Set & Light: Winter 2020 (Issue 131) by STLD_Magazine

www.stld.org.uk

Issue 131: Winter 2020

Set & Light from the Society of Television Lighting and Design

INSIDE: CHAIRMAN’S REPORT | QUIZ | FOUR WEDDINGS | LIGHTING ALIEN WORLDS

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editorial

That was the year that wasn’t... What a year we have had. It has been a torrid 12 months for the entertainment industry and we are waiting for that light at the end of the tunnel (excuse the pun!). Let us hope that it will appear soon. Good news and congratulations are due to our production editor Jon Sever, who has become a dad once again to a daughter called Quinn. We are proposing the date of the 26 February for the 47th STLD AGM. Further details will be emailed to you and put on social media. If we do not have your email address, please can you send it to members@stld.org.uk. Our next issue will be out in April 2021. Deadlines are 5 March for advertising and 12 March for news, articles and advertising. Wishing all our members and their families a Merry Christmas and a Happy New Year.

Emma Thorpe Editor Note for sponsors If you are interested in advertising (at a good discount for a commitment to all three issues), please contact editor@stld.org.uk for a full media pack

contents

Charity news

Showlight 2021

Obituary: Mike Jefferies

Sponsor News

Committee contact details

Index of advertisers

Set & Light is the journal of the Society of Television Lighting and Design and is published three times a year. ISSN 2055-1185 Editor: Emma Thorpe Email: editor@stld.org.uk Web: www.stld.org.uk Production Editor: Jonathan Sever Sponsor news: Emma Thorpe Email: sponsornews@stld.org.uk Advertising: Emma Thorpe Email: adverts@stld.org.uk Cover photo:

Printed by: Gemini Print Deadlines for the next issue: Editorial: 12 March 2021 Advertising: 5 March 2021 Advertising is accepted only from sponsor members of the Society

chairman’s report

Bernie Davis

A word from the chairman... Bernie Davis’ thoughts on a year unlike any other “I think it is fair to say that 2020 will be a year none of us will forget, and not all for the best of reasons. I know I am not alone in seeing my diary empty in March, with work still slow to return. But of course, COVID-19 has taken more than our work; we sadly lost Chris Harris from the committee when he was an early victim to the pandemic, and I have no doubt most of you will have family, friends and colleagues who have suffered at some point and our thoughts and concerns are with you. A lot of my own work crosses over with theatre and live events, and as you will all know, these sectors have been hit far harder that TV. Television at least still has an audience and working practices have allowed some of our work to

not a competition and I feel for everyone who has had their work curtailed. Earlier in 2020, the STLD committee was quick to offer a subscription holiday to anyone suffering hardship, which we believe was the only thing we could do to help members whilst trying to preserve the membership. I am delighted to say that far from everyone has taken us up on the offer, and whether that is through members’ generosity or whether it means many people have not been as badly hit as we feared, I am pleased and grateful, as well as quite humbled. I would like to offer my thanks to the members and sponsor companies who have been able to continue to support the society in 2020. We all hope that the promised vaccine becomes a reality early in 2021 and that activities can start to get back to normal. There are signs that the TV industry is already picking up a little, but we will continue to offer the subscription holiday into 2021, and for as long as it is necessary, so do please stick with us. The STLD has spent less than usual largely through not holding meetings, and although this is not desirable, it was inevitable while the pandemic continues. We are now planning the 2021 AGM, and as we are unlikely to be able to meet in person it will be a video conference of some sort. Although it is not what we would all want, at least all members will have equal access without the need to travel – you will just have to provide your own drinks! The hope is that we can have not just a Zoom meeting, more one with different chat rooms allowing us to ‘mingle’ if only in a virtual received any email from the STLD this year, please call a member of the committee so that we can make sure your contact details are current. Some of you will be aware that we no longer post Christmas cards to our sponsors – we now send email versions and make a donation to a charity with the money saved. Last year we gave to The Molly Rose Foundation, a 16 4

Set & Light | Winter 2020

charity whose work helps with suicide prevention, targeted towards young people under the age of 25. They aim to help spot those suffering from mental illness and connect them to the help, support and practical advice they need. This year we are supporting Backup – the Technical industry technical professionals working in live events, round of its hardship fund, supporting crew in serious need, having had no support through the furlough scheme. If you are not familiar with its work please look it up – you might one day know someone who could be helped by them. Learn more about these charities at mollyrosefoundation.org and backuptech.uk. On behalf of the STLD committee, can I wish you all well as we head into 2021, and I look forward to the time when we can all meet again in person again”

quiz

4 “I’m so fast that last night I turned off the light switch in my hotel room and was in bed before the room was dark” 5 “I never saw an ugly thing in my life for let the form of an object be what it may, light, shade and perspective will always make it beautiful” 6 “And hand in hand, on the edge of the sand,They danced to the light of the moon” 7 “But soft, what light through yonder window breaks?” 8 “We forget just how painfully dim the world was before electricity. A candle, a good candle, provides barely a hundredth of the illumination of a single 100 watt light bulb. 9 “Possibly it had occurred to him that the colossal

A bit of light relief...

was a green light on a dock. His count of enchanted objects had diminished by one” 10 “It’s time to play the music, It’s time to light the lights”

Words: Jane Shepherd

11 “Better a fallen rocket than never a burst of light”

Simply match these quotations to who said them. Answers at the foot of page 7...

12 “When you can’t make them see the light, make them feel the heat”

1 “There is a crack in everything. That’s how the light gets in”

13 “Wherever there is light one can photograph”

14 “And the light at the end of the tunnels the light of an oncoming train”

3 “Poetry makes life what light and music make the stage.

15 “You can’t have a light without a dark to stick it in”

Set & Light | Winter 2020

ANSWERS: 1 Selected Poems 1956-68 2 Reaper Man 3 The Pickwick Papers 4 5 6 The Owl and the Pussycat 7 Romeo and Juliet 8 9 The Great Gatsby 10 The Muppet Show 11 12 13 14 15 16 Wednesday Morning 3 a.m.17 18 19 20 21 22 Dr.Who 24 25 26 28 29 30 23 27

30 29 28 27 26 25 24 23 22 21 20 19 18 17 16

committee meeting

Four weddings and a (royal) funeral

4 Weddings

Control Room and (inset) the Radio Times Coronation Issue

Words and photos: Bernie Davis Your STLD committee occasionally hangs on to ideas for meetings for quite a while waiting for availability of venues, hosts, even for permission to hold the meeting. One such event that has been on our wishlist for a couple of years was the possibility of a talk on how the wedding of Prince Harry and Meghan Markle was lit, and in particular we wanted to include a playback of highlights in HLG 4k wide colour gamut. I was invited to the Dolby cinema in Soho to see a replay of highlights of the wedding, and I have to say the pictures are wonderful. However the sticking point had been getting the hire of a suitable screen and access to the recording, both of which were achievable but somehow never quite at the same time. But in this strangest of years, the meeting went in the opposite direction and followed fashion in becoming the I had presented a talk to the Royal Television Society in the summer of 2019 titled ‘Four Royal Weddings and a Royal Funeral – a Career Path’ in response to their request for me to talk to them about some of my bigger shows. The presentation focused less on a lantern-by-lantern explanation and more on an insight on what it is like to be at these events, how things are not as you might expect on such a as well as how lighting design has progressed. With much of the research already done it seemed a good subject to turn into a virtual meeting, although sadly using PowerPoint… I started with a little perspective on how televised royal events have followed, or even helped lead, the development of TV in the UK. Although the television service had started before World War II, it was still very embryonic at that time, and stopped for the duration of hostilities. Afterwards, the service resumed, but the government were too wary of the intrusion of ‘live’ cameras to allow them into the wedding of Princess Elizabeth and Prince Phillip in 1947, and TV coverage was limited to the exterior. They were still very wary in 1953 when the Coronation was staged in Westminster Abbey, but by then the pressure to let the public witness this event, not least from the royal couple themselves, ensured the BBC was given permission to bring 10 cameras to broadcast it live. This really was a pivotal time in broadcast history, partly made possible by the new very sensitive Image Orthicon cameras that had just come into service. An argument against having TV cameras present was the very high level of light it also recorded the ceremony and they needed far more light, so that argument was lost. Cameras had rules imposed about permitted angles and shot size, and the most sacred part of the ceremony had the cameras completely excluded, but that did not take anything away from the excitement the public felt at being allowed into Westminster Abbey to witness history being made – from their own living room. 8

Set & Light | Winter 2020

This broadcast kick-started the BBC Television Service 8.5 million viewers watched at home with a further 10 million watching from clubs and other people’s houses. A United States where a further 85 million viewers were able audience had exceeded the radio audience and from that time television became the lead listing in The Radio Times. Other big televised events followed in time, one of the larger of note being the funeral of Sir Winston Churchill, with a comprehensively-covered procession through London and service at St Paul’s Cathedral, but the next really the wedding of Prince Charles and Princess Diana. By this time BBC colour cameras were on to the second generation of OB trucks with the new Type 5 scanners that could handle up to eight cameras each. Two of these scanners with a further two camera units provided 18 cameras in and around St Paul’s Cathedral, all Philips LDK5 and LDK15 plumbicon tubed cameras. A further 20 cameras gave coverage of the linked back to a mobile Central Control Room at St Paul’s from which the programme went on to TV Centre. The tube cameras had nothing like the sensitivity of today’s cameras, especially with the lenses available at the time, and OB lighting director Brian Wilkes used a collection of CSI to 1,700 lux giving the cameras an f-stop of around f6 and allowing use of the zoom range. Clever use of the different sources graded the colour temperature from daylight at the west door to nearer to tungsten further inside.

Lighting rigged on the Triforium

committee meeting

Some south-facing windows even had colour-correction coming from it.

nearly 40 years on we are usually around half that or lower.

Songs of Praise

and had lit churches for Songs of Praise

Songs of Praise

The two halves call for very different lighting methods

the schedule was that we had to rig and focus at the end of Songs of Praise here and elsewhere.

Windsor Castle ablaze in 1992

Set & Light | Winter 2020

4 Weddings

Lighting installed in the Nave

Edward IV Chapel interior

director. He was keen to keep as much lighting clutter out of and he hoped I could not have all those lights on the scaffolding down each side. Well, I came up with a plan by which instead of continuous tube from column to column But in the quire (yes, that is how it is spelled!) the woodwork makes the nave technique impossible. Previous lighting directors had devised a method by which bespoke which short scaffold tubes could be lifted on pulleys that were part of the brackets. The tubes would be pre-rigged with pole-operated fresnels and par cans – the focus method with the pars being that you left the clamps loose so you could push it into place with a focus pole. Should a lamp fail that the focus would be lost on anything on that tube. The crew hated accessing the brackets and the lights on them as it was a very vulnerable location only accessible using a bespoke very narrow ladder. You were then amongst the oak pinnacles which are not too secure, and are only held back by bits of ancient twisted Victorian wire; one false move could see one toppling to the ancient choir stalls below… The trouble was we could not think of a better way of lighting this crucial part of the chapel. Furthest east in the chapel is the altar, and there are two lighting opportunities there. First on the south side the woodwork ends so the usual method of using the columns is available. The north side does not allow that, however Henry VIII conveniently built a small chapel overlooking the altar for

each column, so largely hidden from the west door. Mistake! I hadn’t considered how the cables would route back to the dimmers, and of course every cable now had to drop to the window to the outside where the dimmers were sited. With continuous scaffold tube the cable route would have been I have some general rules of location lighting which are:

In my willingness to help the director had broken rule 2, the whole, and BBC Events began to realise I was a lighting director. The tungsten sources in the nave were all corrected with Half CTB to get close to the daylight that can be seen everywhere at that end, although that does cut the light level to make them warmer, and of course gave me far more light. On subsequent visits I changed to quarter blue in the nave too, and used 500w pars so they were pushed harder to get the colour temperature up a little. Chapel, this time for the marriage of Prince Charles and Camilla Parker Bowles. When you work in places such as this the venue – you tend to want to play safe and go back to what worked before. And so it was for this occasion that we simply tidied up what we had done before. We did of course have the continuous run of scaffolding in the nave, I won’t make that mistake again! But I would love to have improved the quire lighting to avoid that awkward rig over the vulnerable wood work. All went well with the broadcast, although the week

Lighting rigged on a bespoke bracket

days before the wedding. We had guessed that his end was near as his protracted illness was at such an advanced age, and were already lighting Westminster Cathedral for a Set & Light | Winter 2020

committee meeting

(L-r) Colin Jones, Snowy Manley, Greg Fitzgerald, Roy Adcock, Andrew Stacey, Bernie Davis and (inset) Ian Dow service for him in the same week. When the death was announced we heard that Prince Charles needed to go to Rome and even had to delay his own wedding by a day at the last minute. And I found myself commuting between Windsor and Westminster pausing only to change my tie to match the occasion. One problem with working at Windsor that I didn’t mention before is not inside the chapel but outside. The immediate grounds around the chapel are administered by the chapel whereas the rest of the area within the castle walls is under castle management. The OB trucks can’t just park outside the chapel as you might hope, and in successive years the OB compound has moved from the parade ground in the lower ward up to the north terrace (with a long cable run through the cottages behind the chapel) to St George’s School opposite Windsor and Eton Riverside station (with an even longer cable run up the precipitous slope up to the castle from below) and even further to the public carpark beyond the station on the way out to Datchet. This only Power is a concern as there is none spare at the chapel and we have to have a generator near to the chapel for the lighting. With the limited parking and poor access we have to

A generator squeezing through the Cloisters

Denton’s Common behind the chapel as that is off castle which is a bit limiting with our tungsten rig, especially as we these so a second one would park up alongside for the broadcast day with a manual change-over switch in the event of failure. We were so close to the maximum power available that we had to focus with the master fader pulled back a little, 12

Set & Light | Winter 2020

and once a balance was found there were careful measurements taken before we eased it back – hardly an ideal situation for a royal wedding but there was little choice. I keep referring to the Charles and Camilla wedding but technically it was a blessing and the wedding itself was at the the broadcast was only carried by one channel, achieving a UK audience of just 7.4 million viewers.

What’s Next. Advanced results for advanced expectations. studio.etcconnect.com

Generators back-to-back for transmission We did return to Windsor for another less eventful Songs of Praise, but the next occasion of note was when there was a service of Thanksgiving for Sir Edmund Hillary in 2008,held in St George’s Chapel, Hillary being a Garter Knight. We covered the service for New Zealand TV, although this was a little different in that the service was all in the nave – the easier part to light. It started though with procession of the clergy through the quire to the nave which they wanted to cover. Thankfully I didn’t need the dreaded lighting brackets reveals behind the woodwork to light the limited action. In fact that worked so well it set me thinking that we ought to try to build on that method for future events, and a plan started to hatch. Meanwhile, the third of my royal weddings was announced at the end of 2010 – Prince William and Catherine Middleton – this time to be held at Westminster Abbey the following April... Two weddings and a funeral to go… to be continued in the next issue of Set & Light!

•

Windsor Guildhall

visual environment technologies etcconnect.com

backup

Charity news

Backup hardship fund update

We Make Events and PLASA have done sterling work in both lobbying, creative actions and raising funds for various charities including Backup. Despite a few venues and productions trying new ways of working, the Government retains deaf ears to the hardship still endured by so many in our industry. Initially Backup’s remit was to help colleagues suffering as a result of illness or injury. What we couldn’t do was help those affected by complete loss of work during the pandemic. We applied to the Charity Commission to amend our constitution to include hardship which was approved. We have now completed Round 1 and announced a Round 2 of the newly launched Backup Hardship Fund, assistance to crew/production personnel and people working in the technical supply chain across the UK entertainment sector, including live “The application uptake in Round 1 could not come soon enough,” says Backup Chairman, John Simpson. “It has been heartbreaking to read the messages applicants included and we are thankful Backup has been able to

Backup targeted resources to those who have not received grants from the government or other charitable funds (e.g. Theatre Artists Fund). “The Hardship Fund was able to help over 100 colleagues who have not previously had help,” Simpson continues. “However, we are also aware that there is another larger group of people that have had some form of small support from government grants, but this is not enough to meet their basic requirements. This is why Backup opened the Hardship Fund to for a Round 2, targeting these individuals with a widening of the criteria. “Our industry is trying to help its own!” Simpson adds. “This second round is, in-part, made possible due to recent fundraising through industry campaigns like #WeMakeEvents, and the numerous individuals fundraising under this industry-wide banner with the likes 14 16

Set & Light | Winter 2020

to waive any license fee for the Backup

of recent The Survival Tour and current #WeNeedCrew initiatives, as well as any many other individuals and companies both fundraising and donating through this and other Backup related donation channels. The generosity from amongst our industry colleagues alone has been immensely touching, considering we are all suffering the same plight.” To read some of the testimonials from those who have been helped in Round 1 of the Hardship Application Fund, visit backuptech.uk/about

goboplus.com supports Backup with new gobo releases

GoboPlus.com has partnered with Rosco to bring to market a new range of gobos in support of Backup. Designed by Exactly13 LTD and exclusively licensed to GoboPlus.com, the new designs are inspired by elements of the Backup logo. The new range comprises 15 aerial, breakup and texture designs which will generate a £3 donation for every glass gobo sold and £1 for every metal gobo. Paul de Ville, CEO of GoboPlus.com, says: “The aim is to create a legacy income stream for Backup which stretches far into the future, beyond current troubles, and to emphasise the importance of continued support for those in need within our industry. We are a small company with a big heart and while no-one is in a position to make huge donations at this time, these little donations combined will make a big difference to those who need it.” While individual gobo sales will have a cumulative impact, de Ville also has an idea for supercharging the contributions. “We would like to invite all lighting manufacturers with their own in-house gobo supply capabilities to support Backup by incorporating one of the new designs into new or

arrange for manufacturers to enter a standalone agreement directly with Backup. GoboPlus.com will then supply gobo-ready artworks to the manufacturer, which then pays the royalties directly to Backup in the manufacturer’s own name. “Giving just one gobo slot over to a Backup design would increase donations exponentially, at minimal cost to the manufacturer, enabling Backup to increase the amount of help it can offer far into the future.” The new designs have been created by Simon Allan, creative director of Exactly13 LTD, whose company provides visual services for entertainment manufactures and suppliers, as well as visualisation for entertainment design. Allan, who has over 10 years of experience of designing gobos for a variety of lighting manufacturers, donated his services free of charge. “I took the Backup logo and abstracted every element to transform it into a range of designs that would have something for everyone, with aerial, breakup and texture designs that work across many markets,” he explains. “Every design was fully end-tested for its appearance on surfaces. I selected the best to ensure a good variety, no matter what application they are put to. I hope it will give the opportunity for lighting designers and manufacturers to offer support to Backup which works so hard to look after us all.” “When I approached Simon he did not hesitate,” says de Ville. “The appeal of a family of gobos, rather than one or two, would have a larger impact and he delivered by putting together a fantastic and creative selection. To bring this idea to the widest market possible, I approached Rosco who immediately agreed to partner with us. ” Mark Engel, CEO of Rosco, adds: “With so many friends and colleagues never been so important to help those in need.” To order your Backup gobos and view the range, visit goboplus.com.

lighting alien worlds

Ian Dow (© Osram 1998)

The Doctor will see you now... The story of BBC OB engineering manager Ian Dow’s career and involvement with Doctor Who Words: Ian Dow and Paul Middleton Photos: Ian Dow and BBC

shows like Crackerjack and Sports View Personality of the Year, then in TC4 during the four-month changeover from black

Live Sky at Night. school visits to Teddington Studios where he saw The Army Game being recorded and decided that it looked like good fun. Leaving School in 1959 he tried to get a job at the BBC,

LSi that makes me wish I was still out there doing battle with the Dr Who of the last three years of the original run starring Sylvester

Set & Light | Winter 2020

Ian Dow

“Today’s budgets are in a different league to ours, however we still got some splendid effects, on one occasion by borrowing some life expired gear from the local Youth Theatre which I help run. One thing I have learnt over the years is that there are theatre techniques which are unknown to many TV lighting directors, and vice versa. Also useful tricks of the trade can be gained from the world of “Many years ago the Youth Theatre were performing a futuristic space musical, Dazzle. Part of the set was a space ship control room, and the action called for aliens to contact the ship. I got my inspiration from the TV autocue system, where the presenter can look straight into the camera lens

production could be replicated using TV cameras, with the advantage that the director and production crew could immediately see what was being recorded and there was no “rushes” to see if the required shot had been achieved. It also meant that location and studio shots matched much better, than the jarring jump in quality that usually occurred 60s and 70s. Back as early as 1973 the demand for shooting location inserts for studio drama productions had seen a steady typically used for sports events were used, but the full range

silvered glass set at 45 degrees. We cut a screen sized hole in the back wall of the set, acquired a large window complete with glass from the tip (in the days before risk assessments when you often brought more back from the tip than you took!), wet a sheet of Rosco 0.6ND onto the glass, and hinged it at 45 degrees to the back of the set. young actor playing the alien lay hidden on his back, under the window head downstage, on a black drape. When the time came for his appearance a tightly focused Patt 23 was faded up on his face, and the backing taken down. A very by the ND glass. I overheard a lighting designer from an adult group, who share the stage, remarking on what an advantage the Youth Theatre have in being able to borrow all that high tech gear from the BBC. I took great delight in getting my young crew to take him backstage and demonstrate the use of a reclaimed window and two 30 year old lamps! It’s simple, but it works!” For the majority of the 60s, 70s and 80s, Doctor Who was only used when the storyline – and budget – allowed. Unlike Lew Grade’s ATV, the BBC never anticipated the future formats that would be future proof. The majority of programmes in the BBC archives are only standard ITV companies the way to increase revenue was to shoot anywhere in the world. These programmes can still be the BBC was still making Doctor Who until 2009. For cost reasons TV production was geared to the “production line” principle using large studio complexes such as BBC Television Centre, where each of the eight main studios was expected to produce around 25 minutes of TV a day, using a 24hr a day operation, with sets constructed the evening. between 4 – 6 cameras available to each studio and was operated by dozens of crews who were allocated to each on a rota system.

for drama productions and if you wanted to shoot on the top of Dartmoor then getting a large truck there was not very easy. What was needed was a smaller truck with just two cameras so two different vehicles were proposed. These were the Location Production Unit (LPU) and the Lightweight Mobile Control Room (LMCR). The LPU was technology as the demand for location recording increased. It was supplemented by the LMCR. The working life of these OB trucks was relentless, and after three days of working on Doctor Who, the LMCR would then be used to do two days of Grange Hill. By the mid 80s the amount of recording time for Doctor Who 30 hours, with additional days for special effects. Delta and the Bannermen shooting days to produce 3 x 23 minute episodes. It was into this environment that Ian progressed as BBC outside broadcast engineering manager (EM) in the mid 80s, with a brief to look after the lighting for the location video shooting that Doctor Who started to use after being primarily TV studio bound for so many years. The BBC method of working in the 80s meant that as well as being responsible for lighting each episode Ian also did all the technical planning. This meant making sure the recorded sound and pictures were top notch. He pointed out that he couldn’t do much about the acting or script writing, but he recalled that everyone who worked on the recordings always wanted to put 110% effort into each show. Having been Doctor Who episodes went out, they were all very proud to be working on the series, even though at the time, none of them knew it would soon be the end for Doctor Who for 16 years. Ian had kept much of his old production paperwork. His hand written notes from each episode reveal fascinating behind the scenes details. These includes some unique maps and memorabilia from the production of the last three seasons. He also had a wealth of anecdotes about the recordings and was the voice at the end of the behind the scenes video about the recording of Delta and the Bannermen. In 1992, Ian was asked to make a presentation at the National Film Theatre during the Doctor Who weekend. Whilst the recording has been lost, his notes survive and the rest of this article is based on those and material taken from pieces he wrote for his Recollected Works column in LSi magazine. Set & Light | Winter 2020

lighting alien worlds

Z-Cars

Set & Light | Winter 2020

Ian Dow

Ian started by outlining the four key requirements of his job as the lighting director for the location recording.

