AN
Here's hoping they drop that horrible Gill Sans Ultra Ultra Ultra Bold font they've been using for god knows how long!
I'm guessing they'll be leaving the current studio some time in the next week? Surely, if the changes include a new set including screens and the like, it'll take more than the weekend before it?
I'm guessing they'll be leaving the current studio some time in the next week? Surely, if the changes include a new set including screens and the like, it'll take more than the weekend before it?
NG
Both North West Tonight control rooms control the opt-out, the director controls the opt for morning and weekends and the Technical Manager controls the opt for the main bulletins. The communications centre (CTA) assign which control suite has the ability to control the opt but after that, the rest is done from the control room.
Yes - that is the point being made.
The opt-control is delegated to the gallery by the CTA - effectively CTA switch-through opt-control to the gallery before the opt and (should) take control back again afterwards. This means CTA have a higher level of control than the gallery - effectively the CTA decide which opt-out panel is live.
This (if operated properly) avoids an opt-out switch in a gallery being left live permanently, and also means that when the CTA takes control back, even if the gallery has been left opted out (with network sound and vision on output) on analogue, the transmitter feed is opted back to network.
noggin
Founding member
adam.m.mcclean posted:
PaceTwinAddict posted:
No BBC regional studios ever had the ability to self-opt, its always been handed to the studio from the local communications centre, though in some regions, the control might have been in the same area. This is to prevent leaving a mixer permanently live, as this would make maintenance very difficult.
Both North West Tonight control rooms control the opt-out, the director controls the opt for morning and weekends and the Technical Manager controls the opt for the main bulletins. The communications centre (CTA) assign which control suite has the ability to control the opt but after that, the rest is done from the control room.
Yes - that is the point being made.
The opt-control is delegated to the gallery by the CTA - effectively CTA switch-through opt-control to the gallery before the opt and (should) take control back again afterwards. This means CTA have a higher level of control than the gallery - effectively the CTA decide which opt-out panel is live.
This (if operated properly) avoids an opt-out switch in a gallery being left live permanently, and also means that when the CTA takes control back, even if the gallery has been left opted out (with network sound and vision on output) on analogue, the transmitter feed is opted back to network.
NG
Sounds pretty similar. Most English regions had a self-op desk that remotely drove a GVG Master 21 presentation sound and vision mixer - this allowed you to cut between network, a camera, graphics sources, and VT sources, and to superimpose an aston or similar.
Some regions moved to directors driving the self-op desk - effectively sitting where the self-op presenter would sit, other regions used the main Master 21 panel, which could be more flexible.
(In some cases the Master 21 panel was installed in a graphics area, where a Station Assistant would direct/vision/sound mix and operate graphics, for the more complicated short bulletins with the self-op desk remotely controlling the Master 21 for self-op bulletins)
noggin
Founding member
deejay posted:
I think I'm right in saying that the last centre to use a Self-Op desk was the old Leeds building, and they used it right up until the building's closure. ISTR a piece in Arial about what a presenter's nightmare it was! Certainly I've heard stories from other presenters who've used such desks for bulletins and none of them have had particularly fond memories! The one in Bristol apparently used to be capable of little more than opting in and out of network, cutting between presenter in vision, stills and presentation items like the clock and the globe.
Sounds pretty similar. Most English regions had a self-op desk that remotely drove a GVG Master 21 presentation sound and vision mixer - this allowed you to cut between network, a camera, graphics sources, and VT sources, and to superimpose an aston or similar.
Some regions moved to directors driving the self-op desk - effectively sitting where the self-op presenter would sit, other regions used the main Master 21 panel, which could be more flexible.
(In some cases the Master 21 panel was installed in a graphics area, where a Station Assistant would direct/vision/sound mix and operate graphics, for the more complicated short bulletins with the self-op desk remotely controlling the Master 21 for self-op bulletins)
RV
Here is some further information concerning the relaunch from the BBC's Lancashire site:
http://www.bbc.co.uk/lancashire/content/articles/2007/08/30/ranvir_singh_feature.shtml
http://www.bbc.co.uk/lancashire/content/articles/2007/08/30/ranvir_singh_feature.shtml
PE
peterrocket
Founding member
I think there's not much more in that not already known.
I'd put money on a regional version of national titles, if there is this big rebrand coming through. Wonder how regional images would slot well into national titles.
I'd put money on a regional version of national titles, if there is this big rebrand coming through. Wonder how regional images would slot well into national titles.
AD
adam.m.mcclean
If it is any clue, they will be keying off the titles into the 1st studio shot.