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OB:Children in Need 2012: Difference between revisions
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Though the [[vision path|vision]] and [[audio path]]s were pretty much built earlier in the term for TUC and remained in place, very little technical setup was done until the morning of the show. The techies and keen people turned up at approximately 09:30 - raising the set boards, moving and gelling the lights, laying the umbilicals and associated cables, bodging [[Wedge]] (commms) into place, fighting with the [[CORIOgen Eclipse|CORIOgen]] and setting up mics for an open mic set. The set boards were covered in cut out circles of sugar paper of varying sizes (by Emma, [[hist:Chris Wall|Chris Wall]], [[hist:Liz Pascoe|Liz Pascoe]] and others) with set and lighting design by [[hist:Greg Ebdon|Greg Ebdon]], [[hist:John Caine|John Caine]] and [[hist:Robert Walker|Robert Walker]]. | Though the [[vision path|vision]] and [[audio path]]s were pretty much built earlier in the term for TUC and remained in place, very little technical setup was done until the morning of the show. The techies and keen people turned up at approximately 09:30 - raising the set boards, moving and gelling the lights, laying the umbilicals and associated cables, bodging [[Wedge]] (commms) into place, fighting with the [[CORIOgen Eclipse|CORIOgen]] and setting up mics for an open mic set. The set boards were covered in cut out circles of sugar paper of varying sizes (by Emma, [[hist:Chris Wall|Chris Wall]], [[hist:Liz Pascoe|Liz Pascoe]] and others) with set and lighting design by [[hist:Greg Ebdon|Greg Ebdon]], [[hist:John Caine|John Caine]] and [[hist:Robert Walker|Robert Walker]]. | ||
[[File:YSTV Children in Need 2012 floor plan.png|thumb|right|A rough diagram of the floor layout with lights, cameras, seats, sofa, plasma and mic stands. The fire escape is in the upper right (red safety square).]] | |||
Along the back of the studio and slightly into the fire-door corner was the presenter section - three free-standing white set boards heavily weighted in a slight crescent. These were lit by two cyc fills from the grid down at an oblique angle with yellow gel. Two PAR cans were positioned on the floor at the edges of the boards pointing inwards and upwards at ~45 degrees, with light purple gels and grelco'd together through the 13A two-channel dimmer on circuit 4. Two ex-AV Services rod-operable Fresnels provided front illumination from the grid of the YSTV sofa, with a (lowered) plasma screen between it and the set boards (tapped off the VT DA channel - a dancing Pudsey logo was fashioned in After Effects by [[hist:Alex Williams|Alex Williams]] to fill the space). The presenters ([[hist:Linden Feng|Linden Feng]] and [[hist:Fenella Woodhouse|Fenella Woodhouse]]) were mic'd with Lavaliers (lapel mics), with a Sennheiser handheld mic hidden behind the sofa for a centrally-seated guest. Comms to the presenters was via walkie-talkies with earphones, after Wedge comms semi-failed. | Along the back of the studio and slightly into the fire-door corner was the presenter section - three free-standing white set boards heavily weighted in a slight crescent. These were lit by two cyc fills from the grid down at an oblique angle with yellow gel. Two PAR cans were positioned on the floor at the edges of the boards pointing inwards and upwards at ~45 degrees, with light purple gels and grelco'd together through the 13A two-channel dimmer on circuit 4. Two ex-AV Services rod-operable Fresnels provided front illumination from the grid of the YSTV sofa, with a (lowered) plasma screen between it and the set boards (tapped off the VT DA channel - a dancing Pudsey logo was fashioned in After Effects by [[hist:Alex Williams|Alex Williams]] to fill the space). The presenters ([[hist:Linden Feng|Linden Feng]] and [[hist:Fenella Woodhouse|Fenella Woodhouse]]) were mic'd with Lavaliers (lapel mics), with a Sennheiser handheld mic hidden behind the sofa for a centrally-seated guest. Comms to the presenters was via walkie-talkies with earphones, after Wedge comms semi-failed. | ||