Do employees get paid to push out this #lifeatsky hashtag?
It does look like mostly HR types trying too hard to convince others (and themselves) that a canteen serving salads, and Little Waitrose nearby is all you could ever want of a workplace.
That said, there's a 360' video of the Sky Central building on one of those tweets, describing it as "such an incredible place to work":
These big open places with little privacy and tiny amounts of desk space aren't really my cup of tea, but each to their own. It is London after all, so I guess space is at a premium.
It might be the picture angle, but it looks a lot smaller than the Osterley gallery.
When you automate you reduce the number of people required significantly...
Also - many operations are now chosing to have more production staff in the newsroom on talkback, rather than in the gallery.
TV2 in Denmark have a gallery with just two people in it (and can drop down to one if need be). The playout system is entirely Mosart, with a couple of large portrait touch screens for control. There is no control surface for the vision mixer, though there is a sound desk (but sound is largely automated), and an EVS LSM controller for fast-turnaround or delay purposes.
All of the production journalists who might be in a gallery in the UK are based in the newsroom (which also has a newsroom studio) and communicate with presenters and director(s) over talkback, or walk in to the studio during reports to brief talent.
Any word on what system they're turning to for automation?
I do like those 21:9 monitors - of course I would have one in portrait mode and the other in landscape.
And the other day I was going to ask why galleries are typically dark with minimal lighting and now I see the glare lighting places on the screens.
The height of monitor wall doesn't look to ergonomic for those in the front row. Hopefully there will be small preview/program monitors for the vision mixer and the director.
These big open places with little privacy and tiny amounts of desk space aren't really my cup of tea, but each to their own. It is London after all, so I guess space is at a premium.
It looks like a nice building but there seems to be a decent amount of wasted space.
It might be the picture angle, but it looks a lot smaller than the Osterley gallery.
When you automate you reduce the number of people required significantly...
Also - many operations are now chosing to have more production staff in the newsroom on talkback, rather than in the gallery.
TV2 in Denmark have a gallery with just two people in it (and can drop down to one if need be). The playout system is entirely Mosart, with a couple of large portrait touch screens for control. There is no control surface for the vision mixer, though there is a sound desk (but sound is largely automated), and an EVS LSM controller for fast-turnaround or delay purposes.
All of the production journalists who might be in a gallery in the UK are based in the newsroom (which also has a newsroom studio) and communicate with presenters and director(s) over talkback, or walk in to the studio during reports to brief talent.
Any word on what system they're turning to for automation?
Think I read that they were going to be using Ross's Overdrive system.
Quote:
I do like those 21:9 monitors - of course I would have one in portrait mode and the other in landscape.
And the other day I was going to ask why galleries are typically dark with minimal lighting and now I see the glare lighting places on the screens.
Minimises reflections and glare, and concentrates everyone a bit. You will have working/operational lights (usually strip lights with adjustable shutters to control the width of the light) above desks to provide task lighting. In some places these are called script lights (though in News paper scripts are rare, and so the name makes less sense in that environment)
I know of at least one US broadcaster in the 80s who used UV light for this - with script paper that glowed well - to effectively run galleries even more darkly. Was very odd to see.
Quote:
The height of monitor wall doesn't look to ergonomic for those in the front row. Hopefully there will be small preview/program monitors for the vision mixer and the director.
If there is a VM...
Personally I think source monitor height is as important, if not more so, than PGM/PVW monitors these days - particularly with automation.
Monitor stack design is trickier to get right with multiviewer walls - as you can't always arrange monitors optimally (and ignoring the delay and resolution reduction issues and moire/aliasing that many introduce)
Traditionally you'd have camera previews underneath PGM/PVW, and " VT" replays and OS sources above, with other sources either side. If you want full quality monitors for PGM/PVW, this can make arranging a multiviewer trickier. Some places use a hybrid approach - with cameras and PGM/PVW on individual monitors, and multiviewers just for "VT" and OS previews. There is sense in this - as you need to be able to evaluate camera quality more than VT - and so having decent resolution HD monitoring (rather than sub-SD shrunk pictures) is a good idea.
