CR
Studio B needs to be a lot more flexible than C or E because of the variety of news programmes that come from it. The programmes are all quite different and have different things, so it makes more sense for it to be a hybrid - it wouldn't have made sense to put any tracks in B as it limits what the programmes can do with the space.
Calling the switch disastrous is over stating it.
I guess studio B is used much more flexibly particularly with sets for Andrew Marr show and potentially larger scale editions of Newsnight and so perhaps it was decided it was important to retain the flexibility of manned cameras.
I guess studio B is used much more flexibly particularly with sets for Andrew Marr show and potentially larger scale editions of Newsnight and so perhaps it was decided it was important to retain the flexibility of manned cameras.
Studio B needs to be a lot more flexible than C or E because of the variety of news programmes that come from it. The programmes are all quite different and have different things, so it makes more sense for it to be a hybrid - it wouldn't have made sense to put any tracks in B as it limits what the programmes can do with the space.
NG
No - TVC used Columbus (introduced when News 24 launched in 1997 and used by BBC World and News 24/News Channe) and News Control (a simplified playout system from the same company) in TC7 (and N6 when it only did the One/Six/Ten)
noggin
Founding member
Well these cockups make for good tv forum discussion 
I like how they fade off the bbc news logo very nice. Did they use mosart at TVC?
I like how they fade off the bbc news logo very nice. Did they use mosart at TVC?
No - TVC used Columbus (introduced when News 24 launched in 1997 and used by BBC World and News 24/News Channe) and News Control (a simplified playout system from the same company) in TC7 (and N6 when it only did the One/Six/Ten)
CH
Could be the location of NBH - more central than White City (Television Centre).
Is it an illusion or are the Beeb managing to get a few more high-profile guests into the studio for interviews, rather than doing them DTL?
Could be the location of NBH - more central than White City (Television Centre).
ST
Steve
Founding member
Here's a question I've just been wondering about - are we likely to see the introduction of more robotic, no need for operator, cameras in the future in environments like this?
I'm wondering what the economic are, for instance, for regional news.
I know the cameras are only manned for some bulletins but if you had a studio with fully robotic cameras on tracks like in the nationals, would it ultimately be worth it because of no need for operators at all? I've no idea how the costs compare so curious!
I'm wondering what the economic are, for instance, for regional news.
I know the cameras are only manned for some bulletins but if you had a studio with fully robotic cameras on tracks like in the nationals, would it ultimately be worth it because of no need for operators at all? I've no idea how the costs compare so curious!
DE
A few regional studios use robotic camera heads (pan/tilt/zoom/focus). Southampton and Plymouth (possibly some others too) both use Radamec heads which are now getting very long in the tooth and can be difficult to maintain. Cambridge and Oxford both have Shotoku systems which are similar in what they offer and are newer and current but work in a very similar way to Radamec. Both these systems offer recall of preset shots and can be used manually via a joystick in the gallery to repo in-vision. They will also move smoothly over a preset amount of time from one shot to another.
Usually, not all studio cameras are fitted with the remote heads; the older systems don't make great manual heads (though manual control is an option if needs be). Its often the case that half the studio cameras in a centre will have robotic heads, the rest are manually operated when operators are available, or locked off.
Both Radamec and Shotoku have options to allow for height adjustment of a pedestal too and although Southampton did have one of these, it's not in service any more. Shotoku make a range of systems, the highest spec of which are fully robotic pedestals which self-trianguate to work out where there are on the studio floor and move without tracks from point to point...
I don't know of any centres that have robotic tracks like W1 have.
Usually, not all studio cameras are fitted with the remote heads; the older systems don't make great manual heads (though manual control is an option if needs be). Its often the case that half the studio cameras in a centre will have robotic heads, the rest are manually operated when operators are available, or locked off.
Both Radamec and Shotoku have options to allow for height adjustment of a pedestal too and although Southampton did have one of these, it's not in service any more. Shotoku make a range of systems, the highest spec of which are fully robotic pedestals which self-trianguate to work out where there are on the studio floor and move without tracks from point to point...
I don't know of any centres that have robotic tracks like W1 have.
DE
To more specifically answer your question Steve, the operators in English Regions are usually employed in the main in other roles and operate studio cameras in addition to their main duties. They're often the crew camera operators who've been out all day.
Here's a question I've just been wondering about - are we likely to see the introduction of more robotic, no need for operator, cameras in the future in environments like this?
I'm wondering what the economic are, for instance, for regional news.
I know the cameras are only manned for some bulletins but if you had a studio with fully robotic cameras on tracks like in the nationals, would it ultimately be worth it because of no need for operators at all? I've no idea how the costs compare so curious!
I'm wondering what the economic are, for instance, for regional news.
I know the cameras are only manned for some bulletins but if you had a studio with fully robotic cameras on tracks like in the nationals, would it ultimately be worth it because of no need for operators at all? I've no idea how the costs compare so curious!
To more specifically answer your question Steve, the operators in English Regions are usually employed in the main in other roles and operate studio cameras in addition to their main duties. They're often the crew camera operators who've been out all day.