Contributions Completed

Bristol Vibes has personally been the most valuable project to me, as I’ve started to cement my career path in lighting design this has been the perfect accompaniment in starting that journey. The opportunity to focus purely on the creative and technical applications of light aside from camera is what feels right, and having a project that allows me that freedom is ideal.

Whilst at times I felt the leadership and direction of this project was lost, the crew have pulled through to see a fantastic final broadcast. The individuals working on this project were the key to its success, I honestly feel with a different crew this would have fallen apart at an earlier stage such as when acts were dropping out or when the show was reformatted (as proven by Varsity). All of the crew helped to make it a fun project to work on, I loved the music, I loved the acts and I loved everyone involved.

The experience from this project directly relates to my intended career path. It has been a great blend of live event lighting, studio work and broadcast/camera work, working across the fields of design, rigging, and electrical work; combining three different approaches to lighting and through this learning three different styles and working ethics. This project will be a prominent part of my recent experience as I prepare myself for the real world. There is potential to continue this brand beyond university as live events or broadcast, either way count me in.

Broadcast Week – Day 5 (Live)

Today was the big day, broadcast day! My day started off on a slightly unusual note, going out with Dan (Director) and Jordan (Sound Mixer) to record VT footage. Last night Dan and Jordan reworked the script as the previous version really didn’t work, the dialogue was clunky, the presenter found it unnatural, and honestly I didn’t really like it myself. When I got back from work I read aloud with them and corrected the last few errors so that they could run it past the presenter today (who liked it a lot more).

During the read through we came up with the idea of doing ‘as live’ footage of the Bower Ashton Campus to dub over the introduction, heavily inspired by Saturday Night Live. Hiring a Jib and Panasonic 101 (similar to studio cameras) we opted for the stereotypical shot of the front of campus commonly associated with the campus. After filming several movements I suggested going over to the SU bar for another version. Jordan and I decided to point towards the students seated outside, first doing a take sitting then I got them all to wave down the lens for a second version.

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I transcoded the footage through Final Cut Pro 7, using a 3 wheel colour correction for quick turnover. I pulled down the levels and pushed towards purple for an early summer evening feel replicating the time of broadcast. Joe (Vision Mixer) requested a 2 second ramp either side then export in ProRes HQ ready to be loaded onto the broadcast system.

When I got into the studio I took the opportunity to check the entire rig was in working order. I went around and adjusted the tension on all the pantographs so they would be easier to changeover during broadcast, having George double check he was happy with the pull on each fixture. One pantograph was upside down so I had to get the steps out to change the tension, I have noted which light so we can take extra care during changeover.

Our first rehearsal started later than anticipated due to acts arriving late. This meant we were only able to do one full run through of the show before going live. Like yesterday George and I managed to follow all of the lighting cues I constructed for Imprints and Alex McKay. For Saona we listened through and went along to the music, I then requested a second rehearsal of their first track as it required more dynamism in the lighting. The changeovers in the rig were on time and the best they have been to date, we ended up changing the overhanging fixtures on the main stage in the first interval, then focusing on the remaining ones outside of the stage facing inwards on the second VT.

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During the final rehearsal we noticed how darker the lighting for Saona was compared to Imprints. The light levels were always a concern, speaking to Dan we opted to swap over the gel colours. Due to a different number of gels I dropped the fixture on the far left of the stage for Saona, still leaving enough coverage for all members. As a result I programmed three additional memories into the desk, a repeat of the practical blue lamp, a repeat of the front lamps, and a new version of the back lamps that did not include this fixture. I figured it would be easier to flash between three separate channels on the desk during their performance rather than worry about knocking the wrong channel. I also faced a minor scare when the lights were no longer solo flashing, this was just the case of a slider being knocked off.

