form factor, appearance, 35W power draw and compatibility with all existing Caster power and mounting accessories.

The LoCaster can be used via a mains transformer or DC power supplies with XLR 4-pin from 11-36v. The total weight is less than 1kg and a 3/8” centre-mounting ensures that many of the common grip accessories and adapters can be easily connected, along with optional accessories such as a folding intensifier or 2-leaf barndoors to enhance the usage.

Both BroadCaster versions are DMX operated only, as opposed to the manual on-board control of the LoCaster.

Another recent addition to Arri’s lighting range on display at BVE was the Arrilite 750 Plus. This improved and redesigned ARRI portable fixture has taken over from the 750W lamp, the 750 Plus offers 21% higher light efficiency than the previous fixture; meanwhile, the Arrimax optical system improves distribution of the light. A detachable and fully rotatable accessory holder accommodates scrims and barndoors, and incorporates fittings that permit the Chimera Video Pro Plus S to be fitted directly, without an additional speed ring.

Arrilite 750 Plus The one-arm stirrup allows for easy pan-and-tilt operation, while a brake disc system securely locks off the fixture once it has been positioned. An additional heat-proof handle at the rear of the lamphead enables easy manoeuvring, especially when the unit is in use and being handled. No tools are required for changing bulbs, as the housing consists simply of two detachable parts that open and close through bayonet cap locks. The smaller and lighter aluminium housing of the 750 Plus has been designed to improve heat dissipation. It also makes the lamphead compact enough to be ideal for electronic newsgathering, field production and fast turnaround location use in portable kits. To find out more about these new ARRI lighting products, contact Martin Carnell, and for the Arri Lighting Academy, contact Siobhan Daly – full details on the Sponsors page.

TV Lighting and Design Spring 2011

ARRI

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Sponsor News

Anna Valley Displays Dancing on Ice, one of ITV’s most watched reality shows, returns to ITV1 for a new series. Anna Valley Displays was again chosen by ITC to supply edge-blended projection onto a screen measuring 100x50 feet – the screen in this case being the entire Ice Rink! Put into perspective, the area is about six times the size of the screen in the Odeon Leicester Square!

To enhance Production Designer Dominic Tolfts’ lavish new set design, and working closely with Lighting Director Dave Davey, Anna Valley’s team deployed 9x Christie Roadstar DLP Projectors to cover the ice. These projectors are flown high in the studio grid, pointing directly downwards and edge-blended (both horizontally and vertically) to produce the huge image on the ice.

Dancing On Ice

The entire set is transformed by Dave Davey’s lighting to complement the mood of each celebrity performance, as they carve their way across the 5,000 square feet of projected image on ice. Dave’s team supply the patterns and artwork to the 9 projectors via a Hippotizer.

TV Lighting and Design Spring 2011

Artistic Licence

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DMX-Buffer is an inline DMX & RDM line booster / buffer with a choice of Ethercon or XLR connections. Perfect for those times when you need more distance than the maximum 300m and n you don’t need to use a DMX splitter. It comes in two version – the RJ45 with Ethercon connectors for installations using Cat-5 cable, and standard 5 pin XLR connectors for a more rugged, robust option.

trol, to allow devices such as pressure mats to be simply connected to lighting systems. Rail-Contact converts 8 contact closures to 8 consecutive DMX channels. These channels can also cascade in sequence on the same DMX cable. If more than 8 channels are required, then two Rail-Contacts can be linked together to form a 16 channel device (or any multiple of 8) and convert up to 16 contact closures.

Artistic Licence DMX Buffer Finally, a reminder to book your place on one (or more!) of their free Training Days. Initiated and sponsored by Artistic Licence’s Wayne Howell, two sessions - focusing on DALI and Art-Net - have now taken place and generated some great feedback. All Training Days take place at their head offices in Harrow, North London and operate on a first come, first served basis. Keep checking the website for updates and more dates as they are made available.

Avolites Exhibiting its growing range of stage lighting control products at Prolight and Sound 2011, Avolites introduced the Sapphire Touch control console and previewed Titan V5, as well as the Titan Mobile, a firm LD favourite since its production launch.

The Sapphire Touch is targeted for full production launch from PLASA 2011 along with V6 of Avolites’ signature Titan operating system. As the next generation in the Titan brand it is equipped with the latest technology and numerous special features that make it fit for festivals, theatre and show touring. The Sapphire Touch harnesses the power of 45 motorised and automated faders, massive dual touch wide screens, tricolour tracker ball with Z axis control, plus the Avo ‘Quicksketch’ tool to create custom palettes.

Both benefit from that rare commodity of full RDM support so not only can you control your DMX fixtures, you can also configure them from a further distance. Housed in a protective metal case and powered from a standard 9V PSU with a DC jack connector, installing and using DMX-Buffer could not be more simple.

Rail-Contact is a DMX Trigger with 8 Opto-Isolated Inputs and a cascade option, developed for applications requiring a level of integration between external switches and DMX con-

Avolites Sapphire Touch

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

Among the long-running entertainment programmes that state-owned Italian broadcaster RAI hosts, “Domenica In” (Sunday In) is by far the oldest: 35 years of non-stop editions since 1976, when the novelty of a six-hour continuous live entertainment show was introduced to Italian television.

Clay Paky was also founded in 1976 and has provided the vast majority of the lighting effects this year too. The rig includes about 120 intelligent lights consisting of Alpha Spot HPE 1200s, Alpha Spot HPE 700s, Alpha Spot HPE 300s and CP Color MHs, as well as numerous Clay Paky CP Spots as general accent lighting.

The Director of Photography Fausto Carboni described the set lighting. It was designed to adapt to three different programmes: ‘Domenica In’, ‘L’Arena’ (the arena), which is an integral part of ‘Domenica In’ but has different hosts and a different set, and ‘A casa di Paola’ (at Paola’s house), which instead has nothing to do with the other two, but which is recorded in the same studio (Nomentano 4). This studio sharing between productions has made it necessary to come up with a flexible lighting design, able to combine with the different sets and adapt to all the different shooting angles and director’s requirements.

Marco Calzavara’s set is a true gem: a whole circular wall fitted to a motorized rotating platform without end-stop, which closes partially onto itself during Domenica In and L’Arena to increase the space available considerably. In this way the whole Nomentano 4 studio can be used for the two Sunday programmes.

The circular wall consists of hinged aluminium panels with hundreds of steel bells inside. Each bell houses a halogen lamp. Light can therefore shine from the wall or the wall may reflect the illumination from the motorized lights,” said Carboni.

The lights are arranged as follows: Clay Paky Spot HPEs (1200W, 700W and 300W versions) are placed on battens hanging over the stage for the whole width of the studio, so

that they may provide all types of lighting: front, side, stage, and end wall. Others are placed in the spaces between the panels that form the circular end wall to provide backlighting.

Forty CP Color MH colour changers are on the other hand placed around the whole external perimeter of the studio so they can light the walls evenly. A high-resolution motorized modular LED wall (also semicircular to fit the wall) ensures perfect integration between the lighting and video components.

