LV
A 15 min Gov interview in a 3 hour programme is missing. They’d still be filling in the current climate. Apart from that one segment the show would be much the same as it is with the boycott.
. The government don’t want to go on it (yet they’re happy to appear elsewhere, including Kay Burley’s show despite her similar reputation). This isn’t good for the show. They’re having to fill time with stories about nurses and care home residents that, yes, are very worthy, but come across as slightly disingenuous when Piers then tries, usually unsuccessfully, to get an opinion on the government from them that matches his own. It’s gone from being an entertaining show with lively debates to uncomfortable ranting mixed with faux-sincerity.
A 15 min Gov interview in a 3 hour programme is missing. They’d still be filling in the current climate. Apart from that one segment the show would be much the same as it is with the boycott.
BR
I doubt they even know yet. If I were them though I'd be keen to hold back a week or two until more normal times when the option of travelling abroad fairly unrestricted is possible again.
Of course at the moment under what is generally proposed if you are able to get abroad for 2 weeks you need to quarantine two weeks upon arrival there and two weeks upon return, so need that 6 week break anyway.
Of course at the moment under what is generally proposed if you are able to get abroad for 2 weeks you need to quarantine two weeks upon arrival there and two weeks upon return, so need that 6 week break anyway.
Last edited by Brekkie on 1 June 2020 2:06pm
ST
This is a shot at 08:30 this morning on the return from the regional opt (which ITV at least still bother to do). It looks as though it might even be from the gantry, as it seems to be above the lighting rig.
TC3 is a large studio, and even though they are only occupying half, it must feel very empty for the crew and talent as there is hardly anyone about.
TC3 is a large studio, and even though they are only occupying half, it must feel very empty for the crew and talent as there is hardly anyone about.
RN
Is that the first time they've used a non standard shot since the start of lockdown?
Also, first day back and already 76 complaints to Ofcom.....
https://www.thesun.co.uk/tvandshowbiz/11757563/good-morning-britain-76-ofcom-complaints-piers-morgan/
Also, first day back and already 76 complaints to Ofcom.....
https://www.thesun.co.uk/tvandshowbiz/11757563/good-morning-britain-76-ofcom-complaints-piers-morgan/
NG
That looks like it is taken from the balcony that runs around the studio and would lead into the various control rooms (which from memory are at 2nd floor level).
It's well below the lighting grid in the studio. The lamps you can see in shot are not directly suspended from the grid, and are instead mounted on scaff-pole structures themselves suspended from the grid (or similar suspension points)
noggin
Founding member
This is a shot at 08:30 this morning on the return from the regional opt (which ITV at least still bother to do). It looks as though it might even be from the gantry, as it seems to be above the lighting rig.
TC3 is a large studio, and even though they are only occupying half, it must feel very empty for the crew and talent as there is hardly anyone about.
TC3 is a large studio, and even though they are only occupying half, it must feel very empty for the crew and talent as there is hardly anyone about.
That looks like it is taken from the balcony that runs around the studio and would lead into the various control rooms (which from memory are at 2nd floor level).
It's well below the lighting grid in the studio. The lamps you can see in shot are not directly suspended from the grid, and are instead mounted on scaff-pole structures themselves suspended from the grid (or similar suspension points)
BL
That looks like it is taken from the balcony that runs around the studio and would lead into the various control rooms (which from memory are at 2nd floor level).
It's well below the lighting grid in the studio. The lamps you can see in shot are not directly suspended from the grid, and are instead mounted on scaff-pole structures themselves suspended from the grid (or similar suspension points)
Is there any reason why they are using suspended scaffolding rather than simply hanging the lamps directly from the grid?
This is a shot at 08:30 this morning on the return from the regional opt (which ITV at least still bother to do). It looks as though it might even be from the gantry, as it seems to be above the lighting rig.
TC3 is a large studio, and even though they are only occupying half, it must feel very empty for the crew and talent as there is hardly anyone about.
TC3 is a large studio, and even though they are only occupying half, it must feel very empty for the crew and talent as there is hardly anyone about.
That looks like it is taken from the balcony that runs around the studio and would lead into the various control rooms (which from memory are at 2nd floor level).