The final lighting cues were the following:

Imprints – Box Wine Part 2
– Start orange
– Opening pulse green over orange than finish on both colour washes
– Green & blue for bridges
– Chorus flash between orange and green
– Assorted flashes for ending

Imprints – Raven
– Slow pulses between all colours
– Green & blue for spoken words

Alex McKay – Next To Me
– Start blue practical
– Add back fresnels
– Add CTO (strong left) for split facial contrast

Saona (First Track)
– Start blue, snap to pink on the drop
– Dramatic fading between colours
– Bridge & chorus flash between magenta and blue (hold one colour and flash second for 2 beats)
– Dramatic fading between colours

Saona (Second Track)
– Slow fading throughout

Alex McKay – Run
– Start blue practical and backlighting
– Introduce orange fresnel

Imprints – Pirates & Thieves
– Intro green & blue
– Snap to orange
– Flash between two colours on bridge
– Flash individual channels on chorus
– Slow fade verses
– Chorus & ending dramatic flashes
– Cut to black on end beat

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The final broadcast was a huge success for lighting with absolutely no errors. I am extremely pleased with the end result and proud of how it translated in the broadcast considering the huge amount of work that has gone into it in the lead up to the live show. Considering the equipment I was working with I feel like I pushed it to its limits and produced a quality mixture of live television for audiences at home and a live experience for everyone inside of the studio. George was a fantastic assistant, he had a great eye for timing and was really eager to get stuck in, without him the lighting wouldn’t have run as smoothly. With a second hand in the department it gave me more creative freedom and I feel like I utilised that ability well.

On the whole the broadcast went flawless, I only noticed one error when a VT was faded at the wrong time. Everyone really pulled together and everyone should be proud of the final program output. The lead up has been stressful, personally I would have liked a few more full programme run throughs, but despite every obstacle encountered everyone pulled through in the end. This is definitely something I would like to continue in the future, there is room in the market for a show like this so I am more than happy to take it on the road and start doing shows across Bristol and the surrounding areas.

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Lighting Memories

DMX Memories

This is the final memories programmed for the Bristol Vibes broadcast. I have split the channels into three sections spaced across the lighting desk, the top left for ‘House’, top right ‘Acoustic’, and the bottom strip as ‘Main Stage’. The purpose of this document is for a clear diagram of how the fixtures are programmed incase I need to check channels are functioning correctly or have to swap anything over, making the process much clearer.

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Broadcast Week – Day 4

Following the fallen light situation yesterday this was my first priority of the day. Whilst I awaited assistance on fixing the pantograph I went ahead and moved two lamps in the rig in order to allow a clear access route for the steps to both the acoustic and main stages. If I need to quickly grab them out it’ll make the process much quicker.

James Helps and Mike Sides were both around in the studio to assist in fixing the pantograph. Between them they were able to fix it easily, after it was done I had them show me the process so I understand for future reference. The locking mechanism is spring loaded, when this spring slips the lock fails causing the pantograph to reel out without anything to stop the cogs. Simply winding the spring back around the locking mechanism fixes the issue. The blue cog alongside this mechanism also allows you to tighten and loosen the tension of the cable, making it much easier to freely move the pantographs.

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James Helps had hung the BV boards in place prior to my arrival. I helped him reposition them more central before arranging the lighting for it. As planned I opted to line the boards with various coloured gels, securing all in place on the backside with gaffer tape (so not to cause permanent damage). I tried shining a 1K fixture from the rig through the boards but it wasn’t providing sufficient coverage.

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To light the boards I ended up introducing two practical 2K Arri lamps, one wasn’t enough coverage. Spacing both back from the boards and crossing over the beams managed to get the most even coverage, also taking note of the gels spilling on the acts and adjusting lamp position as appropriate. I really like the final effect, as a standalone it creates nice ambience and mimics the house style of the brand, and with the main stage rig lit the effect still continues well.

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George and I decided to rehearse the lighting cues for all of the Imprints songs prior to their arrival, sampling two tracks off of YouTube. We came up with the following format, with George primarily focused on slow fading whilst I concentrated on flashes and intro/outro.

Pirates & Thieves
Intro green & blue. Snap to orange. Flash between two colours. Slow fade during verses. Chorus & ending dramatic flashes. Cut to black at end.

