TE
I think you’re kinda over-reacting diarmy - but only in the sense that it is being shot in 16:9!
How is it you think it's being shot in 4:3? Indeed The Rose of Tralee was the first non-sport widescreen programme RTÉ ever transmitted, this time last year! But fully agreed about the graphics, notably the astons which aren't even 14:9 safe whatever about 4:3 - exactly the same feck-up as last year! They couldn't even be arsed changing them two years running. And the same for the ad break graphics with those hideous sponsor logos pasted all over them. It’s the commerciality of this event that is so embarrassing – sponsors name-dropped in at every opportunity, logos pasted everywhere, the prize VT a full-blown minute of cringe-inducing plugs, with crass Newbridge silverware mentioned about six times……
Arrrgh!
A couple of other less major gripes on the production would be the speed of the steadicam which is generally ridiculously fast - essentially they're just using it because they have it, rather than trying to tie it into the flow of things.
The principal Rose camera is very shaky, up on a scaffold unit. It has improved a bit since last night, but still could be better.
Those LED lighting bar thingies behind the set look feckin ghastly!
But on a big positive note, the production values really have improved enormously over the past couple of years. The lighting is absolutely superb - both the main subject lighting, the wonderful glowing set lighting, and the starlights of the ceiling which can look stunning. The twinkling lights behind the set panels (LED yokes aside) look equally elegant and are a very nice touch - used for a number of years now.
Special effect lighting using rotating filters/lenses cast wonderful glowing patterns on the set too, making it look very complex and interesting.
The various lighting colour cues for each segment are very effective too, as are the softboxes located underneath Ray and Rose to give them that extra glowing lift. Excellent stuff. By Martin Keleghan.
Audio management is generally very good, though I would question why RTÉ leave the house sound on during the News break online - people all over the world can hear the feckin sound tests and all the rest during the break!
Also the mics they use are miles ahead of those ghastly pole yokes they used up till about three years ago - it beggared belief they lasted that long, but it's good to see they're banished. Still think the current ones are too intrusive though.
As is Ray's giant lapel mic - why the heck is it plonked in the middle of his white shirt?! It could easily be popped onto a lapel without him going off-mic. Alternatively get a silver or white mic and use it on the shirt, or two small black ones for each lapel – anything but that ghastly yoke!
Only real audio problem was the disaster of the final song – the mic either couldn’t handle the singer’s frequencies or there was a major problem with the levels as seemed to be the case, with all of the high parts peaking massively – what an embarrassment!
Also the crane operation is superb for once, really lovely stuff. So all in all, a very mixed bag.
RTÉ
Yup – it beggars belief!I think you’re kinda over-reacting diarmy - but only in the sense that it is being shot in 16:9!
How is it you think it's being shot in 4:3? Indeed The Rose of Tralee was the first non-sport widescreen programme RTÉ ever transmitted, this time last year! But fully agreed about the graphics, notably the astons which aren't even 14:9 safe whatever about 4:3 - exactly the same feck-up as last year! They couldn't even be arsed changing them two years running. And the same for the ad break graphics with those hideous sponsor logos pasted all over them. It’s the commerciality of this event that is so embarrassing – sponsors name-dropped in at every opportunity, logos pasted everywhere, the prize VT a full-blown minute of cringe-inducing plugs, with crass Newbridge silverware mentioned about six times……
Arrrgh!
A couple of other less major gripes on the production would be the speed of the steadicam which is generally ridiculously fast - essentially they're just using it because they have it, rather than trying to tie it into the flow of things.
The principal Rose camera is very shaky, up on a scaffold unit. It has improved a bit since last night, but still could be better.
Those LED lighting bar thingies behind the set look feckin ghastly!
But on a big positive note, the production values really have improved enormously over the past couple of years. The lighting is absolutely superb - both the main subject lighting, the wonderful glowing set lighting, and the starlights of the ceiling which can look stunning. The twinkling lights behind the set panels (LED yokes aside) look equally elegant and are a very nice touch - used for a number of years now.
Special effect lighting using rotating filters/lenses cast wonderful glowing patterns on the set too, making it look very complex and interesting.
The various lighting colour cues for each segment are very effective too, as are the softboxes located underneath Ray and Rose to give them that extra glowing lift. Excellent stuff. By Martin Keleghan.
Audio management is generally very good, though I would question why RTÉ leave the house sound on during the News break online - people all over the world can hear the feckin sound tests and all the rest during the break!
Also the mics they use are miles ahead of those ghastly pole yokes they used up till about three years ago - it beggared belief they lasted that long, but it's good to see they're banished. Still think the current ones are too intrusive though.
As is Ray's giant lapel mic - why the heck is it plonked in the middle of his white shirt?! It could easily be popped onto a lapel without him going off-mic. Alternatively get a silver or white mic and use it on the shirt, or two small black ones for each lapel – anything but that ghastly yoke!
Only real audio problem was the disaster of the final song – the mic either couldn’t handle the singer’s frequencies or there was a major problem with the levels as seemed to be the case, with all of the high parts peaking massively – what an embarrassment!
Also the crane operation is superb for once, really lovely stuff. So all in all, a very mixed bag.
.
. It’s amazing the difference holding a script makes in creating the impression that you're not reading a thing. Only one thing though, his fashion sense 