Fausto Carboni stressed the importance of the lighting this year, as besides the massive use of effects during the musical breaks, this year there is a game completely based on the use of colour. It is called “colour interview” and is characterized by marked colour changes in the whole studio according to the topics dealt with. The colours of the various walls, the stage and the ledwall projections change symbiotically, immersing the guest in a charming colourful atmosphere that is conducive to intimacy.

In order to have warm colours and fuller mixing, Carboni deemed it useful to order 6000K lamps, which Clay Paky lists in its catalogue as optional, instead of the standard 7500K lamps.

Another artistically profound slot is Lorella Cuccarini’s dance number, with a singer that performs live inside a large central veiled cylinder. Spectacular effects are projected onto the surface veils by the Alpha Spot HPEs, including, for example, a beautiful flame effect. Carboni was really able to let loose throughout the series, such as being able to do spectacular gobo-morphing effects – at times, apart from two white lights, all the rest of the lighting equipment in the studio is pure graphics!

One final thing that Fausto Carboni appreciated was the reliability of the lights - with the forced alternation of three productions during the week, and with the pace that 6-7 hours of live broadcasts on Sunday, the lights are virtually on seven days a week for 200 days a year. This heavy duty use is only possible if you can totally count on the lights you have, and if you know that there is a company ready and willing to listen and offer its support for every small problem you may have – something that Clay Paky has more than provided.

ELP The big news from ELP is the re-launch of their Millennium Studios brand. Formally located in Elstree, the facilities have moved to Thurleigh in north Bedfordshire and expanded significantly.

Domenica In

As you would expect, being part of the ELP group, visiting productions have easy access to lighting, rigging and staging services on tap. But according to owner Ronan Willson, it’s the space and flexibility which make this newly redeveloped site an attractive proposition for visiting productions...as well

TV Lighting and Design Spring 2011

Clay Paky

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Sponsor News

as a private airstrip for those who need that little bit extra!

The ‘A’ Stage measures 27.5m (l) x 18.8m (w) x 12m (h).

There are two 4-star dressing rooms, production offices, wardrobe and make-up facilities, on site catering and 24/7 security.

Millennium is centrally located within the UK, just an hour north of London and an hour south or Birmingham. Rail access is via Bedford with easy road access from the M1 or A1. For more information visit www.millenniumstudios.co.uk or call 01234 780100.

Millennium Studios

Stargazing Live was broadcast on BBC2 in early of January over several nights to an audience of over 3 million. The ubiquitous Professor Brian Cox and Dara O’Briain hosted three days of live stargazing featuring epic images from observatories around the globe.

TV Lighting and Design Spring 2011

From their studio base at the world-famous Lovell Telescope at the University of Manchester (one of the world’s largest telescopes), Dara and Brian took viewers on a whistle-stop tour across the galaxy as they identified three of January’s unusual astronomical events – a partial solar eclipse, the Quadrantids Meteor Shower and Jupiter aligning with Uranus

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The giant Lovell Telescope at Jodrell Bank is a familiar feature of the Cheshire landscape and an internationally renowned landmark in the world of astronomy. At 76m high and weighing over 3200 tonnes the production challenge was how to evenly light this huge unconventionally shaped object.

ELP’s Manchester team worked with LD Dave Evans to blanket the whole telescope with light using 4 x Arri 10k tungsten and 4 x Arri 4k HMIs. There were also a handful of 2.5k HMI’s scattered around to light any outside links.

Indoors, ELP gear lit 2 rooms. The ‘control room’ and the ‘demo room’ were lit with Arri 650s, Chromastrips and Encapsulites.

A six man ELP Manchester crew come in just one day before the live shoot to rig all the lights. This short lead time was in order to minimize disruption to the working observatory and

visitor centre. In praise after the show, the Director Stephen Neal said that the show looked great thanks to the lighting and that the Lovell has never looked sexier!

This winter ELP were back again at the tower Ballroom in Blackpool for the forth Strictly Come Dancing special to come from the home of ballroom dancing. The important issue with this annual visit is to ensure that the show is every bit as good as the BBC TV Centre output - so how do they achieve a seamless transition for this one-night-only show?

The first call Lighting Director Mark Kenyon makes is to ELP, as there are certain lights which define the look of the show, such as the Clay Paky Alpha Beam 300s with their tight narrow shafts of light. And he knows that ELP have the stock levels he requires for an OB job of this size, as well as all the rigging and trussing ready to go, and so can provide the complete package – as well the importance of a crew that know the venue inside out. He depends on ELP crew chief Joe Sherno and his team to get everything up in the air with the minimum of fuss.

The next thing that Mark ensures is that the Blackpool show mirrors as closely as possible the current styling being delivered at TV Centre. There is a lot of video being used in the latest series, and in order to echo that, Mark brought in a huge video wall supplied by Creative Technology. This was because the patterned ballroom floor at the Tower Ballroom is too dark to project directly onto, in the same way they do at TV centre, so the wall was used to maintain the ‘video heavy’ look.

There was not so much focus this year on the mirror balls as in previous shows, but more use of LED lighting, particularly in Tess Daley’s interview area where dancers gather after they have performed their turns, which was provided by Simon Deary from LED Poison.

However, Mark was keen to point-out that it’s not all about replicating TV Centre – as being in such a fantastic building, with its high ceilings, more space and elaborate architecture, gives the production the opportunity to push the boat out and do things that could not be achieved back in London.

For example, this year saw a high wire performance from Cirque du Soleil acrobats. The high ceilings gave production the freedom to include this type of performance into the show.

The acrobats were flown above the dance floor using two specialist theatre winches and the whole rig needed to be stabilised in order to stop any movement. This was achieved by brailing directly to the structure of the tower.

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Roger Williams provided both board op duties for the live show and lighting director support for show rehearsals, and pointed-out that no two performances are ever the same every show has its own unique elements. The colour looks of each performance are based on the dancers costumes, so the lighting colours are always either the opposite or complementary, but never the same. In Blackpool the costumes were even more amazing and elaborate than normal, so the lighting had to also enhance this special one off occasion with some some extra bling – as it is UK’s Las Vegas!

Green Hippo X-Factor may be over for another year – having survived the STLD visit in november, when fortunately noone tried to sing – but for Green Hippo the excitement of the show is less about its contestants and more about the elaborate and stunning visual display and live footage that millions of viewers have watched for hours.

X-Factor’s Lighting programmer William (Bill) Peachment from Little Mouse Productions has once again integrated several Hippotizer media servers into this year’s X-Factor set up, working with 4 Hippotizer systems and using a total of 7 outputs.

All machines were networked via HippoNet and controlled remotely by Green Hippo’s ZooKeeper control software. The individual monitors on each machine allowed the Operator, Russ Grubiak, to easily see and access all outputs.

ZooKeeper so that the content creator could upload his work to the network, which was all bespoke content produced specifically for the show. Bill commented that they use the Hippotizers because of the flexibility to create outstanding visuals on a very reliable hardware platform. He also said that the technical support is second to none and dealing with Green Hippo is always a pleasure.

