TV
I wonder if the platform where the desk is is the same shape as the logo?
Also I don't like the non-stylised ITV logo in the small screens, it looks a bit tacky, and also how majority of the images repeat themselves. Hopefully there will be a bit more variation on Monday.
Also I don't like the non-stylised ITV logo in the small screens, it looks a bit tacky, and also how majority of the images repeat themselves. Hopefully there will be a bit more variation on Monday.
HJ
There's test cards and all sorts on those small screens, I'm sure they'll be used in a different way tomorrow!
I wonder if the platform where the desk is is the same shape as the logo?
Also I don't like the non-stylised ITV logo in the small screens, it looks a bit tacky, and also how majority of the images repeat themselves. Hopefully there will be a bit more variation on Monday.
Also I don't like the non-stylised ITV logo in the small screens, it looks a bit tacky, and also how majority of the images repeat themselves. Hopefully there will be a bit more variation on Monday.
There's test cards and all sorts on those small screens, I'm sure they'll be used in a different way tomorrow!
MW
But they'd be empty for long swathes of the programme and a waste of bandwidth!
Maybe the screens could have the live local news studios on them?
But they'd be empty for long swathes of the programme and a waste of bandwidth!
HB
But they'd be empty for long swathes of the programme and a waste of bandwidth!
And to be honest they would all look the same... With most of them having the same studio design
Maybe the screens could have the live local news studios on them?
But they'd be empty for long swathes of the programme and a waste of bandwidth!
And to be honest they would all look the same... With most of them having the same studio design
TW
But they'd be empty for long swathes of the programme and a waste of bandwidth!
True. Maybe a few minutes before and after the local news bulletins then?
Maybe the screens could have the live local news studios on them?
But they'd be empty for long swathes of the programme and a waste of bandwidth!
True. Maybe a few minutes before and after the local news bulletins then?
SK
Is the studio (Studio 5) fitted out permanetly with the GMB set or will the set be removed each day for other shows?
CR
But they'd be empty for long swathes of the programme and a waste of bandwidth!
True. Maybe a few minutes before and after the local news bulletins then?
I don't understand why this is suggested every now and then because it' so pointless idea. What is there to gain by sticking every region on a screen 'for a few minutes before and after the local news bulletins' when most of them will look identical, and then Granada, STV, UTV and London will look different from the rest and so look out of place? No-one's going to see these regions on this screen and go 'wow this is proof of ITV's commitment to local news' and never watch BBC Breakfast again!
Maybe the screens could have the live local news studios on them?
But they'd be empty for long swathes of the programme and a waste of bandwidth!
True. Maybe a few minutes before and after the local news bulletins then?
I don't understand why this is suggested every now and then because it' so pointless idea. What is there to gain by sticking every region on a screen 'for a few minutes before and after the local news bulletins' when most of them will look identical, and then Granada, STV, UTV and London will look different from the rest and so look out of place? No-one's going to see these regions on this screen and go 'wow this is proof of ITV's commitment to local news' and never watch BBC Breakfast again!
HJ
Most likely it will be a permanent set, seeing as they haven't used studio 5 since GMTV.
Is the studio (Studio 5) fitted out permanetly with the GMB set or will the set be removed each day for other shows?
Most likely it will be a permanent set, seeing as they haven't used studio 5 since GMTV.
NG
Are plasmas really used all that much in sets these days? I know Panasonic don't make consumer sets any more, but there must be a bit of demand for their 103" plasma.
Yes. Plasmas are still often preferred to LCDs in studios, particularly where the screens are shot from multiple angles. LCDs still exhibit some changes in colour balance, saturation and levels as you change your horizontal or vertical viewing angle. They have improved a lot - and the best IPS (or similar) screens are often a lot better - but in most cases plasmas still deliver a more consistent result.
LCDs are also sometimes quite tricky to get to generate decent colour balanced pictures without the use of external colour correctors, whereas plasmas can often deliver a pretty decent result just using the internal tweaks. The challenge these days is usually to make the screens dim enough to not overexpose on camera (such a major change from the early days of projectors!)