Recordings for this story were made on a Nagra /Ampex

1: cameras to get a good picture. Remember that 30 years ago,

extended plate to allow 60-minute recording tapes to be used, though it was mainly used with 20-minute tapes. Work started on site at 7.30 am to set up equipment and

would be watching on a 20" colour TV that they were probably renting from Granada or Radio Rentals, so dark moody pictures were not acceptable.

return to the hotel for the night. The story required the use of models on location to

2: To set the scene and try and make the lighting realistic 3: To create the mood required for each scene.

laboratory, for example. A battery powered camera and monitor were used to line up the models with the rest of the quarry location, before the main cameras came to shoot the scenes.

4: and that in order to protect the camera, they needed an Delta and the Bannermen or the glowing arrow in Silver Nemesis.

ready with tissues to catch any raindrops forming on the belonged to John Nathan Turner and production manager Gary Downie (who was also JNT’s partner).

for TV drama it is more common to shoot with two or more cameras, which means the lighting had to be suitable for all cameras in use. how to light a scene was to try and adapt what was there already. The last three seasons of the original Doctor Who (25, 26, 27) were recorded from 1987-89. The following production details are based on Ian’s personal planning notes.

Time and the Rani

Doctor Who episode that Ian worked on as lighting EM. At the time of recording it was known as Strange Matter

Paradise Towers Paradise Towers

This is a popular area, with Noel Gallagher now owning a house that backs onto Elmswell House, and Dirk Bogarde a horse track and a helicopter hanger as well as the swimming pool at the far end of the house. be ready to start work at 9am with recording continuing through until 6pm on both of the two days. The trucks would then pack up and depart by 7pm on the 22 May. It was an

effects shots such as rocket launches. The problem for all location recording in the UK is the weather. In recent years, Doctor Who has taken to recording abroad. The much higher guarantee of good weather has to shooting in the UK, due to the increased guaranteed number of hours of outdoor shooting. Back home there is the constant threat of poor weather. Time and the Rani

The technical facilities unusually required the use of four

cameras used. These were a Sony Betacam camera in a

against them. Writing to Ian Dow in June 1987 after the episode had Ian noted would be attached with gaffer tape to a scaffold see the rain”. The recording for Time and the Rani was due to take place

was happening underwater. Shooting required a half-moon shaped scaffolding platform was used to support a remote control camera on a crane, to

hat areas for all crew. Set & Light | Winter 2020

lighting alien worlds

On location at St Johns School for Remembrance of the Daleks April 1988 (© Ian Dow) As safety is paramount there was a diver standing poolside at all times to assist the underwater cameraman, and each stunt artiste and actor had their own safety cover. Bonny Langford had a stunt double for some of her shots in the pool, but she had to be seen for a number of shots and had the recording and was consequently very cold. actually shooting at ground level the view from the window 20

Set & Light | Winter 2020

along the side of the pool was covered by a black cloth with a line of palm trees in front of it. The pool needed a lot of other lighting and the full required a gaffer and three electricians to rig and operate. The BBC used to have a contract with Lee Lighting to supply outside broadcasts but on this occasion the lighting equipment and generator were hired from S.G.Fenner

1: New Doctor Who opening titles in 1986 by CAL Video (© BBC); 2:The pool at the top of Paradise Towers, shot on location in Chalfont St Giles with a bit of Paintbox augmentation to hide the trees at the location (© BBC); 3:The pool at the top of Paradise Towers (© BBC); 4 & 5: Time and the Rani (© BBC)

6: Time and the Rani rocket launch sequence (© BBC); 7 & 8: Foreground miniature of The Rani’s laboratory being set up on location (© BBC); 9: Inside LMCR 1 control area (© BBC); 10: Atmospheric silhouetted camping shot with the moon inserted in post-production by Dave Chapman (© BBC)

fuel. Finally there was special grip equipment needed including an Elemack dolly, camera track and the Cobra remote control head for a total of £526 (including delivery). original Doctor Who took place over 30 years ago. To hire a 1.2K HMI light back then cost £60 a week. Today it would probably cost around £300! Ian Dow’s journey with the Doctor will regenerate in the next issue of Set & Light

•

(virtual) industry expo

It’s virtually the same! Showlight announce one-day extravaganza for 2021 Following the postponement of Showlight 2021, Showlight is delighted to announce that a one-day Virtual Showlight will be held in its place. The live online event will take place on Tuesday 25 May 2021 between 3pm–10pm BST. and the time has been chosen to best accommodate US and European delegates, the night owls further east, and (with apologies!) the sleepless in Australia and New Zealand. – is for Virtual Showlight to present papers, each with a maximum length of 30 minutes, from international keynote speakers, plus a live Discussion Panel. Q&A sessions will follow each paper with delegates able to message their questions to the chairperson for discussion. The remainder of the time will stay true to the spirit of Showlight by providing opportunities to network, with breaks between sessions to allow delegates to ‘enter’ breakout rooms, spend time with sponsors or network with others – both socially and within interest groups – and generally mix and mingle in a virtual way.

Book your place!

Tickets for this unique event will be available from Eventbrite at a nominal cost with all proceeds going directly to selected industry charities, including Backup and Behind the Scenes. Delegates will have the opportunity to increase or make a 22 16

Set & Light | Winter 2020

Showlight 2021

donation at the time of booking. Student tickets will be free of charge.

Sponsors wanted

Sponsorship opportunities are available to facilitate this unique event and raise money for charity. Please email sponsorship@showlight.org for more details. The topics and speakers for Papers and the Discussion Panel are being selected as we speak with details to follow in the coming weeks. Sign up to the Showlight mailing list (showlight.org) to keep up to date with developments and Eventbrite sales open. And don’t forget to follow Showlight on Facebook and Twitter for breaking news. “While a virtual event cannot match the magic of the original gathering planned for Fontainebleau, we are determined to maintain the spirit of this unique colloquium until that happy time when we can gather together safely in person,” says Showlight Chairman, John Allen. “Virtual Showlight is a temporary, yet ingenious and enjoyable, solution to the restrictions caused by the COVID pandemic which also gives us the opportunity to raise money for our industry charities. Be assured Showlight will return as a live event in its full and wonderful form once it is safe and practical to do so. “Until then, we look forward to seeing you online on 25 May 2021!” • For more information, visit @showlightevent on Facebook, @showlight2021 on Twitter or showlight.org

obituary

Mike Jefferies It is with sadness that the STLD has to report the passing of veteran BBC staff member Mike Jefferies, who was Chairman of the STLD 25 the committee. Mike’s neighbour and friend Tom Warden writes:

Mike Jefferies “Mike lived opposite my parents, and I had many conversations with him over the years as I made my way within the industry – although not quite in the same area Mike was focused. “He would save Light & Sound International for me, (and continued to do so for 20 years!) and would occasionally pass over a copy of Set & Light, but not very often as whilst he became less interested in LSI after Ian Dow’s article series ended, he still liked to keep up to date with STLD news. “We had many interesting lighting conversations – he had Venetian blinds in his front room and he was always fascinated by the variety of lighting effects created with just these and the varying sunlight. He really had a deep appreciation for the replication of the reality and variety of natural lighting. He was a great chap, and a lovely neighbour who will be greatly missed.” Light & Sound International: “Former BBC lighting director and STLD chair (1993-1995) Mike Jefferies passed away last month aged 86.

Jefferies’ work in broadcast lighting spanned the 1970s and 1990s on shows such as EastEnders, Doctor Who, Citizen Smith, Ever Decreasing Circles, Rings on Their Fingers, Top of the Pops and others. Tom Warden of IPS, a friend and former neighbour, said: “Mike was a real gentleman, and always fascinating to talk to, full of stories of the productions he had worked on and the places he’d been. It would have been great to have worked alongside him. He continues: “Mike had a very happy retirement travelling the world with his wife Monnie, and never lost his fascination with lighting. As I started to get more involved in the live events side of lighting, I gradually realised he was less interested in the technology and mechanics of lighting, but the shapes and form created with light and shadow, even in everyday scenes – and of course, a good glass of wine over which to discuss everything. He will be greatly missed as a friend, neighbour, husband, father, traveller and so much more.” Our sympathies go out to Mike’s family, friends, and colleagues.

sponsor news

ARRI ARRI announces its new EF mount (LBUS), allowing EF mount lenses to be used on ALEXA Mini LF, ALEXA Mini, and AMIRA.

and AMIRA. The new EF Mount (LBUS) allows the ALEXA Mini LF,

Executive Board member Dr Michael Neuhaeuser connected to the mount’s LBUS connector. Precise remote

meeting rooms. Das Boot, Skyfall and Easy Rider. Invited visitors will be able to learn more

ceilings in industrial design create a modern ambience. Most

Set & Light | Winter 2020

sponsor news

Judith Gerlach (centre), Bavarian State Minister for Digital Affairs, in the ARRI Studio with (from l to r) Dr Michael Neuhaeuser, Dr Carolin Stahl, Walter Trauninger, Christoph Stahl, Stephan Schenk, and Markus Zeiler (all ARRI)

as snacks and drinks. A landscaped inner courtyard invites the employees and guests to take a relaxing break. parking space. Some of them have been equipped with e-charging stations. In addition, there is ample bicycle parking space for employees. Charging facilities for e-bikes have also been integrated. Furthermore, the building is well connected to public transportation. Even as a technical structure, ARRIAL is on the cutting edge and not only in terms of its workplace equipment or modern facilities. Solar panels on the roof allow ARRI to produce its own electricity while feeding any surplus energy back into the network. ARRIAL was built on behalf of ARRI according to plans by manager Michaela Neugebauer. “ARRI did not want a normal commercial building, but a house that would provide space for several hundred individualists, creative engineers, and free-

kept his word. Numerous companies were involved in the construction. A total of 7,700m2 were built on the approximately 10,600m2. site. This resulted in 17,500m2 and an additional 15,000m2 (over 161,458ft) of storage, usable space, and parking. “With around 1,400 employees and numerous branches Board member Markus Zeiler. “Still ARRI remains a Munichbased company with a long tradition. With this new building, ARRI is committing itself to Munich as a production and The company’s founding location in Munich’s Türkenstraße is still owned by ARRI. The ARRI Media division, responsible

Set & Light | Winter 2020

for postproduction, and the ASTOR Film Lounge at ARRI with three movie theaters, which was newly opened after the renovation, will remain on the premises, as will other private and commercial tenants, including the medical technology company Munich Surgical Imaging, the Munich City Museum, the Münchner Verlagsgruppe (Munich Publishing Group), parts ARRIAL was already operational at the end of 2019, but the grand opening, originally planned for May 2020, had to be cancelled due to the coronavirus pandemic.