This technical support has been enhanced by the new HippoDoctor component of their latest software (version 3.0.14). This identifies and reports current and potential software issues and generates detailed logs resulting in much faster problem resolution and subsequent dissemination of known issues.

Hippotizer has always been renowned for generating detailed log files but until now the process of sharing these logs with technical staff has relied on support from Green Hippo.

HippoDoctor is a stand-alone application which can be run outside Hippotizer and is also beneficial on the rare occasions that software issues prevent Hippotizer from running.

The user can make changes to the configuration without running either the Hippotizer or ZooKeeper applications.

HippoDoctor is also able to troubleshoot common operating system, networking and even non Green Hippo related issues which are often time consuming and laborious for customers and Green Hippo staff alike when providing support.

Hawthorns Hawthorns have announced the launch of their new division, Hawthorns Walling Systems (HWS), which specialises in designing and building state-of-the-art tensioned fabric structures for the exhibition and events industry.

ZooKeeper on X Factor A Hippotizer HD fed the centre screen from one output and the side screens from the second output, with these screens going via a scan converter to the vision mixer so that they can be switched. A HippoCritter with its single output was used to drive the two Olite Towers either side of the stage. And two Hippotizer Stages did the MiStrips in the floor and ceiling of the stage, as well as the Plasma screen and the Mistrips on the side of the stage. All the outputs were sent directly via Fiber DVI to the various controllers for these elements.

A Compulite Vector console controlled all the Hippotizer media servers via DMX, and there was an extra PC running

tensioned fabric structure

TV Lighting and Design Spring 2011

Hawthorns saw an opening in the industry for large-scale tensioned fabric systems that are already a popular alternative to more traditional build methods, following the 2009 recession and inevitable budget cuts. It also has excellent sustainability and eco-credentials.

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Sponsor News

Although initially designed for large exhibition stand builds, it is also ideal for smaller sets, event walling and branding. The fabric can be printed to high resolution with logos, branding and artwork as required, and comes either as standard flattage sizes as hire items, or bespoke branded panels, walls or displays. More information and examples can be found at www.wallingsystems.com.

LED Vision Curtain is a revolutionary new product that incorporates LED pixels at a 10mm spacing into black curtain panels. The curtain panel is comprised of fire retardant theatrical drapery cloth commonly used in Fiber Optic Curtains and Stage Curtain applications. The curtain is pouched with a removable backing for ease of servicing using professional grade Velcro. Black metal grommets are situated on the 4 corners and centers of each sides of the panel to enable industry standard intra-panel connections.

trussing grid and on the floor where they were concealed behind some of the set pieces. Each of the trees was up-lit by 5 x PixelPARs ensconced in the bases, and the trees themselves were also edge-lit with ribbon LED strips supplied by Manchester based set builders EC Creative, and stood out like psychedelic beacons.

The cyc was illuminated with a combination of 60 x Iris 4s for the top half and 120 ground rows for the lower half, with another 40 ground rows utilized to illuminate individual set pieces. Having a white cyc gave Kinane an enormous scope, and he really enjoyed having to approach lighting in a more traditional way, as it’s a good contrast and completely different to working with an LED based set which is so often the norm currently.

It is possible to connect multiple curtain panels to create entire ceilings or backdrops. The LED curtain can be run from a PC to produce a wallpaper effect, or from a media server to integrate it with the event lighting, enabling the creation of some stunning moving effects.

HSL Don’t Scare The Hare Blackburn-based lighting rental company HSL has supplied equipment to the first BBC TV show to be produced at the new Media City complex & studios in Salford Quays, Greater Manchester. “Don’t Scare The Hare” is a new games show produced by Endemol which will be aired in April on BBC1.

Lighting designer is Tom Kinane, with whom HSL has worked on numerous past projects.

TV Lighting and Design Spring 2011

The show sees 2 teams of contestants pit their wits and their physical agility in a series of games which involves not scaring a large animatronic hare. Lighting and colour psychology plays a key role in the production - if the hare takes fright during any of the games, the whole environment turns red for danger!

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HSL’s Sean McGlone project managed the supply of the equipment which includes Vari*Lite moving lights, white lights, LED sources, cyc lighting and follow spots. Kinane’s starting point was the trippy, highly individual ‘enchanted forest’ set design for the series, created by Patrick Watson, which included 14 mushroom-esque trees constructed from wire frames stretched over with white lycra fabric, which took the lighting, colouration and gobos beautifully. Along the back and wrapping around two sides of the studio was a massive white cyc, which combined with the set, also demanded a real theatrical ‘back to basics’ style of lighting.

For moving lights, HSL supplied 16 Vari*lite 3500s and 42 x V*L 3000s which were positioned on an extensive overhead

The Vari*lites were also used for some stunning gobo projections including clouds, a spectacular moon and a sun.

Daylight and night time looks featured in some of the games like the Alarm Clock game set, which saw a 90 second crossfade transform the studio from night to day. Some of the games props - like the clocks - also had internal LED lighting (in this case Pulsar ChromaStrip) which was integral to the game playing process.

All the white light sources in the studio also came from HSL - in the form of 48x 5K and 30x 2K fresnel, and the 6x Robert Juliat Ivanhoe follow spots were set up around the gallery above the studio floor. As always, Kinane praised the exemplary service and tip-top equipment from HSL. Following one of their best ever years in every sector, HSL has invested another £2.5 million just to service its current work. The purchases include 300 of the latest Robe moving lights, including the first 60 x LED Wash 600s off the production line in the Czech Republic; 100 x Robe 600 spots and 100 x Robe 600 washes, plus an additional 40 Robin Beam 300 and Beam 700 units. But its not just Robe - over 1 million dollars has been invested in acquiring Vari*Lites this year, giving HSL a large stock of VL3500 and VL3000 Spots, VL3500 Washes, VL1000 Arc ERSs and VL1000 Tungsten ERSs .

Also purchased were 12x Robert Juliat Lancelot 4K Arena

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In addition to that mentioned above, HSL has also purchased an assortment of different power distribution units from SES and also many kilometres of cable from AC lighting, as well as 15, 20, 25 and 50 metre circular A-type trusses from James Thomas Engineering. In the automation department, a further 12 Kinesys master beam trolleys have been added to the inventory, along with 24 slave beam trolleys. This is a fast growing visual effect being utilised on many shows, with Kinesys rated as one of the best and most dynamic systems available.

Lightfactor Lightfactor, the distributor for Italian manufacturer Novalight, has sold more Nova-Flower 2K high powered ‘flower’ effect units to STL, doubling the Kent based rental company’s hire stock of these popular specials.

STL first invested in Novalight products last year, when Lightfactor supplied them with both Nova-Flower and High Ground units. These have proved an enormous success, both for use on STL’s own shows and as a cross hire item, necessitating the purchase of more Nova-Flowers. These were delivered just in time for the annual Fireworks Spectacular at Leeds Castle.