The other main limitation of LCDs is that you can't use them in window-based studios if you are using Rosco polarising filters on the cameras and windows to control the light levels of the outside view. (As you rotate the camera-mounted filters, the screens change brightness)
Plasmas aren't perfect either though. There are some types of picture content that expose the sub-field refresh nature of plasma technology, causing screens to appear to flicker on certain things. (I worked with some NECs and Fujitsu panels back in the day that flickered highly-saturated blue content - though each model flickered differently. They've got a lot better - but you can still see it occasionally)
The BBC News studios use plasmas for the catwalk screens (where they are shot at different angles with multiple screens in-shot being seen at different angles), but LCDs for the down-the-line screens (which are usually shot reasonably frontally for the most part and are seen singly) If you look at some of the studio big-wides you can see how differently colour balanced they are too.
Panasonic have, or are about to, stop making plasmas entirely - professional models as well as domestic. It's a real shame - there still isn't a real replacement with the same versatility for studio use. LCDs have got a lot better, and in many cases are a perfectly good solution. They just don't offer quite the same performance in all situations.
However the 'in-vision' market must be tiny - and certainly not enough to justify continued manufacturing.
Hopefully OLED panels will eventually deliver. OLED has already replaced CRTs and high-end LCDs in new mid-range and above edit suites and control room designs, and are the preferred viewfinder tech on new studio cameras. (However Dolby have thrown a cat among the pigeons with their super high dynamic range monitor - which uses a low-resolution backlight matrix behind the LCD panel to allow you to modulate the backlight based on local picture content - to create a much wider dynamic range. The results are amazing when showing 12 bit or similar footage from cameras like the Alexa)
noggin
Founding member
Are plasmas really used all that much in sets these days? I know Panasonic don't make consumer sets any more, but there must be a bit of demand for their 103" plasma.
Yes. Plasmas are still often preferred to LCDs in studios, particularly where the screens are shot from multiple angles. LCDs still exhibit some changes in colour balance, saturation and levels as you change your horizontal or vertical viewing angle. They have improved a lot - and the best IPS (or similar) screens are often a lot better - but in most cases plasmas still deliver a more consistent result.
LCDs are also sometimes quite tricky to get to generate decent colour balanced pictures without the use of external colour correctors, whereas plasmas can often deliver a pretty decent result just using the internal tweaks. The challenge these days is usually to make the screens dim enough to not overexpose on camera (such a major change from the early days of projectors!)
The other main limitation of LCDs is that you can't use them in window-based studios if you are using Rosco polarising filters on the cameras and windows to control the light levels of the outside view. (As you rotate the camera-mounted filters, the screens change brightness)
Plasmas aren't perfect either though. There are some types of picture content that expose the sub-field refresh nature of plasma technology, causing screens to appear to flicker on certain things. (I worked with some NECs and Fujitsu panels back in the day that flickered highly-saturated blue content - though each model flickered differently. They've got a lot better - but you can still see it occasionally)
The BBC News studios use plasmas for the catwalk screens (where they are shot at different angles with multiple screens in-shot being seen at different angles), but LCDs for the down-the-line screens (which are usually shot reasonably frontally for the most part and are seen singly) If you look at some of the studio big-wides you can see how differently colour balanced they are too.
Panasonic have, or are about to, stop making plasmas entirely - professional models as well as domestic. It's a real shame - there still isn't a real replacement with the same versatility for studio use. LCDs have got a lot better, and in many cases are a perfectly good solution. They just don't offer quite the same performance in all situations.
However the 'in-vision' market must be tiny - and certainly not enough to justify continued manufacturing.
Hopefully OLED panels will eventually deliver. OLED has already replaced CRTs and high-end LCDs in new mid-range and above edit suites and control room designs, and are the preferred viewfinder tech on new studio cameras. (However Dolby have thrown a cat among the pigeons with their super high dynamic range monitor - which uses a low-resolution backlight matrix behind the LCD panel to allow you to modulate the backlight based on local picture content - to create a much wider dynamic range. The results are amazing when showing 12 bit or similar footage from cameras like the Alexa)