BBC STUDIOWORKS BBC Studioworks welcomes production boost

BBC Studioworks has welcomed back a host of shows across its facilities as it helps productions return post the peak of the COVID-19 pandemic. Whilst remaining operational throughout lockdown across its Television Centre and Elstree sites, activity is now continuing apace across its portfolio. At Television Centre, the third series of There’s Something About Movies production between CPL Productions and Motion Content Group for Sky One, sees Alan Carr return as host with Jennifer Saunders and Michael Sheen also returning as team captains. Guests lined up to put their movie knowledge to the test included Stephen Graham, Gemma Arterton, Joanna Lumley, and Nick Frost. Over at its Elstree Studios hub, BBC Studioworks is gearing BAFTA-winning A League of Their Own in George Lucas Stage 2. Also a CPL Productions show for Sky One, the programme will see regulars Jamie Redknapp, Freddie Flintoff and Romesh Ranganathan battle against each other in complex and highly

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

unusual physical challenges. This marks A League of Their Own’s thirteenth consecutive residency with BBC Studioworks. Both shows are returning without the presence of a live challenges throughout. All three shows are running alongside a packed schedule of Good Morning Britain This Morning Loose Women Peston The Martin Lewis Money Show and Sunday Brunch at BBC Studioworks’ Television Centre facility. At its BBC Elstree

programme to inspire and educate primary school children to and run 10 training workshops (likely to be delivered virtually) for year six children in Elstree and White City. Broadcast engineering roles are essential for BBC and engagement early on in education means that applicants for engineering courses at university and further education

Comedy Game Night for Comedy Central and Channel 5 in EastEnders resumed recording in late June. July

help ensure diversity in the pipeline of talent required for the future extends far beyond the next few years.

Television Awards’ live broadcast from Studio TC1 at Television Centre. BBC Studioworks provides a range of technical crews and

• Mentoring As part of its commitment to increasing its launching a mentoring scheme in partnership with ScreenSkills

EastEnders. A suite initiative is designed to provide support for school leavers as they make the transition to employment within the creative pedestrian routes and dedicated operating protocol “We’re delighted to be back across all our facilities doing what we do best – helping production companies make

15 Elstree Screen Arts students. The pilot consists of six help inform and shape the mentoring programme for next

“Remaining operational throughout the peak of the pandemic really helped us hone our health and safety protocols and work with our clients on perfecting the best solutions. “We continue to discover innovative ways of working and

partnerships in White City. The mentoring programme will

BBC Studioworks accelerates next generation talent plan

building and opening its doors even further to the local community. It’s therefore enhancing its offering and expanding

BBC Studioworks believes the talent pipeline and its associated skillset requires urgent attention. The tangible talent plan will increase diversity at BBC Studioworks by removing barriers to entry through engaging directly with school leavers and providing opportunities for employment in the Elstree and White City areas The plan has four elements: • Broadening the volume and range of trainees BBC

• Work experience BBC Studioworks recognises that work

“Elstree Screen Arts believes in the power and importance of cultural education for all and we provide specialist technical Elstree Screen Arts Academy. “We are delighted that BBC Studioworks is partnering with us to break barriers and

the aim it will account for 10% of its workforce by 2021. New for the next generation of skilled and diverse professional engineering. In a move to broaden its feeder network and BBC Studioworks also has established relationships with • Increasing early years advocacy at school level

board and Elstree Screen Arts Academy where a work experience programme has successfully been in place for a number of years.

Set & Light | Winter 2020

sponsor news

BBC Studioworks fundamental in the delivery of all new Strictly Come Dancing

BBC Studioworks is providing full studio and post-production services to BBC Studios’ NTA and BAFTA award-winning show, Strictly Come Dancing, and its weekday companion show, It Takes Two, from its Elstree production hub. The eighteenth series of Strictly returned to its home in George Lucas Stage 2 at Elstree Studios, with It Takes Two taking up residency for its live weekday shows in Stage 6, on the same site. BBC Studioworks has facilitated Strictly since the show’s environment, BBC Studioworks has worked closely with the Strictly Production and Health & Safety teams to make the following changes: • Ventilation Additional air handling units have been hired to 3 per hour to be precise), and the fresh air system within the gallery suite has been

• Handling of mics and communication tools Microphones will not be shared across the series-run. Each after each use by BBC Studioworks’ sound team. To avoid issues around proximity, the talent are responsible for micing themselves, with BBC Studioworks crew, in PPE, advising and guiding throughout the process. To limit their exposure due to the propelling of vapour, the singer’s hand microphones remain in place within their booths throughout the series. They are also sanitised there. Talkbacks, walky-talkies and headsets are also assigned to individuals and sanitised after every use, with headsets being bagged and named. • The cleaning regime cleaning protocols, electrostatic misting is sprayed overnight after each day on set, including communal areas and toilets. • Safeguarding remote working production team needs to self-isolate, BBC Studioworks can provide full talkback facilities to the studio from their home

• Social distancing To allow for social distancing, each

via a Zoom feed.

time. Bespoke perspex screens are in place across all the gallery suites and a number of gallery-based operatives and

• Post-production Adaptions have also been made to the way BBC Studioworks facilitates the two show’s requirements. For past series, both Strictly and It Takes Two make use of BBC Studioworks’ Avid Symphony suites at its Elstree edit village. However, this year editors and producers are working remotely, with access to Avids and the Logging system via a

replaced by remote heads and all other cameras are spaced more than two metres apart. Perspex vocal booths have been created for the singers, each with a bespoke air extraction system. Each booth has also been rigged with a monitor with

viewing links for repeat viewings, as are voice overs. 28

Set & Light | Winter 2020

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

Key staff will be on site for transmission days, maintaining social distancing. If people need to be in the same room, Perspex screens are in place across all the edit suites. “As we collectively steer our way through the COVID-19 pandemic, entertainment shows such as Strictly are more important than ever, offering audiences a big dose of normality, fun and high energy content,” said Meryl McLaren, Commercial Manager, BBC Studioworks. “Making the Strictly ballroom a COVID-secure environment has been a real collaborative effort between BBC Studioworks and BBC Studios, with months of planning and preparation.”

CHROMA Q Vista 3 software release 3 now live

Vista by Chroma-Q are pleased to announce ‘Release 3’ (R3) of its crowd-pleasing Vista 3 lighting and media control software. As part of its ongoing commitment to increased functionality and enhanced capability,Vista 3 R3 contains over 150 improvements and new features. Highlights include: allow users to customise their playback and programming operational style to suit preference, further smoothing • A new FX engine feature allows the number of FX cycles to complex “accents” or “bumps”. • A new feature that allows Ethernet based data output to be toggled on/off per protocol – a great feature for festival the lighting network but not output data until the appropriate moment. Other additions include new inserted cuelist commands, multiple GUI improvements, and an updated factory library. For a complete list of new features and improvements, or to download the free demo software, please visit vistabychromaq.com/download.

New studio design for BBC World News America World-leading public service broadcaster BBC World News

studio in Washington, D.C. BBC is an iconic news brand known around the world and with a new set design comes the need for new studio lighting. Eastern Lighting Design worked closely with award-winning New York City) to create a slick studio environment. The studio is a small space and the challenge was to create a clean as possible. While the entire studio was gutted and re-built,

President of Eastern Lighting Design. “Our goal was to

much as possible.” Chroma-Q Studio Force II™ (9) and Chroma-Q Studio Force Phosphor™ (15) were chosen for BBC’s design because seamlessly into the set. With the current global pandemic impacting the timeframe both the design and the time allotted to the project. During the lockdown, it had to wait to get into the studio. After lockdown, it had to adjust its lighting plans to accommodate social distancing practices. that can shift as the season progresses. “The Studio Force Phosphor™ creates a wonderfully soft to move around in. This is the starting point for anything the BBC needs to do within the studio.” Explains Matt Gordon. including, the anchors and guests within the base. Combining

the camera.” The project took a little longer than anticipated starting in early March and wrapping up in early August. BBC News August 17, 2020, in its newly designed studio. “We are a long-time user of Chroma-Q’s studio lighting

the studio environment.” Eastern Lighting Design worked with Chroma-Q’s North American Distributor A.C. Lighting Inc.

CHAUVET Shadows makes The Masked Singer soar with over During a career that has seen him work on TV specials like European Commission’s Presidential Debate, and popular programmes including Dancing With The Stars Belgium and Liefde voor Muziek, Michiel Milbou has built a stellar reputation for his impeccable key lighting. However, in his recent project, Belgium’s version of The Masked Singer, Milbou got to depart from his usual concerns about getting the talent’s face lit “just right.” The result was an opulent outpouring of creativity and colour. “There were no faces to light in this show, since everyone was wearing a mask,” said Milbou, the founder and owner of Never Fear Shadows. “That was very different, and in many ways a nice change, since it opened up many creative possibilities. It allowed us to go with colours that matched the masks without worrying about key lighting faces. So, if there Set & Light | Winter 2020

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Photo courtesy of Picturesk

was a character with blue mask, we could hit it with various blues, something we couldn’t do to a face. We used Follow-Me software to track the masked characters on stage so we could keep all kinds of different effects on them.” Providing the colourful light that enlivened the masks and famous costumes of contestants were 27 CHAUVET

programme, we created different patterns of movement with different masked performers during the eight episodes of the show without repeating looks was a major accomplishment The Masked Singer, according to Milbou. The different colour combinations and accents he used to illuminate the masked performers and the patterns

creative options.” so too did the dramatic overhead looks created with the 33 brought to their design for the global hit TV programme.

on three rows over the center of the triangular stage.

for the Belgian show. These masks took on a life of their own, thanks to some evocative projections mapped on their their light outward, evoking a celestial image, and then have them serve as down lights for another song. With each move, them were placed in the giant masks, with mirror foil behind them. Using the strips to create bright white light, he endowed the masks with a captivating glow that translated well on camera.

Washes that served as sidelights, helping to ensure a something original, said Miblou, who credits the success of

had them glow against the mirror foil we placed behind

Set & Light | Winter 2020

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

For Milbou, who began working on the show in early June, The Masked Singer was a welcome opportunity after the initial COVID-19 lockdown. “All of us on the team were very happy to see each other,” he said. Looking at the programme when it

Claypaky’s HY B-EYE K25 TEATRO

Apparently, this sentiment was shared by many in Belgium, as this season of The Masked Singer was a ratings winner.

CIRRO LITE Fiilex introduces Q5 Color – a cinematic hard LED light

Fiilex introduces its Q5 Color – a 185W 5" LED Fresnel that the latest iteration of Fiilex’s Dense Matrix LED array to deliver colour quality and optical versatility that go beyond the typical limits of point-source LED technology. With its and high CRI/TLCI, the Q5 Color combines the extensive feature set of top-tier multi-colour LEDs with classic Fresnel performance. The Q5 light head weighs only 7lb (3 kg), and its innovative can be easily swapped out with compatible V-mount batteries. Light settings can be adjusted on the Q5’s back panel via the directional pad or the intuitive control knobs. Further settings include fan and dimming modes, as well as various control modes, such as CCT, HSI, CIE xy and Effects in both 8-bit and 16-bit versions.