Box Wine Part 2
Start orange. Opening pulse green over orange. Both washes for first verse. Green & blue at bridges. Chorus flash between colours. Flash for ending.

Shortly after Imprints arrived so we were able to do a full run through of the show, unfortunately Saona couldn’t make it so we allocated time for their performance by sampling an earlier recording. Also allocating 5 minute blocks for VTs allowed George and I to practice turning over the lighting rig. Imprints decided on Ravens for their final track, this will work by pulsing and fading between various tones.

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The full run through was really successful. I am extremely happy with the lighting, and practically no errors occurred. The first light turnover was awkward as we were cut down to the final second. The second turnover was perfect, I also had Nathan focus on moving the practical floor lamps so George and I could focus on the rig. George pulls down and removes gels, I fit new ones and push back, if there is any struggle with pantograph tension I will take over due to familiarity of the equipment. Both hitting the lighting cues and turning over the rig will improve the more we are able to rehearse.

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The second run through was shorter just focusing on the songs meaning the rig wasn’t changed over, Nathan still swapped the floor lamps.

Imprints – Box Wine Part 2
Really happy with lighting. We hit all of the cues and it worked really well.

Imprints – Ravens
Pulsing lights was a good option. I tried highlighting soloists during performance but the camera movements accommodated for the entire band so it ended up making angles obsolete.

Alex – Next To Me
Start blue practicals, introduce back fresnels then the floor CTO lamps on guitar strums for strong warmth. Only use one side of the CTO for strong contrast of colour split down his face.

Alex – Run
Start with blue practicals and back fresnels, then introduce orange fresnels as appropriate.

Imprints – Pirates & Thieves
Happy with entire performance, all the cues were timed perfectly. I missed my cue for the final lighting flashes, I will listen to the track again on YouTube to avoid this error on the live broadcast.

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Looking ahead to the live broadcast tomorrow I feel really prepared and am excited to get the content out there. I would like another rehearsal with Saona prior to broadcast in order to nail down the lighting cues, other than that I will go over the rig again to ensure everything is 100% ready for the broadcast.

Broadcast Week – Day 3

Today was generally another great day for developing lighting, the major focus on adding dynamism to acts and calculating how to carry out all the necessary lighting changes. I went ahead and timed myself changing the rig by myself, with a time of 12 minutes it was nowhere near the timing for the 5 minute VTs between the main stage and acoustic performance.

Initially I thought changing the gels over the VTs and Alex’s performance would be the best method, however the process is too noisy and distracting for him meaning it can only happen on VTs, therefore leaving 2 x 5 minute slots for any rigging. Joe’s possible suggestion would be to have multiple hands on the floor to assist, but my concern was too many people getting involved. I spoke to George (DJ Director) and he was more than happy to assist me with lighting operations.

With the plan set in my head for the rehearsals I continued fine tuning the rig, going through some loose pantographs I discovered and tightening them. One is still temperamental so I have made a mental note to take extra care. This was also a good opportunity to adjust the direction of lamps; I pushed all fixtures all the way into the ceiling and directed from there. My logic was by having them at their maximum height it means they will always be pushed back in their precise position, before I kept finding some variance in the lamp position having changed over gels.

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Discussing the lighting with George prior to rehearsal he came up with a great idea to use the practical blue lamps from the acoustic stage on Imprints set as it looked good in the composition. I really liked the idea as it introduced a third element of contrast, cutting nicely through both existing tones.

The following changeovers now happen between moving from the main stage to the acoustic:

  • Colour change gels on all main stage lamps
  • Move CTB practical into acoustic stage
  • Move CTO practical into acoustic stage
  • Move microphone stand out of CTO practical

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Once Alex and Imprints arrived it gave George and I the ability to start testing my suggested working methods. The first set of changeovers from Imprints to Alex gave George and I enough time to swap all of the gels. As George struggles pushing the fixtures back up I have told him to pull down lamps and remove gels, I will then follow with new gels and push the fixtures back up.