Looks like we have seen the last of the shoebox. According to Stephan Dixon, it will be in the skip along with the whole of the current weekend studio by next Christmas
Looks like we have seen the last of the shoebox. According to Stephan Dixon, it will be in the skip along with the whole of the current weekend studio by next Christmas
Yup - the only time it gets used now is when we have puppies as guests or I'm doing something in my unofficial capacity as disability reporter.
I tried to pitch the idea of a three-hour, daily live strand co-presented by me and a puppy, but (unlike the puppy) they didn't bite!
Looks like we have seen the last of the shoebox. According to Stephan Dixon, it will be in the skip along with the whole of the current weekend studio by next Christmas
Yup - the only time it gets used now is when we have puppies as guests or I'm doing something in my unofficial capacity as disability reporter.
I tried to pitch the idea of a three-hour, daily live strand co-presented by me and a puppy, but (unlike the puppy) they didn't bite!
Looks like we have seen the last of the shoebox. According to Stephan Dixon, it will be in the skip along with the whole of the current weekend studio by next Christmas
Yup - the only time it gets used now is when we have puppies as guests or I'm doing something in my unofficial capacity as disability reporter.
I tried to pitch the idea of a three-hour, daily live strand co-presented by me and a puppy, but (unlike the puppy) they didn't bite!
Looks like we have seen the last of the shoebox. According to Stephan Dixon, it will be in the skip along with the whole of the current weekend studio by next Christmas
Yup - the only time it gets used now is when we have puppies as guests or I'm doing something in my unofficial capacity as disability reporter.
I tried to pitch the idea of a three-hour, daily live strand co-presented by me and a puppy, but (unlike the puppy) they didn't bite!
Complete with Bruce Hammal voiceover I hope. 😉
Funny you should say that. I occasionally read the digital news and showbiz bulletins. Back in the old days, Bruce used to do VO's for pretty much everyone, even those who read the digital bulletins and even those who were (like me) - in the main - off-screen staff.
The pres-nerd in me is still really disappointed I never got one of my own!
These big open places with little privacy and tiny amounts of desk space aren't really my cup of tea, but each to their own. It is London after all, so I guess space is at a premium.
It looks like a nice building but there seems to be a decent amount of wasted space.
Looks like we have seen the last of the shoebox. According to Stephan Dixon, it will be in the skip along with the whole of the current weekend studio by next Christmas
Yup - the only time it gets used now is when we have puppies as guests or I'm doing something in my unofficial capacity as disability reporter.
I tried to pitch the idea of a three-hour, daily live strand co-presented by me and a puppy, but (unlike the puppy) they didn't bite!
Is the glass box accessible? I briefly saw an Instagram Stephen Dixon posted walking into the studio and it looked like it was a maze of stairs.
Also is the shoebox studio the one with the large portrait monitor, a desk to the left and a couch to the right?
These big open places with little privacy and tiny amounts of desk space aren't really my cup of tea, but each to their own. It is London after all, so I guess space is at a premium.
It looks like a nice building but there seems to be a decent amount of wasted space.
Looks like we have seen the last of the shoebox. According to Stephan Dixon, it will be in the skip along with the whole of the current weekend studio by next Christmas
Yup - the only time it gets used now is when we have puppies as guests or I'm doing something in my unofficial capacity as disability reporter.
I tried to pitch the idea of a three-hour, daily live strand co-presented by me and a puppy, but (unlike the puppy) they didn't bite!
Is the glass box accessible? I briefly saw an Instagram Stephen Dixon posted walking into the studio and it looked like it was a maze of stairs.
Also is the shoebox studio the one with the large portrait monitor, a desk to the left and a couch to the right?
1. There's a lift, too.
2. Yes, that's right, but it's not a studio per se - just another component of the main (soon-to-be-outgoing) studio.
Looks like we have seen the last of the shoebox. According to Stephan Dixon, it will be in the skip along with the whole of the current weekend studio by next Christmas
Does this mean we have to wait until Christmas to see the new studio or is it because we mainly see the shoebox on Christmas Day these days?
Looks like we have seen the last of the shoebox. According to Stephan Dixon, it will be in the skip along with the whole of the current weekend studio by next Christmas
Does this mean we have to wait until Christmas to see the new studio or is it because we mainly see the shoebox on Christmas Day these days?