STL’s Phil Parsons designed an environmental lighting scheme located around the main Leeds Castle building which was a vital component of the multi-layered visuals for this acclaimed event. Lasers were also involved in supporting the fabulous central pyro extravaganza designed by Alchemy

Fireworks.

The soundtrack for the 2010 Leeds fireworks was a “Music From Films” montage. STL received a copy of the score beforehand, plus a list of colours and visual effects running for Alchemy’s show, so they could programme and match lighting effects to coincide with the action in the sky.

The Nova Flowers and the High Grounds are perfect lighting effects for this application because of their power, impact and colour changing abilities. When there’s an intense pyro show happening above, dense smoke fall out can effectively obliterate even the brightest lighting fixtures momentarily...but not these!

Four of the High Ground fixtures and 3 Nova-Flowers were positioned along the wall of the Castle and used for skimming across the lake, creating great atmospherics and providing impressive beam support and infill for the foreground area. Meantime, the pyro was being detonated from 3 different sites inside and behind the Castle.

The show kicked off with the iconic 20th Century Fox intro music blasting out over the sound system, with the High Grounds and their tight super-bright beams an ideal accompaniment. They and the Nova-Flowers were controlled by Parsons - along with other luminaires - using an Avolites Pearl Expert console.

Parsons likes many features on the Nova-Flowers including the full CMY colour mixing and the big “WOW” factors that can be produced, especially over long throw distances. This was one of many effects that worked beautifully at Leeds Castle, as with the nearest audience approximately 100 metres from the lighting positions, by the time the beams actually reached them, they were super-sized and really drew spectators right into the action, all the time retaining their punch and sparkle through the smoke and haze.

With the High Grounds, Parsons likes the speed of the fixture and the zoom facility, observing that high-powered, narrowbeam effects are currently a trend on these ‘spectacular’ style shows.

STL’s Nova-Flowers have been utilised on many other projects including the most recent X-Factor TV series and the 2010 MTV European Music Awards in Madrid (supplied via PRG) as well as on a wide variety of their own shows.

MA Lighting The fourth Strictly Come Dancing The Live Tour entertained capacity audiences around the UK arenas with lighting designed by Mark Kenyon and run on a grandMA2 control package.

Nova-Flowers at Leeds Castle

The rig includes over 170 moving light sources plus hundreds

TV Lighting and Design Spring 2011

followspots, supplied by Robert Juliat’s distributor in the UK, White Light. Continuing with its constant investment in new LED products, 200 pieces of the highly desirable ChromaQ Colourweb 125 LED surface were added to their existing stock of Colourweb 250 from AC Lighting. GDS supplied 60x Liteware Chrome high output LED up-lighters, which are battery powered and ideal for corporate events as well as fast deployment in venues with tight get-in times – or on television where you don’t want any cables.

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tation.

Another show to feature grandMA2 was the 90th anniversary of the Miss America Pageant, where a pair of grandMA2 light’s made their debut, which was telecast live on ABC from the Planet Hollywood casino-resort in Las Vegas.

Lighting Designer Allen Branton, who returned for the fourth time, worked with fellow lighting directors Kevin Lawson and Felix Peralta.

Strictly Come Dancing The Tour of generics and scenic LED sources. The grandMA2 light console - with another grandMA2 light running in full tracking backup - was specified and programmed for the tour by David Bishop, and is being operated on the road by Mike Rothwell.

The grandMA consoles have been involved from the early days of the Strictly live touring phenomenon, initially with a “Series 1” system replacing the original control set up. This was chosen by Bishop because of its renowned reliability and seamless, rock solid networking capabilities, which he describes as “Awesome”.

TV Lighting and Design Spring 2011

Last year for the first time, they migrated to grandMA2, and this year Bishop really underlines this decision as the right one, saying that it’s a really polished product. He adds that he is very impressed with the way the teams at MA UK and in Germany took onboard all their requests and wishes for feature and function development following the 2010 tour.

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Lawson and Peralta programmed the show for eight days, splitting the lighting rig and using the grandMA2 light in multi-user-mode - one lighting the set and the other lighting the people on stage and the audience.

According to Peralta, grandMA2’s latest software version made it the perfect time to dive in. The pageant had three days of preliminaries and load in to get used to the console.

They found that compared to the grandMA, the processing is so much faster and the multi-user environment is so much more efficient – which is a must for the pair who probably do more multi-user-mode shows than most programmers. They also found that loading the show from one console to another is almost instantaneous – it was like getting a much better laptop or a much faster car: It felt faster and more powerful.

They found the feature set great, and the hardware is snappier. It did everything we needed it to do, and it felt faster at everything. With the effects engine you can reference presets as opposed to forms and tables – making it good for colour chases and position movements so that it’s easy to go from point A to point B. Timing parameters can be stored in preset pools to aid in running media servers such as the Catalyst & Hippotizers - so you can have a preset that has everything snapping in with the right time and right delay.

The 2011 touring show was programmed in a tight timescale before the first show in Nottingham Arena. It’s an effects heavy show, so he found the grandMA2’s versatile Effects Generator extremely useful and time saving. He points out that it’s currently the only console where a mathematical curve can be applied between two preset libraries, or palettes, which makes creating complex colour effects in particular super fast.

Lawson also praised the effects engine which he used to build the show, as well as the special dialogue boxes. In addition, they found the grandMA2 light extremely stable, and they experienced no problems in making a highly-successful and popular show.

For this style of show, a flexible, powerful control set up is vital, with a large lighting rig, and a plethora of big intricate looks needed to facilitate highlighting the competing dancers, the many different genres of dance and the spectacular production numbers that open and close both parts of the show.

Once again, grandMA2 is ideal.

Riverside Studios, on the banks of the River Thames in Hammersmith, London, was looking for a suitable alternative to parcans and scrollers, at a price equating to an expensive show run hire. Consequently, they turned to Martin Professional’s versatile MAC 101 LED moving head luminaire, yet without the large price tag or high operating costs.

The lighting design brings all the glamour and pizzazz expected from the ‘best of ballroom’ and the highest of TV production values right out there into the arenas every night.

Patrick Doherty’s stylish neo-deco semi-circular set is replicated for the tour, and the lighting brief was to merge the aesthetics of TV and live performance lighting into a new and exciting mix of drama, colour and movement for live presen-

As a venue, they are aware of the need to cut costs, and using LED technology lets them replace banks of lights to give a variety of color palettes whilst using a fraction of the energy.

Ruari Cormack, the Technical Director of the Riverside Studios Trust, said that with their high turnover of productions, these units will give them a greater flexibility to meet each show’s demands.

Martin Pro

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Riverside had the Mac 101s in place in early December, initially located in banks along each side of the stage, providing full stage coverage, with some placed to pick up specific areas of action at each end of the central area. But in future, they intend to use them as pipe end and front wash lights for most events and general productions, and as featured backlight for music events.

