NG
To be honest if you're freelance and move around a lot between different set-ups it may actually be something you're used to and enjoy, as you don't get used to a single set-up. Certainly most freelance sound supervisors shouldn't struggle switching between "commercial" and "BBC" faders.
It's similar with vision mixers, monitor stack layouts (particularly PGM/PST monitor arrangements...), talkback etc. If you work in different galleries frequently (or even within the same shift) then you get used to the variety.
noggin
Founding member
Ah, interesting. Yes I did notice that the blurring got worse before it got better. I suspect you're right then that it was a mistake by whoever was operating the cameras.
It reminds me a little of TVC's nuances regarding sound mixing. The sound desk in TC7 had faders which opened when pulled downwards, whereas N6 had ones that you pushed to open. If you were sound mixing the Six and Ten shift, you had to watch out for that as you were mixing in both galleries during the one shift. It probably gets easier with experience, but I do feel for those freelancers who had to cover. Imagine working at various different organisations, each with their own way of doing things, and having to be across it all. It must take quite a bit of skill.
It reminds me a little of TVC's nuances regarding sound mixing. The sound desk in TC7 had faders which opened when pulled downwards, whereas N6 had ones that you pushed to open. If you were sound mixing the Six and Ten shift, you had to watch out for that as you were mixing in both galleries during the one shift. It probably gets easier with experience, but I do feel for those freelancers who had to cover. Imagine working at various different organisations, each with their own way of doing things, and having to be across it all. It must take quite a bit of skill.
To be honest if you're freelance and move around a lot between different set-ups it may actually be something you're used to and enjoy, as you don't get used to a single set-up. Certainly most freelance sound supervisors shouldn't struggle switching between "commercial" and "BBC" faders.
It's similar with vision mixers, monitor stack layouts (particularly PGM/PST monitor arrangements...), talkback etc. If you work in different galleries frequently (or even within the same shift) then you get used to the variety.
) by the the size of the newsroom when it is on cue, particularly at night when BBC News At Ten comes on with the clever use of the new blue lighting.