Dimmers were being run at 100%. I have explained in seminars time and time again why this is a bad and wasteful practice. No change here, then.
The pistons were unmanned. Production talkback was turned down. There were no lighting changes or adjustments between or during items. There were multiple shadows on every area of the set. There were many distracting reflections on the top of the set. The designer had incorporated a large pink backlit panel behind the presenter. Yes, pink. I had had a diplomatic chat with the designer about this pink panel on a previous occasion, giving my reasons as to why pink was not the best colour to put behind an interview area. The answer came back: But I like pink, Mike! I then suggested that maybe the pracs could be dimmed somewhat. She said they would try that on a future programme. I subsequently found out that carrying my request had caused deep consternation. The pink panel pracs were in the same circuit as the cooker hob used for cookery items. Youve guessed it; they went on air with a dimmed hob without realising it until the presenters tried cooking! I wished I had been a fly on the studio wall on that day.
Tuesday February 20 th
Back to Irkuts ex cinema studio to see what was happening with the Song Contest set. Sami, one of the best potential LDs that TRT has, had some strong ideas on lighting the set, and as they agreed with the directors wishes, I was happy to let him and his colleagues do it their way. The set at least was built out of neutral toned surfaces, which at least gave lighting a fighting chance to ring the changes. A lot of hanging lanterns had appeared that were All lamps at full (FL) tells me nothing has changed in this studio since my first visit. The pink blob and the dimmed hob Dry run of the Eurovision Song contest (Turkish entry selection) A floor lamp that I hadnt catered for! A 5K tungsten Pani projector. new to me, but I decided that the best thing that I could do was to watch the sound check rehearsals for each band and make notes of potential lighting problems and solutions as they went along. This I did for all ten songs liasing with the director where appropriate.
Afterwards, I had a short meeting with the lighting men to discuss all that I had seen during the day and proposing the various thoughts that I had. In particular, I was very unhappy with the position of one of the old Strand CSI follow spots, as its present position always caused huge Jimmy Jib shadows on all and sundry.
Thursday February 22 nd
Irkut studio for ten a.m. Most of the crew were there, but only one lighting man, at first. They had all been working late again the previous evening and were, understandably, tired. I noticed that they had adopted my idea of the two side lamps for the dance area; indeed, it gave a nice coloured edge to the boomerangs as the side panels had become known. The follow spots had not been moved at this time. It was clear to me that they had worked hard at lighting the sets without spillage of light, one lamp, one function as I had kept stressing.
Problems came when I asked for more floor lamps to be rigged to back light the musicians and set. The rift between lighting and lighting special effects came to a head and there were heated arguments. Eventually, the lamps were rigged by the effects people but control would not be extended to the lighting control position. Even the coloured filters were provided from a separate source! They rigged a totally separate dimmer system so that any co-ordinated control during the show was virtually impossible.
The talkback burst into life. An aggrieved voice from Vision control (100 metres away!) complained that the lighting level was too low. Pictures were fine, but I quickly descended from the circle to the stalls to check the iris settings for myself. As I thought, F4ish on the brand new Phillips digital cameras even when shooting an area at the area at the back of the stage where the follow spot was struggling to produce 300 lux. Once again I defended the ability to produce excellent pictures with light levels down to 200 lux as their colleagues in Istanbul were already doing.
One of the problems that the lighting men are up against is that the Martin Case lighting board is really designed as a moving head Gelling up Irkuts large studio Lighting Gallery with its Martin Case Controller