Claypaky MINI-B parled AQUA: A weather-

CLAYPAKY

LEDs; compact and bright, at an extremely competitive price

Claypaky HY B-EYE K25 Teatro

Claypaky adds to its HY B-EYE 25 series with the introduction of the HY B-EYE K25 TEATRO; a special version of the HY B-EYE K25 designed for venues that need silent

Claypaky’s MINI-B parled AQUA: A

entertainment and architecture applications, Claypaky’s

MINI-B PARLED AQUA is a static version of the recently

ideal for theatres, television studios, conference halls, showrooms, corporate events, and more. The HY B-EYE K25 TEATRO has all the same optical, electronic, and mechanical features of the HY B-EYE K25 with changes in the overall design to reduce the acoustical

same optical and electronic features as the MINI-B: a motorized 4° to 55° zoom, independent control of the central

uniform light spread, a rotating front lens, an enhanced electronic engine for dynamic beam pattern design with digital accuracy and repeatability, individual control of each single LED to make spectacular kaleidoscopic projections and charming eye-catching effects. The HY B-EYE K25 TEATRO is extremely bright thanks to its powerful light source and special optical unit with a truly amazing lumen/watt ratio. The built-in Kling-Net protocol enhances the lighting designer’s creativity, while making the management and synchronisation of LED light parameters and functions simpler.

colour consistency.”

control, 16-bit dimmer with four different dimming curves, 25

WACKIT contest

Claypaky and CAST Group of Companies are very excited to present the WACKIT virtual lighting design competition based on a concept by lighting designer Durham Marenghi and his partner Jennie. Whilst planning this event of course we had no idea that England would enter a second lockdown and given that colleges are still open giving our students access to lighting systems, we feel that this is actually a very appropriate time to launch our WACKIT competition.

Set & Light | Winter 2020

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Two side-by-side competitions for professional and student lighting designers from UK and Ireland to create a virtual video of their work from a model of the Prestigious Royal Albert Hall. CAST will support WACKIT with Free WYSIWYG Educational Licences for the period of the competition for Professional LDs and in the case of our student friends a 12-month FREE Design Educational Licence. There are three amazing prizes to be won in both competitions (Professional and Student) and the initial judging VIP LD jury of Paule Constable, David Bishop and Davy Sherwin chaired by Durham Marenghi. Durham explains further “As the clocks go back and we enter a darker time in our lives we wanted to support our peers, both old and new, by offering something creative and worthwhile to do. We hope that the WACKIT competition will be embraced by an industry hard done to, bring a little

“I would like to thank all the participants, not only the winners, and hope to continue on this inspiring trail to explore lighting variations and potential and learn from the incredible variety of creative solutions,” said Dedo Weigert, cinematographer and inventor of the dedolight system. Check out the winning entries at:

DE SISTI A bright colourful future with De Sisti

With all of the issues facing us at the present time, a major take away some of the gloom that has befallen our industry across most parts of the world.

that abounds in the UK and Ireland; a massive thank you to CAST and Claypaky for bringing this vision to life. Stay safe, stay sane!” Find out more at wackit-contest.com.

Cyclorama lights, fresnels and softlights is complete and available, with completely new products also being launched. The reason why it has taken us so long to produce these

DEDOLIGHT

solutions that would be consistent and remain the same over long periods of time. But, most importantly, listening to the

Winners announced for the second Dedolight International Lighting Competition

Dedolight is proud to announce the winners of the second Dedolight International Lighting Competition.

directors that “whilst colour is important for most of the time, we need you to continue producing real Vari-White solutions; for shoots where we need some colour, we can select these but again, they must be completely consistent

required to produce an interesting image or scene to demonstrate their cinematography skills, using dedolight equipment. Equipment has been provided by dedolight through their international dealer network. The results are stunning. A wide range of movies have been produced, showing an extraordinary array of different lighting styles and techniques, and how the results have been achieved. Running a competition of this magnitude has not been without its challenges, particularly in the middle of a worldwide pandemic. Regardless, despite several delays and extensions, the competition did go ahead with equipment

of fresnels and softlights has been adopted in their hundreds by most of the TV studio-based drama productions and many

results are in the winning entries.

produce the effects of a variety of other lighting sources, such

longer requiring any changes to the camera matrix reducing time in colourisation. It should be noted, that in the Colour versions (+C) this colour temperature range is extended from

The design parameters of the colour range was to provide a solution that for much of its life would produce consistent Kelvin such that user budgets are not used up in being forced to purchase consistent white with a high CRI and the correct both facilities. The lighting directors pleaded with us to solve this problem by making all our sources available in highly

(left)

Set & Light | Winter 2020

sources in addition hence the name VW+C that offer a sensible Red, Green, Blue and Amber colour pallet so that a wide range of colours are available.

sponsor news

The same Bi-Colour Vari-White Led’s remain the same but now with a new addition of Red, Green, Blue and Amber Led’s producing unmatched white colour output with supreme saturation. The colour sources are revolutionary as they are phosphors-based, which allows stability through all situations and lifetime of the LED to decide with all of the on board processing systems now well developed could there be improvements that would produce better results and offer end user facilities that would methods of measuring that would enable users to compare one manufacturer’s solution to others? integrated LumenRadio TimoTwo facilities for wireless DMX operation with De Sisti adding the option of control via

located behind the LED sources directing the direction of the light. Some 48 of these have been utilised in the new large studio at the BBC’s new broadcasting centre in Wales along with many of the Vari-White fresnels and softlights mentioned earlier. The Piccoletto range has been further enhanced after the Vari-White version was launched in 2019 and having seen a high uptake in lighting radio studios that are being streamed on line. The range now includes a colour fresnel ideal for washing backgrounds and for use as a practical in drama stages. The Piccoletto is 30 watt and uses red, lime, cyan and sapphire sources to ensure that a complete and even spectrum is produced. Colour temperature correction from 1,650K to 8,000K is provided together with the same 360-degree Hue and 0-100% Saturation with total power consumption being only 35 Watt. Late in 2019, to enhance still further the range for studio

functions from a high grade backlit LCD display through seven Sisti Vari-White LED engine and precise +/- Green correction functionality produced with the proper LED to grant the each source Tungsten white, Daylight white, Red, Green, Blue and Amber. • Preset Gels + Referral source meaning that the user can select a gel colour by number and then decide whether this is lit using Tungsten or a daylight source • Vari-White mode + four colors including +/- green and =/cyan to correct the output to match other manufacturers led’s where high green or cycan is present in the output. • Hue Saturation intensity with 360-degree Hue and 0 to 100% saturation. colours instead of only RGB). • Effects Mode, where a wide variety of effects are included • Source Mode, where preset sources can be set-up. The colour range is available in the following versions of Fresnel’s 120W F6VW+C, 160W F7VW+C, 200W F10VW+C and the following Softled’s all with integral drivers and ballasts 120W SL2VW+C, SoftLed 4VW+C 180W, Softled 8VW+C 360 watt and the Giotto VW+C 180 watt cyclorama light.

G4VW+C or in Vari-white only mode G4VW for use in illuminating large backdrops. The clever solution of lighting

Set & Light | Winter 2020

The driver can be removed from the back of the unit and remoted up to 30m distance from the light. This feature is helpful for productions when the Spacelight is not easily with precise colour tuning and the +/-green correction allow users to provide have perfect colour matching. the various lockdowns around the world, include Discovery TV in Stockholm, Discovery and their new Cycling Channel in Bath, the Scottish National Party TV studio in Edinburgh, broadcast centre in Cardiff and the Ziff Davis gaming channel with two new TV studios

Latest in the colour range

In the City of London, Rai TV Studio 5 in Kuwait and the second studio for Al Ghad Arabic channel based in Acton, West London have all been based around De Sisti Vari-White using the latest in the colour range of softs and fresnels. De Sisti has completed the design of a purpose-built lighting lighting set up by the lighting director during the installation The touchscreen-based system utilises a screen-based presets that can fade in and out, preset memories for colour temperature allowing the user much easier access than conventional lighting desks. Four such systems have been installed in the past four months. To assist with low height studios, De Sisti has made its Piccoletto range, The Softled 1 and Softled 2 and the F4.7 Fresnel, all available with special short yokes to lift the

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

tumble and spin while manipulating the zoom; it looks like a

season of Dancing with the Stars

Dancing with the Stars Dancing with the Stars

glitz of Dancing with the Stars

Dancing with the Stars Dancing with the Stars

Set & Light | Winter 2020

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Elation illuminates Dancing with the Stars

often remark about it.” Marc Librecht, a lifelong lighting industry pro who came create a leading brand by offering value and taking care of customers,” he said. “We’ve always been about people, about how we can make a better solution together or solve a problem for a client. That’s what drives us.” Librecht says that caring attitude starts with the Elation European team. “The fact that we’ve kept our core team together over the years says a lot about who we are. We’re a team that genuinely cares about each other and supports and relies on one another. That’s a big reason behind our success.” Another employee who has been with the company since Hamers. “My goal from the beginning was to produce really

into them and they really come to life on moments when we need them to.” Dancing with the Stars has been a mainstay of American reality television for 15 years. With changes implemented last year designed to freshen up the format, and a new host in Tyra Banks this year – not to mention a host of stunning lighting designs for each performance – ABC’s staple Monday night show has enjoyed renewed energy with its best ratings in years.

professional market here in Europe,” he states. “The challenge was to have the right products for the European market. There was a lot of competition in that area of the market at

From new kid on the block to top industry player: Elation Europe marks a decade of lighting achievement

company to use its Platinum lamps and it allowed us to produce more compact units but still with a lot of output,” states Hamers, who says that the smaller lamp size and the bright, homogenised beam it created opened up a lot of

Elation Professional B.V., better known as Elation Europe, has come a long way since opening its European headquarters

market, a decade of development in Europe that can only be described as a genuine success story. to one of the top players in the European entertainment “It’s really incredible to think how much has changed in

quality products that had more features while keeping the size down. We put a lot of energy into it so that we could compete here and I think we’ve reached our goal.”

after other companies followed our lead.” A successful range of products using Platinum lamps followed like the Platinum FLX. “We also worked closely with Philips to lengthen the lamp life by creating more sophisticated cooling systems, systems that we’ve patented. In the end, we got some excellent products out of it and we’re still enjoying the fruits of that cooperation today.” Elation has showed its innovative nature often over the

Manager for Elation Europe and one of a handful of employees support, a coffee machine and not much more! I was on the phone constantly, driving to customers all over Europe in a small van, doing demos every day and introducing the Elation companies, anyone who would listen. We worked from early morning until late in the evening driven by a real passion for what we were doing. It was challenging but we were laying the groundwork for relationships that I still have today.” plane, always giving a little bit more. That has been one of our

Set & Light | Winter 2020

Innovation and hard work helped fuel consistent development in Elation Europe’s early years but growth also came in greater leaps like when Elation launched the Proteus in Europe to new levels. “The Proteus line opened a lot of doors for us into the top end of the market,” Librecht states synonymous with weatherproof lighting. “And the

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

900W. The focus on cutting-edge technology has led to a string of industry accolades for innovation with Elation’s Proteus™, Artiste™ and Fuze lines all multiple award winners. Today, Elation offers what is arguably stage lighting’s most complete toolbox and Elation Europe enjoys a position as one of the gamechangers in the entertainment lighting market in Europe. To mark the company’s decade of achievement in the European entertainment lighting market, Elation Europe will be celebrating the milestone with a variety of special activities in 2021. Like so many other events in 2020, Elation Europe has decided to postpone celebration activities until 2021 when larger groups can again gather safely. “We look forward to the time when we can celebrate our decade of success with our valued partners and friends in the industry,” ends Librecht.

ETC

ETC’s Sensor3 Power Control system brings high quality power and dimming control to the broadcast station. The studios have also been upgraded with ETC’s network infrastructure and Response Mk2 DMX Gateways as well as implementing a DataTrack Backbone into the three-metre high space. The DataTrack Backbone has a strong aluminium

visual impact that can deliver maximum light. Lighting Systems Manager at Oasis Enterprises, Karim Abdel Massih adds: “We have worked closely with Al Arabiya for many years and they already have experience of the high quality that ETC products bring. We know that these new additions to its latest TV studios will work well and look forward to seeing new ETC product releases.”

