Is this a real BBC service broadcasting from, what looks like, someone's kitchen or something!? There are strip lights above the desk! And talking of the desk, why's it got a bit of plywood on top?
Smaller screen installed for dry running which began today!
Larger screen now housed in the Gaelic newsroom......looks nice but I suspect we won't be keeping it that long!
At least you managed to get it out the door again. We have an in-vision Vutrix monitor with stand that was assembled inside VS2 at Bush, this was put in when the studios were built a couple of years back. It was only discovered recently that the assembled monitor doesn't fit through the door if you need it right out the way!
If you are looking for SDI converters, I can recommend AJA kit. We have a number of consumer flat panels from Sony and Panasonic round our studios that work happily on AJA SDI to composite and SDI to component converters.
Like nearly every studio. They're called house lights... You need to see what you're doing when the TV lights used for broadcasting aren't switched on after all...
Sure that is a studio built in an office space - the ceiling is far lower than ideal, and the space obviously small.
However the presence of striplights are hardly an indicator of anything...
I think you can divide the 'built in an office' studios into two groups. One group are the studios that are built from a few existing rooms in the middle of a floor, and generally come out full of comprimises as they have to work around the constraints imposed by the existing layouts and other users of the area. I suspect Gaelic falls into this group, as does 7NE at Bush.
The other type are where studios are given either a brand new floor in a building to carve up how they want (like BBC Arabic at BH) or have an existing floor gutted completely to give the same blank sheet - like South Asia Hub at Bush. These always do end up looking and working better.
We usually only ever get enough money to build the first type though.
Moz, you might be surprised to know the pair of lights at the top of the set have compact fluorescent tubes in them. Fluorescent stage lights have become really popular over the last couple of years as they are more reliable than conventional lamps, and produce almost no heat - something very important in a small studio with a low ceiling.
But the striplights are just normal office lights though, and I agree with Noggin that you will find them in every other studio for use as house lights.
Moz, you might be surprised to know the pair of lights at the top of the set have compact fluorescent tubes in them. Fluorescent stage lights have become really popular over the last couple of years as they are more reliable than conventional lamps, and produce almost no heat - something very important in a small studio with a low ceiling.
Quite a few of the newer BBC TV studios are being equipped with those very fittings. The models shown in the BBC Alba studio have two compact flourescent tubes in them, models with four tubes are also available which make great fill lights. They're dimmable, DMX512 controllable and have pole adjust, so work surprisingly well in office conversion tv studios where air-con might not be up to the job of cooling more traditional (and hot) lumieres. BBC Norwich has a number of these flourescents I believe, as does Oxford, though in both studios they're used as back and fill lights, with traditional tungsten fresnel lens lumieres providing the keys.
Moz, you might be surprised to know the pair of lights at the top of the set have compact fluorescent tubes in them. Fluorescent stage lights have become really popular over the last couple of years as they are more reliable than conventional lamps, and produce almost no heat - something very important in a small studio with a low ceiling.
Quite a few of the newer BBC TV studios are being equipped with those very fittings. The models shown in the BBC Alba studio have two compact flourescent tubes in them, models with four tubes are also available which make great fill lights. They're dimmable, DMX512 controllable and have pole adjust, so work surprisingly well in office conversion tv studios where air-con might not be up to the job of cooling more traditional (and hot) lumieres. BBC Norwich has a number of these flourescents I believe, as does Oxford, though in both studios they're used as back and fill lights, with traditional tungsten fresnel lens lumieres providing the keys.
They're dimmable, but not smooth enough to do those nice fades we used to see at the end of news shows. Their colour temperature doesn't stay consistent on dimming - but other than that they're definitely the way forward for newsroom lighting.
Is this a real BBC service broadcasting from, what looks like, someone's kitchen or something!? There are strip lights above the desk! And talking of the desk, why's it got a bit of plywood on top?
Moz, you might be surprised to know the pair of lights at the top of the set have compact fluorescent tubes in them. Fluorescent stage lights have become really popular over the last couple of years as they are more reliable than conventional lamps, and produce almost no heat - something very important in a small studio with a low ceiling.