Remarkably small and super light (3.7 kg), the Mac 101 is an LED moving head wash light with a tight and bright beam, rapid movement and calibrated colors. Useful in a variety of applications, it is small enough to fit inside a piece of truss and is exceptionally easy to handle and rig. Stage Electrics, with whom Riverside Studios has a longstanding relationship, supplied the Martin gear.

Another place to use the Mac101 is in a franchise of one of the most successful game shows on British television, the Million Pound Drop, which is being produced for the first time in Albania by Top Channel. The local distributor provided the Mac 101’s for the opening show, and the station was so impressed they decided to purchase the units.

They chose the Mac 101 for the beam effect, nice color reproduction, flicker-free on-camera looks and not least its low price. Also, for the low power consumption vs output.

Beside them are 300 watt fixtures and it was easy to see that the Mac 101 outperforms them.

Another new fixture from Martin is the new Stagebar 2 LED luminaire. With twice the lumen output and 10 times the intensity of the popular Stagebar 54, the Stagebar 2 is an extremely capable LED pixel bar and wash luminaire. But that’s just the beginning.

A new and advanced lens design provides a narrower, more concentrated field of light for better beam control and greater light intensity for overall improved floodlighting capability.

A choice of lens options, which includes an opalescent diffuser lens for scenic on-camera looks, provides designers with beam angle flexibility.

Overall responsiveness of the Stagebar 2 has been improved for more reactive dimming, color fades and visual content response like pixel mapping. Additionally, fan noise from the automatic heat management system has been reduced for the benefit of TV studios and other noise-sensitive environments.

Useful for displaying imagery and video or for floodlighting surfaces and stages, the Stagebar 2 offers a vast gamut of colors and wide range of shades from an RGBAW color system.

For exceptionally even and consistent looks, each diode has been calibrated for standardized brightness and colour performance. The Stagebar 2 allows for individual pixels or groups of pixels to be controlled for increased design creativity.

Using 5-pin XLR (another popular improvement over its predecesor) and PowerCon connectors, it is simple to daisy chain both data and power and requires no external power supplies or additional cables and DMX boxes. A floor stand is available as an option.

Production Resource Group The new year started with a name change for all of PRG UK’s rental brands - PRG Lighting, Essential Lighting & Summit Steel – all of which have all been renamed to Production Resource Group.

All of the customer facing teams and contacts at Production Resource Group remain unchanged and based in the same locations in Birmingham, London, East Molesey and Maidstone. Although broadening their services, they remain set up to deal with small shows & dry hires as well as larger productions, with the same emphasis on level of service and equipment quality.

The reason for this change is to allow them to easily combine our services from different technical disciplines into one offer, if the production or client require. The name says exactly what they do - a Group of specialists who provide technical equipment, services and Resources to four key Production markets: Concert Touring, Theatre, Television / Event & Corporate.

Within their teams in the UK they have industry recognised specialists in Lighting, Rigging / Automation & Video, and are also currently adding video equipment stock to their base at East Molesey, London.

The aim is not a “one stop shop supplier”, where there might be a primary specialisation with other services tacked on, as PRG uniquely have the team within the UK group to be able to provide combined services - with a respected expert in each field - beside a single point of contact for each project.

Martin Stagebar 2

They expect this multi discipline service to form a growing portion of customer demands this year, but are still equally focussed on providing clients with a single technical discipline if preferred, and expect this to remain a major part of their business.

TV Lighting and Design Spring 2011

Riverside Studios comprises a TV production studio, two theatres and a 200-seat independent cinema. It plays host to contemporary and international dramatic and dance performance, film, visual art exhibitions and television production. It also includes an art gallery and café bar & kitchen with a River Thames side terrace.

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Production Resource Group UK are part of a company that has its roots in the US but now handles in excess of 40% of its business through its European presence, and are able to support projects for clients across all parts of Europe and the world from the regional group offices via their regular UK contact.

Prolyte The Asian Winter Games were recently held in Astana and Almaty, Kazakhstan, and hosted more than 1,500 athletes representing 45 National Olympic Committees of Asia.

Moscow based contractor, ARG, was awarded the contract for the Opening Ceremony on 30th January 2011, and they in turn called in The Prolyte Group to supply a number of elements to help realise their vision.

TV Lighting and Design Spring 2011

The ceremony, at the newly built 30,000-seat Astana Arena, began with much fanfare and jubilant activity. The entertainment comprised a cultural extravaganza depicting the history of Kazakhstan, aided by a virtual “eagle’s eye view” of the country’s vast plains. The ceremony included dance, song, distinctive musical instruments and props that came to life.

The centrepiece of the impressive production was a waterfall that cascaded from the top of the set with lighting transforming the stage into a rough sea on which a boat rocked on its search for new lands. The show ended with a memorable giant snowball fight where audience members took their lead from a band of tiny-tot performers and proceeded to pelt anyone and everyone in sight with sponge “snowballs”.

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Astana Arena Prolyte Group supplied a range of trussing from the ProlyteStructures range and ProLyft hoists for the event. A substantial quantity of trussing was required to cover the arena roof structure. Over 700m of B100 truss, 770m of S66R truss and more than 2600m of H40V truss were installed. Furthermore, over 310x 1000 kg ProLyft hoists, and 34x 2000 kg hoists, fitted with 36-40 metres of chain, were used to lift the structures.

With the massive loads applied to the main grid, many of them being dynamic loads - resulting from all the moving

props in the show - the grid had to be 100% reliable, which the Prolyte system provided, together with all necessary support from the Prolyte team.

Richard Martin Lighting Two new members have joined the team at RML recently.

The first is Colin Brooker, who has recently been appointed as RML’s Business Development Manager. He has been working away in Canada for the past two years, although he has over 10 years of previous Industry experience. When asked about his new position, Colin said that it’s all about the tea, as Steve has always made the best cup of tea in the west side of London.

On the Warehouse side, James Isles, previously at Panalux, has joined as their Warehouse Technician. His years in the industry means that James brings lots of experience and practical knowledge, which will no doubt make him a real asset to the company.

RML have continued their long association with Clay Paky, by becoming the first rental house in the world to stock the impressive new Sharpy fixture – and have purchased one hundred units! These have rapidly made an appearance on a wide number of television and live shows, including the NME Awards 2011 with LD Tim Routledge, and of course Blue Peter with LD Lee Allen.

When we watch the news and see some of the intense and horrific situations in which people around the world live, we often forget to stop and remember the crew who bring that news and those visuals to us. The people who so often are risking their lives to do so.

The Rory Peck Trust supports freelance news gathers and their families worldwide in times of need and promotes their welfare and safety. It was set up back in 1995, two years after Rory was killed filming in Moscow. His wife and close friends wanted to provide help and support for the family of cameraman and woman who no one else would. This totally independent trust relies on income from grants, sponsorship, and charitable donations, so when Richard Martin Lighting were asked to provide lights for the annual awards again we were more than happy to be involved.

Lighting Designer Malcolm Reed chose a mixture of LED and moving heads for the awards, held in London’s BFI National Film Theatre. Due to the very limited power available, the necessary atmosphere of glitz and glamour was achieved by a mixture of Pixel Par 90’s, GLP Impressions and Alpha Spot 300’s, all arranged to give a classic and elegant design.

