Posts tagged director
Sorry for the lack of update recently, just been so busy with loads of mini uni projects, including London Live and GCSE exams back at my old school and catching up on uni coursework and lectures.
The missed lectures and course were caused by Martins absence and other missed lectures due to the snow. To catch these up missing lectures we have been pulling extra sessions on day’s we normally have free, and where i would normally update my blog.
This weekend I have been working again with Ben Blake and Sarah Louise Ings on her latest Music Video. This weekend has been a strange one, and once again i wasn’t given any information about the director and the musicians vision until the day. This then again put me on the spot to come up with an adaptable lighting design thats sticks with the vision and looks good on camera.
I’m happy with the end result and am now waiting for them to edit the video and when its released I will post a few clips on here.
Today’s the day, when we worked closely with the operation students to produce their first TV show, and to give us all a chance to practice the skills we picked up on the Circus.
Today I was originally just the lighting assistant, but in the end with my previous lighting experience, I took over as the lighting director, coming up with the design, and assisting with the rigging.
This morning we got the bulk of the design rigged with in 40 mins of arrival, but after that, we struggled with a few flown lanterns and dimmer channels. the dimmer channels were a major issue as they didn’t allow me to have lights where I required them.
These little issues pushed us slightly behind schedule, but we’ve learnt from them, and now know faster ways to rig in the studio, and other little niggles that are present.
My 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.