ETC ‘rep agency’ adds broadcast to portfolio and appoints two new hires ETC representative organisation 3LR Lighting has added

Jeremy Roberts, Regional Sales Manager for the UK and supporting the broadcast sector for ETC and especially well-timed as we have recently released our innovative new unique eight colour LED mix and intense brightness.” The addition of broadcast lighting and control goes alongside 3LR’s work in the growth of ETC’s architectural product lines. 3LR acts as an additional resource to ETC’s

ETC systems control lighting for new TV studios in Dubai

ETC lighting solutions have been selected for the brand new TV studios of leading news channel in the Middle East, Al Arabiya. ETC dealer Oasis Enterprises supplied the equipment including a Sensor3 Power Control system, a Gio @5 Eos-family control console, Response Mk2 DMX Gateways and DataTrack Backbone system. The state of the art studios, located in Dubai, had the full ETC lighting equipment installed in just three weeks with the help of Oasis Enterprises who have worked in collaboration with Al Arabiya for almost 12 years. Lighting manager at Al Arabiya, Safwan Harcouss commented on the installation: “The news programme is a 24-hour show and requires the best and most reliable equipment. Having worked successfully

progress the company’s studio and architectural products in the market. As part of this extension into a bigger market, 3LR Lighting Grubb joins 3LR as Business Development Manager for Barry has worked with some of the biggest names in the imaging industry, both in the UK and overseas, and has forged lasting relationships with stakeholders at all levels. He has contributed to a host of large productions and delivered a wide range of theatre and broadcast solutions with leading brands.

additions will perform well.” Last year, the Al Arabiya news station added an Eos Ti console’s powerful features have proven valuable in controlling the lighting across multiple studios at a time. Now, with the addition of a Gio @5 in the new studios, the lighting team at Al Arabiya can take full advantage of the range of options available with Eos software in a more compact but versatile console.

3LR business development manager Barry Grubb (left) and business development manager for architectural lighting Sean O’Callaghan

Set & Light | Winter 2020

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BGT’s virtual audience (© Russ Grubiak)

Sean O’Callaghan takes up the post of Business Development Manager for Architectural Lighting. Sean’s career has seen him occupy a variety of sales and marketing roles for several global lighting manufacturers, during which time he has acquired a thorough grasp of the architectural lighting market. Sean’s background in street, amenity and area lighting, naturally steered him into architectural, commercial, decorative and bespoke projects on every scale. 3LR Managing Director Matthew Lloyd adds: “We’re very pleased to be adding ETC’s broadcast lighting and control products to our portfolio and welcoming Barry and Sean to the team. With their combined industry expertise and our team’s experience in the sector, we look forward to building further customer relations and enhancing ETC’s market presence.”

ETC expands LED driving solutions with ArcSystem Pro D4 CV Drivers

ETC announces a new addition to its award-winning ArcSystem Pro luminaire platform, the D4 CV Driver family. This new line of drivers is designed for use with 24 VDC constant voltage LED loads, such as linear tape applications. ArcSystem products are renowned for ease of installation as well as quality of light and dimming—and the D4 CV driver family is no exception. The D4 CV driver line complements the recently introduced , creating an industry-leading range of LED driving solutions for a variety of installations. The new D4 CV driver line includes both wall-mount and rack-mount options, with four channels per driver, and the ability to reach maximum load capabilities of 528 W across four channels. 38

Set & Light | Winter 2020

The D4 CV Drivers are available in the following three sizes: • 4 CV 150 Wall-mountable, with four outputs of up to 50w per output or 150w with all outputs combined • D4 CV 350 Wall- or rack-mountable, with over 72w on a single output or 264w with all outputs combined • D4 CV 700 Wall- or rack-mountable, with 146w per output or up to 528w with all outputs combined

GREEN HIPPO Hippotizer powers Britain’s Got Talent Britain’s Got Talent wowed millions of viewers with a spectacular LED screen stage set and virtual audience, powered by Green Hippo’s Hippotizer Boreal+ and Karst+ Media Servers. Three active Boreal+ and one Karst+ were used for the main system, with the same amount again running as backup for the live show. One Boreal+ fed the main stage LED display, driving 6K content to 3mm screens from supplier Anna Valley, with another Boreal+ dealing with camera overlay effects and live camera shots. The Karst+ fed Art-Net data from two lighting consoles to an array of SGM LED Tubes. present in the studio due to the COVID-19 pandemic. In substitute, more than 1,000 live feeds from viewers at home were placed into a new LED ‘audience wall’, positioned behind the judging panel. This was driven by the third Boreal+,

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

with data fed in via NDI by broadcast graphics specialist, Happy Graphics. The virtual audience was collated from PCs using real-time communications (RTC), and after being brought into the network via NDI was applied to a Hippotizer layer. Using

MATTHEWS

screens, using tint and colour match to unite them and make the virtual audience look harmonious with the video content and graphics, which were created by Ben Foley and Alex King at Buckloop Films. Russ Grubiak served as Hippotizer programmer for the event. “As usual, we chose the Hippotizer because of the ease and speed we can make changes to content, and use layers to build up sequences that seem to be thrown at us while rehearsing,” he says. “We always face very challenging timescales, and I don’t like to say it can’t be done! The producers expect it to happen and using Hippotizer, we and manipulating colour could make a typical ‘conference call’ of at-home audience members look totally glamorous and upbeat.” Grubiak says he utilised a number of Hippotizer software broadcast: “Once we have the lighting and staging in place, I use the effects to tune brightness, masking, mirroring and then a few additional visual effects. The on-board generators seem to use little resources in the engine, but give us good The upgrade to the Boreal+ and Karst+ Media Servers was actioned by Bill Peachment of Little Mouse Productions, in order to meet the show’s demanding requirements. This was a big show, and the team needed power and offer just that – they’re a perfect solution and the delivered great results.” Reports suggest that Britain’s Got Talent producer, Fremantle, compensate for the lack of a live audience, and in terms of sheer visual impact, the team went all out to deliver, alongside lighting designer Dave Davey and moving light programmer Alex Mildenhall.

KINO FLO Kino Flo brings back ‘FLO for LED Trade-In’

Kino Flo, in association with Cirro Lite, has relaunched its popular ‘FLO for LED Trade-In’ promotion. Kino Flo Lighting Systems is offering the Trade-In special when customers each LED lighting product when they return a qualifying Kino Flo legacy product of similar design. For example, customers can trade in a complete Kino Flo LED Tube System ,Celeb ,Diva Led or Freestyle LED at a special Trade In price . Please contact your Kino Flo reseller/agent or Cirro Lite (Europe ) Ltd for details.

New 40"x40" Matthshield Floppies protect crew, talent and gear

Due to the popularity of Matthews practically-sized 40"x40" Flags and Floppies, the company adds the new Matthshield Floppy to the lineup. The quick set-up clear Floppy facilitates protection for crew, actors and gear. Like the rest of the 40"x40" line, it is portable enough to travel in a hatchback car and compact enough to work in tight locations. Matthshield Floppy can fold out to 40"x80", yet weighs just 5lb so it makes an easily manoeuvrable partition. It features clear marine vinyl which functions as a UV protectant and comes with a 3/8"-pin for easy mounting to standard stands and grip gear. This no-sweat solution can effectively screen cameras, crew and talent from splattering special effects or act as a safety barrier to help protect against COVID-19 transmission. The rugged 40"x40" frames are built with 3/8" stainless steel tubing that’s securely welded for long life.Premium sturdy-gauge, optically clear marine vinyl has been specially selected to withstand the elements from hot sunlight to extreme cold without yellowing or becoming brittle over hinge Floppies (expand to 40"x80"), top hinge black/white

Set & Light | Winter 2020

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Build distancing dividers fast: introducing Matthews’ Sheet Plate Adapter Kit

Matthews Studio Equipment offers a smart solution for some of today’s on-set and real world issues. The new Sheet Plate Adapter Kit makes it easy to quickly build custom dividers to protect against virus transmission, plus it offers a convenient holding method for standard grip equipment. MSE’s new Sheet Plate Adapter Kit is a versatile bracket mount that securely adds a welded 3/8" pin to any sheet material such as Plexiglas, plywood, lauan, Masonite or a variety of fabrics like vinyl to create safe on-set barriers that can be easily sanitized. Two 3" steel plates sandwich the material via four bolts, providing an extremely solid connection. Small but mighty, this problem-solver can also help with camera protection, custom Matthews Sheet Plate Adapter Kit is available through the company’s worldwide dealer network.

ROBE Robe wants to be a millionaire!

Who Wants to Be A Millionaire has been a TV favourite – and sometimes talking point – for years. For the 2020 Israeli edition, broadcast on Channel 12, lighting designer Ofer Jacobi was asked by producers July August Production to light the show again, 20 years after the last time he’d done so, which Ofer was absolutely delighted to be working again after the coronavirus pandemic has all but shut down the entertainment and production industry worldwide! This time, set designer Oren Hanan and show director Amir Ukrainitz at Mizmor Petah Tikva Studios about 10km east of Tel Aviv. They studied the UK’s latest Who Wants To Be A Millionaire and followed some of this style book with a few adaptations as Ofer implemented some tweaks so both effects lighting and white light elements had more impact. The most powerful and suspenseful moments, Ofer stated, were when host Erez Tal revealed whether the answer was correct or not, so he paid special attention to crafting these cues in addition to building up the general lighting which had to look slick and contemporary with some classic Millionaire touches. This approach also dictated where he hung the moving lights, which were supplied by Danor Theatre and Studio Systems and comprised 18 x MegaPointes, 24 x Spiiders and 40 x LEDBeam 150s. Twenty-four of the LEDBeam 150s were rigged on top of a circular truss directly above the host and competitors, with between the different levels. The 24 x MegaPointes were “key players” in the show, programmed to do some dramatic tilt movement cues with gobos immediately after the questions were asked ramping up the atmosphere. 40

Set & Light | Winter 2020

The 24 x Spiiders were used as back lights mostly in a sumptuous deep blue colour across the audience, and they were also strategic key lights for the audience. All of these The LEDBeam 150 he loves for its small size and brightness. The Spiider is “simply the best wash light on the market right potent wash beam is a regular on his lighting plots. As for the MegaPointe, “So much has been said about this best ‘hybrid’ around!” treatments looked and functioned very well. Lighting was programmed by Ronen Ben Harosh who used two Compulite Vector lI consoles, connected in session for backup and to give Ofer control of the white lights combined with his moving lights. Programming challenges included getting the best lighting the array of choices offered by the Robes, or working alongside Ofer who is “never short of ideas” commented his FOH collaborator. Synching the lighting consoles to receive MIDI triggers from commands for sound and video related to screen content was an intense talk that took plenty of work and lateral thinking. Additionally, more signals from the lighting console were used to access the media server operating a series of pixel SMD effects inbuilt in the set – so there was a lot of synching happening! Ofer and Ronen WYG’d and pre-programmed much of the show in advance, which saved basic time on site that they The studio was operated with strict social distancing regulations: everyone had to wear masks and frequently wash and gel their hands. Anyone who’s been to Israel will know that hugging, close contact and often animated talking is part of the culture, so the environment was very different from usual. However, everyone was just overjoyed to be working again! “It was like receiving breaths of air after being choked for several months,” stated Ronen. “Yes, it was like being ‘alive’ again,” chips in Ofer “beyond fantastic to be back working with our valued friends and colleagues.” These included “all-round great guy” Inon Tal who programmed the games computer according to the show’s international format; helpful and informative video wiz Yahav Tene, who looked after the media server, and Ziv Lemor AKA “The Belgian” who was head of lighting on set, “We could not have done without him!” declares Ronen, while Ofer added that Danor’s rental department were “fantastic to work with as always”. The set was built by Zebra and the show’s main producer was Idit Mistriel-Eshed.