Another charity event that RML has long been associated with is the BBC’s annual Children In Need show. For the lat-

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est show in November, there was a new set and a new Lighting Designer – Mark Kenyon stepped up to light the fun packed Friday night. He was assisted by David Bishop as moving light operator.

Mark chose a high impact lighting rig of Alpha Beam 700’s, Chroma Banks, VL1000TS, Nova Flowers, Pixel Brick kits, VL3500’s and LC2140 panels plus P3 Controller. Elsewhere, TC6 again played host to the hospitality area where the VIP’s and event organisers were entertained with a live performance from 80’s revival band Heaven 17, as well as lighting from LD Lee Allen, who used Mac 600’s, Mac 500’s and LED 12 Lights to create a sumptuous environment. And of course, no Children In Need would be the same without the huge Colour Web outside!

public up in the balcony - who enjoyed a prime view of the stage.

Another international show featuring Robe lights was the latest series of Idolos (Pop Idol) in Portugal, lit by LD Mário Bastos. He used 30x Robin Spot 600s and 20x Robin Wash 600s, all positioned on an overhead rig in the Estudios Valentim de Carvalho, and used for a variety of tasks from producing big beamy ‘camera candy’ looks to highlighting the action onstage and illuminating the set.

Robe Intelligence, personality, beauty and independence in abundance were de rigueur for the 2010 Miss South Africa final at Sun City Superbowl - and that was just the lighting - which featured Robe moving lights for a design by LD Mauritz Jacobs.

Miss South Africa This was the fourth consecutive Miss SA that Jacobs has lit for production company Cap Events. Broadcast live on MNET, the pressure was on to produce a show perfectly balanced to replicate the contestants’ skin tones on camera, whilst also dishing up the requisite razzamatazz and spectacle. There was also a live audience of 3500 people, with a gala dinner downstairs for VIPs and invited guests and the

Idolos, Portugal Elsewhere, the Czech Republic joined forces with its close neighbour the Slovak Republic to pool resources and potential star material in their roll out of the “Got Talent” TV show, which was staged in Exhibition Hall Z of the Brno Exhibition Centre, CZ, and lit by Slovakia’s top lighting designer, Martin Kubanka.

Robe fixtures were again at the core of Kubanka’s lighting rig - they are his moving light of choice for all types of show, and they had were 34x ColorSpot 1200E ATs, 26x ColorWash 1200E ATs, 20x ColorSpot 250 ATs, 12x ColorBeam 2500E ATs, 12x REDWash 3●192s, 18x ColorMix 575 ATs, 10x LEDBlinder 196 LT and for the first time, 14x ROBIN 600E Beams and 12x ColorBeam 2500E ATs. And finally over in China, new Robe moving-lights have been installed into Studio 6 of the Qingdao TV Station in China, which broadcasts 6 regional channels throughout the Shangdong area. The new fixtures are part of a recent lighting upgrade, and were specified by Studio 6’s lighting designer Liu Zheng Mao and his team.

The 10x ColorSpot 1200E ATs, 10x ColorWash 1200E ATs and 4x ColorWash 575 ATs were chosen for their functionality and reliability. It’s a multi-purpose studio, hosting a wide variety of shows, so all lighting has to be as flexible as possible to cater for the different requirements of anything from a documentary to a music show.

TV Lighting and Design Spring 2011

The show was an up-tempo megamix of colour, movement and entertainment, with the 12 contestants vying for the title appearing onstage for the different sections of the show and alongside a variety of guest artists and dancers. The stage and set was designed by Dewet Meyer, featuring gently layered steps and an upstage portrait LED screen flanked by 6 columns of LED graduating out to the full width of the stage.

Jacobs took this as his starting point for the lighting design, which had to be dynamic, interesting and individually themed of the various sections of the pacey show.

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Rosco

They also had to light the product’s beauty shots – which as usual happened at about 3am. One LitePad was hidden between the TV and wall, a mere 5” space, where it created a soft wash across the top of the product that blended very well with the moonlight effect, and then used another skinny LitePad to illuminate the front of the unit (the product is a gray shiny box that has to be lit like a car). The LitePad Axiom Quick Kit gave Adamas a number of very soft sources in a variety of sizes and shapes, allowing him to very quickly pick the exact LitePad needed to reflect in the product’s surfaces.

Finally, to enhance their LED products, Rosco have now introduced two very thin configured plastic lenses – a Full Spot Lens and a Medium Spot Lens

Rosco Axiom behind TV

Stage Electrics

LED Lighting Kits are exciting and good for overcoming problems fast, so Rosco would like to share a story of one cameraman’s actions in an emergency situation : Art Adams is a DP in the US, and was shooting a commercial, with the new Arri Alexa.

TV Lighting and Design Spring 2011

The original project was intended as a web and regional spot, but the client saw it and called for a day extra shooting, but with an actor added … that he hadn’t lit for.

Art said that the trick was to come back on the second day of shooting and add light for the actor in a way that matched their existing footage! The talent was a gray blob under the existing lighting and it became clear that he had to pop him out of the darkness. The light had to come from the far side of the actor, casting its shadows toward the camera, in order to preserve the mood, and some of the light had to come from a side that did not have an established light source – i.e. it had to be soft and shadowy without feeling overly directional…

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The Axiom LitePads were perfect as they were able to quickly position them over the talent on C-stands and dim them to taste without having to worry about a shift in colour temperature. The quality of light was perfect and felt a bit like ambient light bouncing around the room.

Royal Shakespeare Theatre

With the official public opening of the new Royal Shakespeare Theatre (RST) on November 24, Stage Electrics has completed its five-year-long role at the technical heart of this visionary transformation project.

The transformation was designed to create, in artistic director Michael Boyd’s words, “the best theatre in the world to perform the works of Shakespeare”. It involved a massive reconstruction that created a brand new RST auditorium with a thrust stage and embraced the adjacent Swan Theatre, with a colonnade connecting the two and extensively upgraded public facilities throughout.

Stage Electrics, as specialist theatre contractor and technical coordinator, was contracted to provide and install the Theatre Electrics Package, including every electrical, audio and lighting system within both the RST itself and the Swan Theatre.

Rosco Axiom lighting actor

The company’s CAD department, based at the Bristol main

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Stage Electrics also supplied the house lighting (co-designed with the RSC) and all stage lighting, auditorium sound, sitewide communications and audio-video paging/relay system.

The installation included the provision of paging and relay systems, using facilities panels custom fabricated in house by Stage Electrics, incorporating both audio and video relay, enabling both staff and cast to keep abreast of each performance.

On top of the manufacture and population of over 600 custom facility panels, Stage Electrics’ in-house manufacturing department produced a number of bespoke solutions including stage managers’ desks, custom house light fittings and purpose designed Mains Distribution units. Space doesn’t allow a full description of the very extensive audio installation, but see Stage Electrics website for full details.