I really enjoyed the colour cast for Imprints, the green and orange combination worked perfectly for composition and contrast. Joe (Vision Mixer) also commented how it reminded him of Ska music, a heavy influence for Imprints. The introduce of blue cut into this palette nicely and offered additional colour options when required. Alex’s lighting still remained strong as it has been throughout the entire production process.

The fast paced nature of Imprints performance saw me pass on some of the desk control to George for ease of operation. He would shift the colour memories as slow fades to match the tone of the song, I could direct any particular change and then override his changes by flashing lamps via the solo function. I was really happy with George’s changeovers on the colours. I felt between us we put out some fantastic colour content, I feel the singular flashes need a little more work.

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Unfortunately during the final lighting turnover one of the fixtures failed and fell to the floor. Nobody was harmed, nothing was broken, but it did raise concern as to the contingency plan. There is no way to hide this level of error, I would have to bring in the steps to remove it from the rig meaning a VT cutaway to cover the mistake. All of the heads of departments (including myself) discussed this and have set plans into motion for contingency VTs.

Minus the unfortunately end to the day I feel like today was extremely progressive. I feel happy in making the changeovers for various acts and appreciate the additional hand on the desk. I will be speaking to the media centre about the pantograph and see if there is a way to reduce the risk. I will also edit the rig slightly for a clear path to move the steps during the performance incase this happens again.

Broadcast Week – Day 2

With the event kicking off at 10pm I arrived at the Exchange at 6pm to start going through lighting. As the Exchange offers a good lighting rig as part of the hire I opted to use theirs, in theory I could have introduced more lighting but I felt this was unnecessary for the cause of the event. I hoped arriving so early would give me plenty of time to understand the desk and get a quick crash course as to how its been programmed by one of the technicians. However with the technician not scheduled until 9pm I ended up spending the first few hours playing around with the rig to understand it myself.

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Trying to get all the fixtures and booth powered was a struggle, eventually I was able to find someone from the venue to switch everything on fully. Once done I started to reposition the cans across the venue, pointing the floor rig away from the stage so that the DJ would be heavily back lit from the stage cans. With the focus on the music Beth (Producer) didn’t want anything too distracting, I personally like the element of mystery it adds.

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Exploring the venue further I came across some additional pieces of equipment I was able to rig on top of the lighting booth. The first was a set of lasers, these had a choice of various patterns to cycle through. They definitely added to the atmosphere of the venue, prior to locating the lasers it all seemed very plain and ‘school disco’, once introduced it ramped up the club ambience. Secondly was a water projection lamp, this was just the case of positioning it against the side wall where no light was accommodating for the space.

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The smoke machine was the final piece of equipment, I instantly fell in love with the effect and how it complimented the club ambience. Unfortunately it turned out the Exchange wasn’t licensed to use one so I had to de-rig this.

When the technician arrived she knew nothing of the lighting rig so I had to figure out the programming alone. Locating programmed pages and banks I discovered a pattern in the DMX patching. From this I then chose to swap around some of the gels on the floor cans so multiple channels would match resulting in the entire venue having a red, green, blue, or white wash. Paring lights like this made it easier for dramatic colour changes, and if I wanted something more precise I would have to go deeper into the desk control.

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Once the night kicked off I found it difficult to accommodate colour changes to the music as I didn’t know the playlists. I also found the ever changing pace of the music awkward to match dynamism, the simple nature of the rig added another obstacle. I like to think if I had time to program chases I could have made something more dynamic, but considering the circumstances I felt extremely happy with the end result. The lasers had continuous dynamism so slow colour changes at various points in the music kept the venue interesting. At times I would experiment with sharper changes and mixing tones, it was really the case of moving to match the tone of the music and the night.