Robe dances with the stars in the USA

Dancing With The Stars (DWTS 178 x Robe MegaPointes on the lighting plot as part of lighting designer Tom Sutherland’s precision-crafted epic look for the

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

Tom’s company, DX7 Design, was initially asked to develop lighting for the 2019 season by executive producer Andrew Llinares. He, Tom, and director Phil Heyes – who has been on DWTS together including a while back on X-Factor in the UK. Tom, who also lights a variety of top music artists, is known for his skillful blending of two very different lighting aesthetics; the drama and thrill of pop and rock with the detail and discipline needed for slick TV lighting. For this, he and DWTS creative director Justin Mabardi discussed several tasks and challenges for lighting including harmoniously working with the numerous digital set elements, and, most importantly, helping recreate the impression of a live audience! The set – including the extensive video elements like a giant

being achieved with additional lighting and screen elements. As

Florian Wieder. Tom enjoys working with Florian because of the latter’s great eye for how lighting can be integrated into set architecture, as was the case for this production with a series of scenic girders running the length of the performance

stated Tom who chose them because he needed a dynamic

This is where a quote of the 168 MegaPointes were rigged. Felix Lighting also supplied 16 Robe BMFL WashBeams to the show plus four BMFL Blades which are running with four separate RoboSpot base station systems for remote operation. Additional Robe products are brought in weekly Felix Lighting. The absence of a live audience threw up the massive and atmosphere of having real people there, a goal that is

to accompany the chemistry and choreography of the A large upstage video wall tracks open/closed for host entrances and exits, while a large LED PAR can wall behind it is a nod to classic dance hall style. Downstage of this are some art deco scenic towers which also track on and offstage. video screens covering some of the audience seating, and the pairs of angled scenic beams – all with MegaPointes rigged to the undersides.

endless range of effects needed throughout the series, in which the creative team can imagine over 150 different signature looks for different dance routines, each of which has to be beautiful, appropriate and distinctive. More MegaPointes are sitting in rows at audience head level along two tiers of balcony rails (for upper and lower levels), This layered positioning and the scenic/lighting elements can also assist in forming more intimate looking spaces on camera, so viewers catching the show on TV barely notice that a live audience is absent. The MegaPointes create those big elegant, structural looks that they are so good at throughout the show, and while Set & Light | Winter 2020

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Coldicott and Dominic Adame and the account manager at Felix is Nicole Barnes. galvanizing experience for everyone. The crew is all tested

can avoid mixing. Masks are worn at all times and they also rigorously social distance.

props changeover in a couple of minutes – are not necessary to limit physical proximity and the need to get close to one another! As with every production that is active and working right now, all involved in Dancing With The Stars – production, crew, creatives, and artists – are extremely happy to have the under very altered circumstances. the crew again. Thanks to all the production team for their tireless efforts over the past few months on ensuring we are Nicole Barnes from Felix Lighting comments, “We at Felix

nothing can quite replicate the aura of fans enrapt in the performances, this multi-level, carefully thought-through and applied optical ‘magic’ works very well. “The audience is such a fundamental part of the show,” says Tom, admitting that he was nervous to start with, and “delighted” that all the extra lighting “has had the desired impact.” The BMFL WashBeams are rigged on two vertical towers left and right of the pros arch, ideally placed for assisting in closing the set down for more intimate and dramatic moments. Tom needed a light source that was “Bright,

on DWTS relevant, fresh designs, especially for such a crucial season. Everything on Tom’s lighting plots translates so well through the directed magic of the camera lens. With the mandatory elimination of a studio audience, there Tom’s lighting design, along with very thoughtful scenic and video elements, have captured and preserved that fantastic Witnessing these shows air, we all remain ‘cautiously

"We see DWTS cha-cha, foxtrot, and tango at a time!”

A Funny Thing in Malmo … crew and cast of Funny Girl at the Malmo Opera – was ecstatic shots. “It’s much easier using this system to highlight performers with colour, a texture or an effect as needed,”

Funny Girl went ahead and

imaginative with them! At the control platform, he also has a feed of all the

provide an ingenious solution to what was a complex staging requirement! Recognising the critical social and cultural value of live entertainment, especially during the pandemic, Funny Girl,

the operators are pointing to ensure they are on target every time. Tom is working alongside a talented DX7 Design team comprising lighting programmers Joe Holdman and Nate Files, and they are using a grandMA control system, and Hunter

two years in advance and completely sold out many months to push ahead in delivering all their acclaimed seasonal and spent.

Set & Light | Winter 2020

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

The venue is in the fortunate position of receiving state and regional funding rather than being fully reliant on ticket revenue to sustain, a situation making this model a viable option. the massive 1,232 seat auditorium, while everyone else who had booked for that show could have the option of a live stream – via the Malmo Opera website – for free. director Ronny Danielsson having worked with him before on the hugely popular Kinky Boots also at Malmo Opera, and on Shakespeare In Love worked with Czech Republic-based set designer Martin Chocholousek before on Kinky Boots, so as a creative team, the three already enjoyed a great synergy and understanding in creating visually exciting environments. Malmo Opera has an excellent and very large house covered there, however the ambitious set posed some real challenges to lighting! pit covered up and used as a downstage extension to the performance area and the show now having to look great on camera as well as live, Fredrik combined his vast experiences as both a television and theatrical LD to sculpt orchestra pit which reached out into the auditorium with seats tightly packed all around it, making getting any side light onto it near impossible without blinding the audience. used extensively during Funny Girl, and an absolutely key part

with pros arch, side walls, multiple backdrops and masking drapes plus detachable sides so the whole shape can be changed. challenge.This sub-stage is moved on two motorised wagons underneath which truck upstage/downstage, all built and constructed in house at the Opera together with a bespoke remote controller. The stage is also rotated on the revolving stage at certain moments, all these various moves presenting a set of completely different views and angles, so it needed lighting just like any properly independent stage area with multiple positions, looks and scenes. furniture serving throughout the performance as a backstage corridor, a restaurant, a hotel suite, a stage for one of the big production numbers, etc. In a few scenes, it even becomes the

praise from fans and media alike and proved a big streaming hit. Fredrick describes the whole vibe of being back in a show creation environment as “awesome”. the cast, crew, orchestra, and everyone working at the theatre to opening night. Fredrik also relished the chance to light this particular work, with its amazing stagecraft and epic songs like People and No Rain on My Parade. “Regardless of how many people were in the audience, we were all united and determined to make this a fantastically memorable show,” he says. Set & Light | Winter 2020

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Of course, they also followed strict COVID protocols to ensure this was delivered safely. Distance was maintained at all times, all the close contact kit like mics were rigorously cleaned and sanitised. The canteen was divided into two sections and each department took meal breaks in shifts to ensure enough space for everyone to eat and distance. There were limitations on how many people could be in the lighting booth at any one time, but luckily the opera is a substantial building with lots of space everywhere, so none of this was an issue! More dressing rooms were added, and the quick costume change areas were expanded so distance could be maintained, with crew wearing masks and PPE in all areas where this was necessary. Fredrik loves working at Malmo Opera, one of the foremost producing houses in Sweden with a great reputation for world-class productions. “It has a fantastic lighting department,” he commented, citing his two “brilliant” lighting operators Katarina Hansson and Anna Björklund who are running Funny Girl’s lightshow on their grandMA control system. As with the rest of the crew there, “It was an absolute joy to be working there again!” he concluded.

VERSION2 Entrepreneur, Nigel Wray invests in television lighting experts Version 2

Version 2 Lights Limited (“Version 2”), the UK’s foremost lighting rental specialists for the television, broadcast and entertainment media production industries, has announced the completion of an equity investment deal with Nigel Wray and his team. Version 2’s strategic plan to grow its position within the UK production community through an expanded equipment inventory and enhanced company infrastructure. “We are delighted that Nigel has chosen to join us at this important stage in the evolution of our company,” says Nick Edwards, Managing Director of Version 2. “Nigel has an incredibly strong commercial background working with high club. His considerable business acumen which, importantly for us, includes a solid understanding of our industry, makes him an ideal partner. His involvement will allow us the scope both to build our equipment offering and to further develop our range of client support services”. Nigel Wray comments “Small entrepreneurially-led businesses are the true lifeblood of this country. Without those little acorns where will the next mighty oaks come from? We’ve been impressed with Nick Edwards and his team and we’re delighted to join them on the journey to hopefully building a long-term success story.” Working alongside some of the industry’s most prominent Lighting Directors,Version 2 services a broad range of productions, including Strictly Come Dancing, I’m A Celebrity… Get Me Out of Here! and The Jonathan Ross Show. 44

Set & Light | Winter 2020

Since its inception in 2016, the UK-owned company has enjoyed a carefully managed growth and has recently completed a move to a state-of-the-art facility in Reading. The new partnership, along with the availability of fresh funding, will allow the company to reinforce its market leadership position and maintain the ongoing policy of investment across all areas of its business. Nick adds “We have some exciting plans for the future. We are committed to strengthening both our team and our equipment inventory as we continue to support the growing number of productions we service. Having Nigel on board as investment will deliver”.

WHITE LIGHT White Light helps bring game changing virtual world to life conference, creative consultancy Fusion Comms produced a ground-breaking new digital delivery format. The BDO RETHINK Festival, which is traditionally held as a bi-annual face-to-face leadership event, was instead broadcast to a global audience on Monday 2 November and Wednesday 4 November 2020. As a renowned leader in pioneering xR innovation solutions, Fusion Comms partnered with White Light (WL) to create a game-changing virtual world for the event, within its SmartStage broadcast facility at London’s Science Museum. WL collaborated with Fusion Comms and its digital facilitate three festival broadcasts to BDO’s Managing Partners from across the world. The visual identity for the xR world was conceptualised around the RETHINK Festival’s existing logo and branding. An entire virtual infrastructure of festival stages was built with the use of digital assets created in a Media Server system callers, in studio presenters and XR and AR graphics. The use of Augmented Reality enabled multiple cameras to track the presenter, whilst the AR festival environment worked in sync with the cameras so the presenters could ‘walk’ from one stage to another. Delivery of the plenary sessions included the live, full-body environment. Three presenters were transported from studios in Canada Washington DC and Israel, with two more from their homes in Scandinavia. The whole conference was streamed to a worldwide audience of over 2,500 delegates via BDO’s online platform partner, Q Creative. Jonjo Glynn, WL’s Venues Director, explains: “The BDO RETHINK Festival was one of the most technically advanced virtual events we have ever delivered. We upgraded the x 3m SmartStage studio at the Science Museum, to enable high-res dial-in participation. We also utilised a Jib camera for

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

SmartStage technology

Howard Hour

Russell

The Russell Howard Hour. The company also helped create the technical The Russell Howard Hour and learning. throughout the studio. This includes those positioned behind

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The Russell Howard Hour

The Russel Howard Hour.

