Tom Glover

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Tom Glover has been interested in stage and event lighting from early 2003, after having a taste of backstage life, in his Year 6 production of Bugsy Malone. Tom has since worked on many productions for Coopers, Itaila Conti and other Independent Theatre and Film Groups. Since September 2010, Tom has been studying FdSc Broadcast Technology at Ravensbourne, a two year Foundation Degree, with an Optional one-year top-up to BSc (Hons) Broadcast Technology.

Home page: http://www.fluxitylighting.com

Posts by Tom Glover

CIRCUS: Location Sound

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Another day, another circus Session this time we were learning about location sound. this is what i wrote about it for my Circus Report:

Locations sound works hand in hand with location camera’s providing additional sound capabilities to the single camera, for example an interview situation that required two personal mic’s could be mixed together before being fed to the camera as stereo or mono line level mix. Location mixers often have 2-4 inputs and can either mix in stereo or dual mono. Location mixers normally have better Microphone pre-amps than Camera’s, which in turn provides better sound quality, as the mixer is outputting at line level (0db) and the camera won’t apply any more amplification to the signal.

Some microphones require batteries or phantom power (+48v) to operate; these mic’s are a form of capacitor mic’s are much more sensitive than standard dynamic mic’s that don’t require power to operate. Most cameras and mixers can supply phantom power to these microphones.

When setting up for a shoot, you can use the tone that the mixer is supplying to the camera to help setup the record levels on the camera. Tone should be set just below the 0db mark as this allows some “head room” before the camera starts to clip the signal should you go above the tone volume.

CIRCUS: Location Camera

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Another day, Another Operational skill, this time we were learning about Location Camera’s which is also know as Electronic News Gathering (ENG), which is also know as Personal Single Camera (PSC). This type of shooting is completely different to studio work, and requires a different mindset, for example with PSC you have to remember to add 30-seconds of Bars & Tone to the beginning of every tape you shoot with. Another thing before every shoot, is its best to check the back focus and time code is set-up correctly.

Without Time Code, editing the shot footage, is near impossible, especially when you are trying to sync up two different shots of the same pice of action up. For theses sorts of cuts to be smooth, the Time Code also needs to be synced between all the cameras that are recording.

Working with Rolly today has been interesting and light hearted session, we used a simple interview set-up to practice recoding to a Location Camera, for this simple shoot we teamed up with the location Sound Group.

CIRCUS: Studio Gallery

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Today, we moved onto the next part of our Production Skills Circus, this time we looked at the workings of the Studio / Production Gallery. This included looking at what the role of the Director, PA, VM operator and Other Production Roles do, during a live or as-live multi-cam shoot.

Looking at these roles and listening into to talkback of some recently recorded shows, gave me a look at how teams work together and how much is actually scripted, including all camera shots, tracks, how long the presenter talks and more. Listening to the talkback also gave a clear indication to myself and the group, how much teamwork is actually involved in creating the final show the viewer watches.

CIRCUS: Lighting

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Today we started the BOP (Broadcast Operations) Circus, which is designed to teach us the basic in many operational roles. Today, my group started on Lighting with Graham Jaggers, an industry professional Lighting Director.

With lighting already being my specialist subject, after transferring from a theatre environment, I found I was only looking out for the differences between live theatre and live broadcast. The main difference i found was the huge requirement for Backlight, this isn’t such a requirement in theatre world.

Other little tips and tricks I have picked up from today, include:

  • 3 Point Lighting / The importance of shadows
  • How to use a Pantograph
  • The idea of bouncing a hard light of something white to create a large soft light

LECTURE: TV Systems & Signals

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Optical Fibre Links

Today we looked at optical fibre links and how they now power the internet age that is now upon us. The amazing power of fibre is slowly being understood with new theoretical limits being constantly found, the current tested theoretical limit could handle the worlds current internet and phone traffic, and more in a single fibre.

Fibre’s are the back bone the UK broadcast industry, as they link all the Studio Centers with the 1000+ Transmission sites in the UK. The Fibre links are mission critical for all Analogue and Freeview transmission, as they provide the 17 Main and 1000 “Fill” UHF Transmitters, with the signal to broadcast.

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