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The final act was the most successful for lighting, a combination of a easier beat to follow and familiarisation of my role and equipment. Previous acts were mellow so slow changes were appropriate, the stronger dominant beats allowed cutting between colours and luminance. One notable light movement was cutting the lights on and off to match each beat, and every reveal the colour on the stage would change. Splitting the DMX output on the left and right stage cans enabled high contrast and smooth colour transitions. The fact I had various members of the audience turning around and giving me thumbs up to these elements makes me assuming it got a positive response and was well executed.

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The night in general was very quiet, I feel this mostly came down to a lack of publicity. I was under the impression a few flyers had been distributed and that was all, the fact its a club on a Tuesday night on the outskirts of the centre makes it hard enough to advertise. Personally I feel more should have been done in this department, I feel so much emphasise has been put on the studio broadcast (as it should be) that the DJ event was almost forgotten. There was little brand identity and it wasn’t as much of a success on the night as I hoped, only taking around 25 people.

On the other hand the footage looked fantastic, the music sounded great, the lighting was strong, and everyone who participated thoroughly enjoyed the night. The technical execution was perfect and everyone did a fantastic job, it will look great when broadcast as VTs as part of the live studio broadcast.

Overall I am extremely happy with how lighting was executed on the night. It was a completely brand new experience and something I came to really enjoy. The last minute nature of getting into the venue made it very restrictive form me to do anything ambitious with the lighting. However the lighting I did execute on the night encapsulated the tone of the music well, walking in it looked like a club, nothing out of the ordinary but worked nevertheless. In future I would have liked to get to the venue prior and plan lighting, maybe even program in DMX chases for the music, once again coming down to the nature of the rental. I am really eager to see the edited footage, especially the dramatic colour flashes on the final act.

Broadcast Week – Day 1

Today marked the final week leading up to the official Bristol Vibes broadcast. Throughout the week I will be spending most of my live in the studio for rehearsals along with the entire crew as everything will be pulled together into the official format, with all acts scheduled to come in simultaneously in order to achieve these styles of rehearsal.

The main purpose of today was rigging for lighting and sound, starting at 10am I managed to have everything rigged and programmed by 5pm, and in theory I shouldn’t have to do much else other than operate the desk during performances.

I started off the day by assembling my lighting desk area. Beth (Producer) and Jesse (Sound) had kindly cleared out the studio last week so it was the case of dragging out the appropriate kit from the store room. Having spoken to Steve I also changed the rigging of the DMX to secure it better by running over the lighting rig in the ceiling as the duct tape had previously failed after a long period of time (likely due to heat). Once assembled I then put the last CTB gels into the FluSofts for lighting the curtains before moving onto assembling the main rig.

Starting with the main stage I pulled down all of the fixtures so I could clearly go through each light individually before pushing it back into the ceiling. Personally I prefer this method despite cluttering the floor as I can clearly go through and check things off visually. Reference the original plan I found myself mostly swapping softboxes with fresnels and widening beam patterns. I moved the front set of pantographs back from the band members to avoid the overexpose by having lights too close. In addition I have introduced three softboxes next to the front fresnels as backup lamps purely for illumination in the event of a technical difficulty (I’m not sure if I’ll end up using them or not).

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Having spent the majority of the morning on the main stage I was able to quickly set up the acoustic stage. Having used this so much in previous rehearsals the simply design was relatively quick to assemble. This time around I have taped down all of the floor lamp cables to reduce tripping hazards. The spare softboxes I scattered across the audience area purely for illumination purposes, I am still uncertain of the level of interaction with them.

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With the entire rig assembled it allowed sound to fully set up all of their gear. By this point I went ahead and cut all of the coloured gels, slicing 16″x16″ segments to accommodate for all types of fresnel in the rig. Beth and Craig (camera) had picked up the last sheet of Twickenham Green so it meant all gels were ready for the entire venue. I went ahead and coloured the acoustic stage and the main stage Tokyo Blue/Magenta ready for Saona’s rehearsal in the evening.

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Main Stage – Fresnel (green), Softbox (yellow).

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Acoustic Stage – Fresnel (green), Practical (orange).

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House Lights – Softbox (yellow), Fresnel 1K (blue), Flusoft (yellow arrow).