Lighting was very much a team effort, with the RSC’s head of lighting, Vince Herbert, working closely with Trekwerk to design the 30 unique lighting clusters, flown from Trekwerkdesigned dual line hoists, powered by a 600V DC bus featuring regenerative technology, and capable of 53 different positions. Motion control is provided by a Trekwerk console running custom 3D software which also feeds positional data via ArtNet to the Grand MA 2 lighting controller – itself chosen by the RST lighting team after a year-long trial against another model.

The system’s major benefit is that lighting clusters can be lowered individually to stage level for maintenance, thus greatly improving safety and as Herbert points out, once you have the health and safety right, the art can follow.

The clusters were equipped by Stage Electrics with Swisson Dimming and a pair of moving lights from a stock of Martin TW1s, Vari*Lite VL1000s, VL1000 Arcs and VL500s, and a large complement of ETC Source Fours. Each cluster also carries an integral composite cable management system with 32A single phase power, DMX and Ethernet, and is stabilised by an integrated RSC Lightlock device.

Finally, the House and Stage lighting dimming, also supplied and installed by Stage Electrics, is provided by ETC Matrix iSine sine wave dimming in remote dimmer rooms. We are hoping to arrange a backstage tour of the theatre for STLD members in the summer, so keep an eye on your inboxes!

TMB With an eye to the future, TMB is very pleased to announce the addition of Kevin Woods to their global Customer Development group. Based out of TMB UK in London, Kevin represents TMB’s continuing tradition of personable customer service and product expertise. Kevin’s role will be to maintain existing and establish new customer relationships, plus develop the markets for TMB’s proprietary and exclusive products.

Kevin Woods

Kevin received his BA with honours in Theatre Practice at the Central School of Speech and Drama in London. Before and after graduation, he did freelance work at several different theatres in and around London, including lighting design for Eugene Onegin at the Richmond Theatre and My Fair Lady at the New Wimbledon Theatre. Between gigs, Kevin taught Technical Theatre classes at Richmond upon Thames College.

Kevin was was drawn to TMB because he wanted to be with a company that cares about people – customers, vendors, and employees. He pointed-out that relationships still mean a great deal in our business, and he looks forward to building strong working relationships and providing the highest standard of service..and of course, because it’s TMB, having some fun along the way!

Radio spectrum issues and interference have been hot topics in the British Isles for some time. When the idea of wireless controlled lighting effects was first introduced for a sold-out international.rugby match, the Aviva Stadium in Dublin was apprehensive about adding yet another wireless system to the mix during a high profile event, as it was refitted with the latest wireless broadcast and security systems before the doors reopened in May 2010.

LumenRadio’s CRMX with its Automated Cognitive Coexistence was identified as the only wireless system that could coexist with all the other wireless systems present in the facility, and at the same time provide the level of performance and reliability required.

TV Lighting and Design Spring 2011

office and headed by Giles Philips, modelled the building in 3D to direct the placement of each piece of trunking and facility panel, and the numerous audio, lighting, video, motion control, comms and relay networks – a total of some 330 miles of cable. From that, the team produced an AutoCAD model of the entire containment infrastructure to determine precisely how it would fit the fabric of the building, amid the seating, steelwork and concrete. This was a big tool in terms of resolving clashes and visualising practicalities of movement, before it got to the stage of installation onsite.

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The CRMX wireless RDM system was employed to control eight Syncrolite 7K Xenon fixtures and was used extensively during the show. The system’s RDM functionality provided real-time monitoring of the system and contributed greatly to everybody’s confidence in the setup. All the equipment was provided and supported by EQ Lighting in Dublin.

The entire event went off without a hitch, and proved beyond any doubt that LumenRadio’s technology excels in such demanding and crowded radio environments. TMB is the exclusive distributor for LumenRadio in the UK and North America - find out more at www.tmb.com/products/lumenradio.

White Light

JB (the A4 Zoom and A7 Zoom moving LED fixtures), Prism (the multiple award-winning RevEAL LED washlight), Robert Juliat (the Aledin LED profile spot and LeCin’k 2.55k tungsten Fresnel), Clay Paky (the 1500 Spot and 1500 Wash), Chroma-Q (ColorForce LED battens providing dramatic cyc lighting), Martin (the Mac350 Entour moving LED spotlight and Mac401 moving LED washlight and MacIII Performance spotlight), Vari-Lite (the powerful VLX LED washlight) and X-FLEX (the versatile LED strips, used to decorate the auditorium). The award winning RSC Lightlock was used rigged from front-of-house trapeze bars, demonstrating its ability to damp unwanted movement when moving lights are rigged from short flown lighting bars. And a Martin Mac700 featured a prototype ‘mini-VSFX’ cloud disk, promising to bring the high-quality tonal projected images found in VSFX projectors to moving lights.

Control from the rig was from an equally diverse range of products, including ETC’s Eos, MA’s grandMA2, LSC’s Clarity PC-based control software and Zero88’s Orb. Those attending the event covered the whole gamut of entertainment lighting, with around 150 visitors from the worlds of theatre, television, rock and roll, opera and corporate work as well as project managers, theatre consultants and both teachers and students enjoying the ability to see products in action individually or in comparison with each other without the distractions or hard-sell of a trade show. For those who want to find out more – or for anyone unable to attend the Showcase – demonstrations can, as always, be arranged by calling White Light on 020 8254 4800.

New Technology Showcase

XL Video

TV Lighting and Design Spring 2011

White Light collaborated with students from the Central School of Speech and Drama for the second successive year to create a showcase of the latest in lighting technology for an audience of lighting designers, technicians, consultants and others.

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Held in late January, the event once again presented the equipment in a real theatrical setting, Central’s Embassy Theatre. There the equipment was set up and programmed by students from Central’s lighting courses to create introductory shows that showed off the potential of the equipment. The students were then on-hand to respond to requests from visitors to demonstrate particular products or features.

The day featured early appearances for Robert Juliat’s new Aledin LED Fresnel, the PixelRange PixelSmart LED washlight, Pulsar’s new UV LED Chromaflood, the Galaxia LED washlight, newly distributed in the UK by White Light, and – demonstrating the ongoing importance of traditional tungsten fixtures – Philips Selecon’s new SPX profile spot.

Also on show were products from Coemar (the Infinity ACLS and Infinity Spot M), iPix (the BB4 modular LED fixture),

XL Video celebrated its 10th consecutive year as the production video supplier - incorporating LED screens, projection systems, PPU, cameras and co-ordination of the show playback content - for the 2011 Brit Awards - for the first time staged in London’s O2 Arena. A completely new look Brits effervesced with style and vibrancy, with video playing an integral role in the design and setting in a radical format change.

XL again followed their highly successful model of splitting the project management duties between Chris Saunders, who oversaw the camera and playback elements (celebrating his 17th Brit Awards!) working alongside Paul Wood, who managed the screens, projection and specials packages for the various live artists.

Saunders and Wood both worked closely with The Brits production team, including set designer Peter Bingemann, TV director Phil Heyes, event production including Kate Wright, Maggie Mouzakitis Tony Wheeler, TV Production manager Annie Crofts and lighting designer Al Gurdon to create a distinctive look and feel for the 2011 show.

