Posts tagged floor
PROJECT: Sarah Louise Ings – Live Lounge
0Last friday I was asked to work on this new “Live Lounge” shoot with Ben Blake, for Sarah Louise Ings. For this shoot i was asked to assist light a 30 piece orchestra in the tiny studio at Ravensbourne. When I arrived in the morning and was shown the floor plan, I immediately started to make changes to the lighting rig to cope with the number of performers it needed to cover.
The rig finally consisted of:
- 8 x 1k Fresnel’s
- 3 x 2k Fresnel’s
- 4 x 575w Profiles
- 4 x Mac 250 Entours
- 4 x Parcan’s
The shoot went well after a shaky start, we had some problems with blown lamps and damaged sockets, restricting out pantograph positions, and also the available lighting stock. I’m happy with the outcome of the of the day, and some of the effect created, photo’s to follow.
PROJECT: 3D Storytelling Conference
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Over the last week I have had the opportunity to work on the world’s first 3D Storytelling Conference at Ravensbourne. The first couple of day’s I was just assisting with the rigging and gel’ing of over 300 lights through out the building. The design reason behind having to gel so many lights was to colour code each floor with the Conferences colour scheme, and I’m glad to say the end result was worth it, and the building looked amazing as you can see from the picture on the right.
Today and Yesterday, I was asked to help out on the hospitality side of the event, providing assistance to delegates and generally keeping the event running smoothly. Yesterday started off as a very cold morning stood in North Greenwich Tube station, in just a T-Shirt, providing directions towards Ravensbourne. The day got slowly better, as I came in after about 2 hours in the cold, to provide Wi-Fi Assistance up on the 4th floor. This new role gave me a chance to learn more about the Ravensbourne network and how to troubleshoot it’s problems on mac and windows.
Today was a bit better, and defiantly a lot warmer, started out in the Walker space as one of the 4 Hospitality team in there making sure the audience were in and out at the correct times as well as providing general assistance to lost delegates. Working in the Walker Space had a huge advantage over other locations as it meant I could see all the fabulous 3D Content that was on show and see how it was being used to portray released and up and coming stories. The walker space is pictured to the right.
At the end of today, as the delegates were networking over in Union Square, we started the de-rig and had the huge task of turning Ravensbourne back into a working uni.
CIRCUS: Studio Sound
0My final main Circus session today was on Studio Sound, and how it can make or break a live or as live television production. Bellow is what i had to say about today, in my circus report:
Studio sound is quite similar to Location sound, with the main difference being the amount of microphones / audio sources you can mix and output. In a studio mixer you can also use techniques such as Compression, Effects (Reverb, Delay and such), and Limiting.
In the studio at Ravensbourne there are 3 wall boxes each with a set of input / output tie-line which link back to the sound gallery. Each socket from this wall box can then be patched to any channel on the Solid State Logic C10, digital sound mixing desk. Each socket could be patched as an aux on the desk, allowing you to feed particular channels into the studio, for example as monitors for a band.
Each channel in the SSL C10 can have its own effects and compression applied to it which can be very useful in a band / interview situation, were you would like some reverb on the performance mic’s and nothing on the interviewees. Also each channel can be supplied with phantom power individually; this means that if you have microphones or other equipment that require phantom to operate, they can be supplied with it, without the rest of the inputs being affected. Some older sound desks only supply phantom to all or nothing, this can cause some problems with sensitive equipment.
The SSL C10 can handle “64 full input channels, each with dedicated 4-band EQ, Comp/Lim, Insert, Direct Output”5 as well as “16 dedicated mono Mix Minus buses with insert points, can be stereo-linked”5, all of which allows the sound supervisor to provide the studio floor / in ear monitoring all different mixes. For example a presenter will want to hear the Director, PA, and VT’s but they don’t want to hear themselves.