It's well below the lighting grid in the studio. The lamps you can see in shot are not directly suspended from the grid, and are instead mounted on scaff-pole structures themselves suspended from the grid (or similar suspension points)
Is there any reason why they are using suspended scaffolding rather than simply hanging the lamps directly from the grid?
NG
That looks like it is taken from the balcony that runs around the studio and would lead into the various control rooms (which from memory are at 2nd floor level).
It's well below the lighting grid in the studio. The lamps you can see in shot are not directly suspended from the grid, and are instead mounted on scaff-pole structures themselves suspended from the grid (or similar suspension points)
Is there any reason why they are using suspended scaffolding rather than simply hanging the lamps directly from the grid?
TV Centre studios all have saturation grids. In TC1/2/3 there are lots of luminaires attached to pantograph style lighting hoists. These are designed for fast turnaround set-and-light for entertainment and comedy / drama (yep they date back to the 60s/70s style of studio production) and wouldn't be a great lighting solution for a daytime set lit in a modern way. You'd end up having to spread out your lights more and run with your hoists lower, or use the luminaires - which are less accurate than the fixtures they are using currently.
[img][img][img][/img][/img][/img]As a result ITV have decided to rig a fixed rig lower, with sources much closer together than a hoist-based grid like those in TV Centre studios would allow.
There may also be an issue about insurance - as to use lighting hoists you have to test them (yearly or every two years?) and this involves taking them to the floor. With a permanent set installed in the studio it may not be possible to do this, so they have may have decided to 'write off' using those hoists for the duration.
This image shows a TV Centre lighting grid. The lamps can all be taken down to ground level for maintenance and adjustment, and run at lower heights.
noggin
Founding member
This is a shot at 08:30 this morning on the return from the regional opt (which ITV at least still bother to do). It looks as though it might even be from the gantry, as it seems to be above the lighting rig.
TC3 is a large studio, and even though they are only occupying half, it must feel very empty for the crew and talent as there is hardly anyone about.
TC3 is a large studio, and even though they are only occupying half, it must feel very empty for the crew and talent as there is hardly anyone about.
That looks like it is taken from the balcony that runs around the studio and would lead into the various control rooms (which from memory are at 2nd floor level).
It's well below the lighting grid in the studio. The lamps you can see in shot are not directly suspended from the grid, and are instead mounted on scaff-pole structures themselves suspended from the grid (or similar suspension points)
Is there any reason why they are using suspended scaffolding rather than simply hanging the lamps directly from the grid?
TV Centre studios all have saturation grids. In TC1/2/3 there are lots of luminaires attached to pantograph style lighting hoists. These are designed for fast turnaround set-and-light for entertainment and comedy / drama (yep they date back to the 60s/70s style of studio production) and wouldn't be a great lighting solution for a daytime set lit in a modern way. You'd end up having to spread out your lights more and run with your hoists lower, or use the luminaires - which are less accurate than the fixtures they are using currently.
[img][img][img][/img][/img][/img]As a result ITV have decided to rig a fixed rig lower, with sources much closer together than a hoist-based grid like those in TV Centre studios would allow.
There may also be an issue about insurance - as to use lighting hoists you have to test them (yearly or every two years?) and this involves taking them to the floor. With a permanent set installed in the studio it may not be possible to do this, so they have may have decided to 'write off' using those hoists for the duration.
This image shows a TV Centre lighting grid. The lamps can all be taken down to ground level for maintenance and adjustment, and run at lower heights.
DO
6 monthly and 12 monthly for the different components. Legal requirement under the LOLER / PUWAR parts of H&S legislation, not just for insurance.
Not sure if just not using them would be sufficient to avoid the need for testing unless you also found some manner of permanently securing all the components such that they no longer fall under the definitions of inspectable equipment.
There may also be an issue about insurance - as to use lighting hoists you have to test them (yearly or every two years?) and this involves taking them to the floor.
6 monthly and 12 monthly for the different components. Legal requirement under the LOLER / PUWAR parts of H&S legislation, not just for insurance.
Not sure if just not using them would be sufficient to avoid the need for testing unless you also found some manner of permanently securing all the components such that they no longer fall under the definitions of inspectable equipment.