TL103 v1:TL 85 Spring 2005 23/02/2021 17:02 Page 61

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

Zero 88 Cooper Controls are pleased to announce their partnership with the Phoenix Artist Club to provide a London Training Centre for their Zero 88 lighting control products. Situated in the heart of the West End (below the Phoenix Theatre on Charing Cross Road), the Phoenix Artist Club is perfectly placed for the theatre community and will play host to Zero 88’s regular training sessions and product demo days.

Peter Bingemann’s stunning set design comprised an ‘exploded’ Union Jack flag, with custom built video flourishes. XL supplied all the main elements including an eye-catching 20m wide by 22m high St George’s Cross made up from Pixled F11 screen surface. The set and screen support structures were constructed by Steel Monkey, and XL dispatched the panels for the St George’s Cross element of the structure to be pre-built at the Steel Monkey workshop in Bristol.

The stage had a long thrust going out into the VIP seating area, with a second stage at the end of it that hosted all the awards presentations by James Corden and guests. XL supplied more F11 to make up the two main on-stage screens.

The first was a landscape format 11x6m central screen, which flew in and out (downstage of the Union Jack) on a Kinesys automation system between performances to display all the Awards nomination packages and VT inserts.

The second F11 screen was a 5.5mx10m portrait format surface, flown stage right. Two 20x11 ft IMAG projection screens were stage left and right, together with three 16x9 ft projection screens located left, centre and right to facilitate viewing from the level 4 (top) seating areas in the house.

XL’s package also included a GV Kayak HD PPU and 2x Sony HXC 100 cameras, which together with 12 feeds supplied by host broadcaster CTV, were mixed by live video director Nick Fry and output to the IMAG screens via XL’s Barco Encore screen management system.

XL also supplied extras for some of the live acts including Arcade Fire in the form of 4x Barco FLM22 22K scenic projectors and a Catalyst playback system which covered part of the set, plus 5 square metres of Barco I12 12mm indoor LED attached to the riser fronts for Tiny Tempah. Most of the performance playback videos were sync’d to timecode and stored on 2x GV Turbo 2 hard drives and virtual VTRs. The Red Carpet area is a main focal point of The Brits, and this year XL supplied 23 square metres of Stealth 25mm LED in 12 strips and a Hippotizer playback system. And for the traditional Brits aftershow party area, they supplied 12x Martin LC 2140 40mm Led panels configured into a cube, complete with another Hippotizer media server and as well as live camera playback.

The Phoenix Artist Club stands out as a unique venue, full of character and charm. It is located in the original dressing and rehearsal rooms of the Phoenix Theatre where Laurence Olivier made his stage debut in “Private Lives” with Noel Coward and Gertrude Lawrence.

To mark the beginning of the collaboration Cooper Controls recently sponsored the winner’s prize for ‘Talent 2011’ at The Criterion Theatre, Piccadilly Circus, in aid of The Theatrical Guild – the charity for front of house and back stage staff. The event was won by Rosanna Colclough, who beat ten other incredibly talented finalists with the song “Taylor, The Latte Boy”. The charity evening also featured guest performances from current Musical Theatre headliners Sally Ann Triplett (Mamma Mia!, Chicago), Oliver Tompsett (Wicked) and Tim Howar (Rent, Broadway).

Cooper Controls are also pleased to announce their schedule of Orb console training courses based at the Phoenix Artist Club. These training events, run monthly, are open to anyone who has recently purchased or is considering purchasing an ORB series console, or anyone looking to extend their range of console knowledge. Places must be booked in advance.

The London courses are being run by Richard Lambert and last from 10.30 – 16.00. They are free of charge and include a light buffet lunch. Please contact Richard to book your place richard@orbdesk.com. For further information about the Orb Series consoles please visit www.orbdesk.com.

Cooper Controls are also pleased to announce the launch of an Android version of their popular ZerOS Remote application. Continuing their commitment to mobile device integration, this new app adds to their existing suite of iPhone, iPod, iPad and Windows Mobile applications - and it is available free of charge and can be downloaded from the Android Marketplace.

The ZerOS Remote Android app, the first for the entertainment technology industry, allows remote control of any ZerOS console. The app allows users to control their lighting rig from their Android for the first time. From channel levels to playback the ZerOS Remote offers full control of the Leap Frog 48, Leap Frog 96, Frog 2, ORB and ORB XF consoles.

TV Lighting and Design Spring 2011

The Brits

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TL103 v1:TL 85 Spring 2005 23/02/2021 17:02 Page 62

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 07920 274 769

Jonathan Taylor

John O’Brien 07717 170 288

TV Lighting and Design Spring 2011

07774 698847

62

markfowler@stld.org.uk

jonathantaylor@stld.org.uk

johnobrien@stld.org.uk

Index of Advertisers ARRI Anna Valley Clay Paky ELP

13 33 27 9

ETC I-Pix Hospital Club Studios Lee Filters

31 BC 29 IFC

Martin Photon Beard Pulsar White Light

IBC 38 21 29

TL103 v1:TL 85 Spring 2005 23/02/2021 17:02 Page 63

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. 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 Spring 2011

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

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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

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) 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 Spring 2011

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

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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 (Ian Major) 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

TL103 v1:TL 85 Spring 2005 23/02/2021 17:02 Page 65

Please mention Television Lighting and Desgn when contacting Sponsors

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

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

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

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

TV Lighting and Design Spring 2011

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

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Society Sponsors 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 Entertainment BV. (Mike Goldberg) Marssteden 152, Enschede 7547 TD, the Netherlands Tel: +44 (0)7974 752646

Philips Lighting UK Ltd. (Sharon Banting) Philips Centre, Guildford Business Park, Guildford, Surrey. GU2 8XH Tel: 07774 122 735 ~ Fax: 01 296 670 956 ~ E-Mail: sharon.banting@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 Spring 2011

Production Resource Group (Mick Healey,Kelly Cornfield, Martin Locket)

66

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 Group (Adrian Brooks) Prolyte Products UK Ltd., Langthwaite Business Park, South Kirby, WF9 3NR Tel: +44 (0)1977 659 800 ~ Fax: +44 (0)1977 659 801 Web: www.prolyte.com

TL103 v1:TL 85 Spring 2005 23/02/2021 17:02 Page 67

Please mention Television Lighting and Design 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

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 Club Studios (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 Tel: 020 7157 5555 ~ Fax: 020 7157 5757 ~ E-Mail: dave.stevens@londonstudios.co.uk ~ Web: www. londonstudios.co.uk

TMB (Paul Hartley, Bill Anderson) 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 Spring 2011

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

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Please mention Television Lighting and Design 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

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SPONSORS DIRECTORY

TV Lighting and Design Spring 2011

Zero 88 Lighting Ltd. (Ken Bereen) 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

TL103 v1:TL 85 Spring 2005 23/02/2021 17:02 Page 69

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