Quite a few of the newer BBC TV studios are being equipped with those very fittings. The models shown in the BBC Alba studio have two compact flourescent tubes in them, models with four tubes are also available which make great fill lights. They're dimmable, DMX512 controllable and have pole adjust, so work surprisingly well in office conversion tv studios where air-con might not be up to the job of cooling more traditional (and hot) lumieres. BBC Norwich has a number of these flourescents I believe, as does Oxford, though in both studios they're used as back and fill lights, with traditional tungsten fresnel lens lumieres providing the keys.
They're dimmable, but not smooth enough to do those nice fades we used to see at the end of news shows. Their colour temperature doesn't stay consistent on dimming - but other than that they're definitely the way forward for newsroom lighting.
There are other solutions.
Mechanically dimmable DMX driven discharge lights are also a solution for cool lighting. They operate by having a lamp running at a constant brightness - and thus constant colour temperature, but have a DMX driven motorised mechanical shutter that allows the light path to be reduced. This does mean that their throw alters slightly - but it also means that they can be dimmed entirely under direct DMX control (no dimmers required) and stay a constant colour temperature. (Though if you have a lot of them be prepared to be deafened when they are switched on and reset themselves!)
Moz, you might be surprised to know the pair of lights at the top of the set have compact fluorescent tubes in them. Fluorescent stage lights have become really popular over the last couple of years as they are more reliable than conventional lamps, and produce almost no heat - something very important in a small studio with a low ceiling.
Quite a few of the newer BBC TV studios are being equipped with those very fittings. The models shown in the BBC Alba studio have two compact flourescent tubes in them, models with four tubes are also available which make great fill lights. They're dimmable, DMX512 controllable and have pole adjust, so work surprisingly well in office conversion tv studios where air-con might not be up to the job of cooling more traditional (and hot) lumieres. BBC Norwich has a number of these flourescents I believe, as does Oxford, though in both studios they're used as back and fill lights, with traditional tungsten fresnel lens lumieres providing the keys.
They are mainly used to keep the air-con loading down (as they run cooler) in studios that are installed in non-studio space. They are a useful solution in this regard.
In other regards they aren't as good as tungsten - as they have a more compromised colour temperature (they have spikes in their colourimetry), and don't dim as effectively.
You won't find many people using them in "proper" studios.
Mechanically dimmable DMX driven discharge lights are also a solution for cool lighting. They operate by having a lamp running at a constant brightness - and thus constant colour temperature, but have a DMX driven motorised mechanical shutter that allows the light path to be reduced. This does mean that their throw alters slightly - but it also means that they can be dimmed entirely under direct DMX control (no dimmers required) and stay a constant colour temperature. (Though if you have a lot of them be prepared to be deafened when they are switched on and reset themselves!)
For sure. DMX dowsers are a good solution for HTI/HQI and various other non-dim, discharge luminaires, but I haven't seen effective dimmer shutters for this style of CFL fitting. I think Photon Baird introduced a retro-fit device - I recall seeing one at IBC Amsterdam. It snapped shut like a morse-signalling lamp used on ships!
The colour rendering is improving all the time - but I agree that nothing beats a CP class tungsten lamp. Not yet, anyway.
But unless you want to cook the talent, they really need to be used in a studio with a little more height...
Mechanically dimmable DMX driven discharge lights are also a solution for cool lighting. They operate by having a lamp running at a constant brightness - and thus constant colour temperature, but have a DMX driven motorised mechanical shutter that allows the light path to be reduced. This does mean that their throw alters slightly - but it also means that they can be dimmed entirely under direct DMX control (no dimmers required) and stay a constant colour temperature. (Though if you have a lot of them be prepared to be deafened when they are switched on and reset themselves!)
For sure. DMX dowsers are a good solution for HTI/HQI and various other non-dim, discharge luminaires, but I haven't seen effective dimmer shutters for this style of CFL fitting. I think Photon Baird introduced a retro-fit device - I recall seeing one at IBC Amsterdam. It snapped shut like a morse-signalling lamp used on ships!
The colour rendering is improving all the time - but I agree that nothing beats a CP class tungsten lamp. Not yet, anyway.
But unless you want to cook the talent, they really need to be used in a studio with a little more height...
Yep - no two ways about it. For decent lighting you need a higher ceiling so that you can mount your lamps higher...
The original News 24 set used those large fluorescent softs (ISTR that they were genlocked to station syncs to avoid flicker?)