Set & Light | Winter 2020

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

White Light and strategic partners ELP and SFL in perfect harmony for BBC Proms 2020 at the Royal Albert Hall Like many iconic events, the BBC Proms, which turned 125

to its home at the Royal Albert Hall, the extraordinary season this year combined live performances with archive footage of physical attendance for the live shows and instead the audience tuned in via TV or radio from their homes. Technical solutions specialist White Light (WL), with strategic partners ELP and SFL, supplied the lighting and video elements for the Proms 2020 Live run. While planning commenced prior to the pandemic, the creative and technical teams, led by Production Manager Steve solution. A range of options were explored, enabling the festival to go ahead in accordance with guidelines, resulting in content completing the programme. Darren Fletcher, Sales Director at ELP says: “Without a live audience in the Royal Albert Hall, we had to think more creatively about the aesthetics that could be achieved through lighting to enhance the camera shots. We worked closely with lighting director David Bishop and gaffer Mark Gardiner, who suggested using LED Pars to light from the audience side,

which worked well and highlighted the venue’s stunning architecture. Over the past few years of this event, we have increasingly been specifying LED units over tungsten, and this year the addition of the Martin Encore Performance CLD was highly effective.” SFL supplied over 150 panels of Desay M6 LED screen for the stage backdrop for the season and the large screens for The Last Night of The Proms. All processing was carried out using a Barco E2, while Green Hippo Hippotizer v4 media servers fed the content onto the backdrop LED screen. Craig Lawrence,Video & Projects Director at SFL adds: “It’s always a pleasure working with the BBC Proms team, this year we had to create an environment for a broadcast audience rather than a live audience in the hall. As AV Partner at the Royal Albert Hall we were especially pleased this year to have the opportunity to work with Ollie Jeffery, Head of Production and Technical at the Royal Albert Hall comments: “This historic BBC Proms was our largest event since the front doors closed at the start of lockdown in March. The amazing team of suppliers, including WL, ELP and SFL, all worked so hard to keep everyone safe and ensure the building was COVID secure. “With our livelihood currently at risk, it was a joy to feel the buzz around the building and see such determination to show the world that music is still alive.”

society committee Chairman + Sponsors’ Liaison Bernie Davis 07860 662 736 chairman@stld.org.uk

Deputy Chair David Bishop 07971 796 742 davidbishop@stld.org.uk

Secretary Stuart Gain 07774 161 996 secretary@stld.org.uk

Treasurer Mike Le Fevre 07956 305 662 treasurer@stld.org.uk

John O’Brien 07717 170 288 admin@stld.org.uk

Committee Member + Deputy Treasurer John Piper johnpiper@stld.org.uk

Magazine Editor + Sponsor Administration Emma Thorpe 07850 709 210 editor@stld.org.uk

Publicity Andrew Harris 07973 745 583 publicity@stld.org.uk

Website Ian Hillson ianhillson@stld.org.uk

Student Liaison Nathan Mallalieu 07805 461162 nathanmallalieu@stld.org.uk

Membership Iain Davidson 07592 885444 members@stld.org.uk

Exhibitions Alan Luxford 07867 536 522 alanluxford@stld.org.uk

Paul Middleton 07720 446 921 paulmiddleton@stld.org.uk

Jane Shepherd 07710 511 547 janeshepherd@stld.org.uk

Bruce Wardorf 07702 741 338 brucewardorf@stld.org.uk

John King 07860 759 294 johnking@stld.org.uk

Robert Horne (co-opted member) 07762 562 434 roberthorne@stld.org.uk

Set & Light | Winter 2020

sponsors’ directory

Please mention Set & Light when contacting sponsors

A.C. Entertainment Technologies Ltd (Jonathan Walters) Centauri House, Hillbottom Road, Sands Industrial Estate, High Wycombe, Buckinghamshire HP12 4HQ

Anna Valley (Mark Holdway, Doug Hammond) Unit 13, Mount Road Industrial Estate, Feltham, Middlesex TW13 6AR

ARRI CT Ltd (Siobhan Daly, Lee Romney) 2 Highbridge, Oxford Road, Uxbridge, Middlesex UB8 1LX Tel: 01895 457 000 ~ Fax: 01895 457 001 ~ Email: sales@arri-gb.com ~ Web: www.arri.com B360 (Barry Denison) Gaddesden Home Farm Business Centre, Bridens Camp, Hemel Hempstead HP2 6EZ

BBC Studioworks (Karen Meachen) Mob: 07970 115 998 ~ Email: karen.meachen@bbcstudioworks.com ~ Web: bbcstudioworks.com CHAUVET Professional (Matt Hallard) Brookhill Road Ind. Estate, Pinxton, NG16 6NT

Chroma-Q (Jonathan Walters) Centauri House, Hillbottom Road, Sands Industrial Estate, High Wycombe, Buckinghamshire HP12 4HQ Tel: 01494 446 000 ~ Fax: 01494 461 024 ~ Email: sales@ac-et.com ~ Web: www.chroma-q.com Cirro Lite (Europe) Ltd 3 Barrett’s Green Road, London NW10 7AE Tel: 020 8955 6700 ~ Fax: 020 8961 9343 ~ Email: j.coppen@cirrolite.com ~ Web: www.cirrolite.com Claypaky S p A

Dedo Weigert Film GmbH 3 Barretts Green Road, London NW10 7AE Tel: 020 8955 6700 ~ Fax : 020 8961 9343 ~ Email: info@cirrolite.com ~ Web: www.dedolight.com DeSisti (Nick Mobsby) 25 Rowtown, Addlestone, Surrey KT15 1EF Tel: +44 (0) 7785 233073 ~ Email: nick@desistilighting.co.uk ~ Web: www.desisti.it Doughty Engineering Ltd Crow Arch Lane, Ringwood, Hampshire BH24 1NZ Tel: 01425 478 961 ~ Fax: 01425 474 481 ~ Email: sales@doughty-engineering.co.uk ~ Web: www.doughty-engineering.co.uk Elation (Larry Beck, Marc Librecht) Elation Professional B.V., Junostraat 2, 6468EW Kerkrade, The Netherlands Tel: 00 31 45 5468566 ~ Mob: +44 (0) 7495 051413 ~ Email: info@elationlighting.eu ELP Broadcast & Events (Darren Fletcher) Unit 3A, Space Studios,Vaughan Street, Manchester, M12 5FQ

ETC (Rory Frazer-Mackenzie, Jeremy Roberts) Electronic Theatre Controls Ltd, Unit 26-28,Victoria Industrial Estate,Victoria Road, London W3 6UU Tel: +44 (0)20 8896 1000 ~ Email: uk@etcconnect.com ~ Web: www.etcconnect.com

Set & Light | Winter 2020

sponsors’ directory

4Wall Entertainment (Simon Stuart, Mike Oates)

GLP German Light Products UK

Green Hippo

Hawthorn (Dave Slater)

JL Lighting

Key Light Hire Ltd

Kino Flo Lighting Systems

LCC Lighting

Lee Filters Ltd

Limelite Lighting

Vitec Videocom Lightpanels

LSI Projects

Martin by Harman (Mike Walker)

Matthews Studio Equipment, Inc.

MULTI-LITE (UK) Limited

Set & Light | Winter 2020

Please mention Set & Light when contacting sponsors

OSRAM Ltd (Emma Woolf) 450 Brook Drive, Green Park, Reading, RG2 6UU Tel: +44 (0) 7932 159535 ~ Email: .tclark@osram.com ~ Web: www.osram.com/am PLASA (Sonja Walker) Redoubt House, 1 Edward Street, Eastbourne, Sussex BN23 8AS Tel: 01323 524 120 ~ Fax: 01323 524 121 ~ Email: sonja.walker@plasa.org ~ Web: www.plasa.org PRG XL Video The Cofton Centre, Groveley Lane, Longbridge, Birmingham B31 4PT

Richard Martin Lighting Ltd (Steve Wells) Unit 24, Sovereign Park, Coronation Road, Park Royal, London NW10 7QP ~ RML Admin: Lantern House, Old Town, Moreton-in-Marsh, Gloucestershire GL56 0LW Tel: 020 8965 3209 ~ Email: info@richardmartinlighting.co.uk ~ Web: www.richardmartinlighting.co.uk Robe UK Ltd (Ashley Lewis, Mick Hannaford, Steve Eastham) 3 Spinney View, Stone Circle Road, Round Spinney Industrial Estate, Northampton NN3 8RQ Tel: 01604 741 000 ~ Fax: 01604 741 041 ~ Email: info@robeuk.com ~ Web: www.robeuk.com Rosco (Cristian Arroyo) Blanchard Works, Kangley Bridge Road, Sydenham SE26 5AQ Tel: 020 8676 6877 ~ Fax: 020 8659 3151 ~ Email: cristian.arroyo@rosco.com~ Web: www.rosco.com Specialz Ltd (Dave Smith) Unit 2, Kingston Industrial Estate, 81-86 Glover Street, Birmingham B9 4EN Tel: 0121 766 7100 & 7110 ~ Fax: 0121 766 7113 ~ Email: info@specialz.co.uk ~ Web: www.specialz.co.uk Signify (formerly Philips Lighting UK Ltd) (Stuart Dell) Philips Centre, Guildford Business Park, Guildford, Surrey GU2 8XH Tel: 07774 122 735 ~ Fax: 01296 670 956 ~ Email: stuart.dell@signify.com ~ Web: www.signify.com Stage Electrics Partnership Ltd (Dan Aldridge, Adam Blaxill) Encore House, Unit 3, Britannia Road, Patchway Trading Estate, Patchway, Bristol BS34 5TA Tel: 03330 142100 ~ Fax: 0117 916 2828 ~ Email: sales@stage-electrics.co.uk ~ Web: www.stage-electrics.co.uk TMB (Lauren Drinkwater, Tim Obermann) 21 Armstrong Way, Southall UB2 4SD Tel: 020 8574 9700 ~ Fax: 020 8574 9701 ~ Email: tmb-info@tmb.com ~ Web: www.tmb.com Unusual Rigging (Mark Priestley) The Wharf, Bugbrooke, Northamptonshire NN7 3QB Tel: 01604 830 083 ~ Fax: 01604 831 144 ~ Email: mark.priestley@unusual.co.uk ~ Web: www.unusual.co.uk Vari-Lite / Strand Lighting (Alan Luxford) Strand & Vari-Lite Centre, Unit 24 Sovereign Park, Coronation Road, Park Royal, London NW10 7QP Tel: 07867 536522 ~ Email: alan.luxford@signify.com ~ Web: www.vari-lite.com Version 2 Lights Ltd (Nick Edwards) Version 2 Lights, The Old Grain Store, Childs Court Farm, Ashampstead Common, Reading, RG8 8QT Tel: 020 3598 6938 ~ Email: info@v2lights.co.uk ~ Web: www.v2lights.co.uk White Light Ltd (Dave Isherwood, Bryan Raven) 20 Merton Industrial Park, Jubilee Way, London SW19 3WL ~ Tel: 020 8254 4800 ~ Fax: 020 8254 4801 ~ Email: info@WhiteLight.Ltd.uk Web: www.WhiteLight.Ltd.uk ~ Hire Tel: 020 8254 4820 ~ Hire Fax: 020 8254 4821 ~ Sales Tel: 020 8254 4840 ~ Sales Fax: 020 8254 4841 Zero88 (A brand of Cooper Lighting Solutions) (David Catterall) Zero 88, Usk House, Lakeside, Llantarnam Park, Cwmbran NP44 3HD Tel: +44 (0) 1923 495495 ~ Mob: 07802 464484 ~ Email: enquiries@zero88.com ~ Web: www.zero88.com

Set & Light | Winter 2020

sponsors’ directory

Please mention Set & Light when contacting sponsors

education members Exeter College (Atila Mustafa, Lecturer for Film & TV Production) Victoria House Learning Centre, 33–36 Queen Street, Exeter, Devon EX4 3SR Tel: 01392 400500 ~ Email: info@exe-coll.ac.uk ~ Web: www.exe-coll.ac.uk

The STLD’s interactive Sponsors’ Directory is a useful tool, both for the STLD and, we hope, for those of our sponsors who use it. Its main advantage is that it enables the society to display up-to-date and accurate information about your company on its website. In doing so, it helps us update our records and ensures that we have accurate mailing and invoicing details. STLD sponsor companies can make use of this facility by contacting Bernie Davis at sponsors@stld.org.uk with the name and email 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 enables company searches by category and area. Bernie Davis – STLD Sponsor Liaison

index of advertisers B360 Cirrolite Claypaky Doughty Elation ELP ETC GLP Just FX JL Lighting Osram Rosco Unusual Rigging

Set & Light | Winter 2020

5 13 25 21 19 OBC 11 24 23 47 2 55 7

membership application

Set & Light | Winter 2020

membership application

Set & Light | Winter 2020

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