 

I finished up the rigging process by programming the lighting desk with all of the new fixtures. Having drawn a final plan of all the lamps it made this process much quicker. The bottom row has been assigned for the main stage, the top right for acoustic and top left for house and audience lights. Spacing each set apart will avoid any chance of knocking on the wrong fixtures as all surrounding channels are blank.

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When Saona arrived the entire crew ran smoothly to pushed out six rehearsals before wrapping for the day. Having played both their tracks for the broadcast I was able to gage a feel for the music and come up with the following design ideas:

  • Relight My Fire (1st Track)
    • Start blue, pink jumps in on guitar drop
    • First verse drifting lights randomly
    • Chorus – start to flash subtly between colours, as the beat builds up the flash variance becomes more intense
    • Finish on blue lighting cutting away leaving magenta only
  • (2nd Track)
    • Fade up the blue
    • Static fixtures
    • Fade out both at the end

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It was a really productive day, everything is rigged and ready for use. I can’t see myself making any more changes in the coming week. The boards still need to be placed into the set so this may cause some variation in design. I have advertised for a lighting assistant but judging by the running order of the show I could potentially go and change them myself whilst the DJ VTs are playing.

For Saona’s performance I played around with a combination of lighting the curtains with CTB. A final verdict wasn’t made upon viewing back, I’m tempting towards not using them but I can give Dan (Director) the choice when he returns for the next rehearsal. I was generally really happy with how the lighting looked for the performance and felt the dynamic movements fit the beat of the music well. Initially I was concerned about how dark Tokyo Blue looked as a key lamp, but upon playback it works nicely to envision a mellow tone to match Saona’s indie roots.

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The week ahead should be relatively simple now, it’s mostly the case of rehearsing and getting a feel for dynamic lighting changes during other acts. I am also really intrigued how the lighting will work in relation to the presenter, this will become apparent in full run throughs. Tomorrow is the live event at the Exchange, this is something that has been relatively overlooked by my department. At the end of the day I am limited to the kit the venue has available so I will make the most of what is around. No matter what I’m sure it will fit nicely into the club stylings of the night.

Main Stage Lighting & Set Design

I came to a final verdict on the lighting for the main stage this week. The main principles haven’t changed much, just little tweaks in how to position lamps in relation to the subjects. Even now with a drawing of the final plan I still have a few concerns, for example I feel it may be worth dragging back the fixtures at the front of the staging area so the lighting isn’t as intense of the subjects.

Each subject as a strong backlight to pull them from the background, with a lamp in front to fill out their details. The lead has more lamps as they will be the primary focus so they need to stand out subtly from the band, it also enables further control to manipulate their light. The drummer features two fresnels illuminating either side of the kit, with a back/top lamp to illuminate the subject and kit further.

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Beth had a few thoughts about set design recently and how to develop it further. Currently I have been working under the idea of two boards placed behind the main stage lined with gels, then shining a 2K lamp through either to illuminate through the cutouts. Having discussed potential set ideas over the past month Beth has decided to focus on the identities of the bands instead, as the whole project is focused on the music and profiles of unsigned acts. This means bands could wear costumes with the odd prop placed, I will continue to converse with Beth about this to ensure the palettes and lamp positions work with these subtle changes. For example I have suggested Saona use white appropriately as the Tokyo Blue gel provides a UV lamp effect and emphasises bright hues. This is an ongoing discussion in the lead up to the week of rehearsals and broadcast.

Boyce Avenue – Everything

I am extremely happy with the state of lighting regarding the acoustic stage. That being said I came across this recent video upload by Boyce Avenue, it is probably the closest to the look I am trying to achieve and the circumstances I am working under. This is very stripped down, with no background and purely focuses on light position and practical options.

The practical back lights are great sources to help pop the members out from the black background, and at the same time their position creates a unique lens flare style associated with Boyce Avenue’s acoustic videos. Working with the camera for the position of back lighting I could look at increasing the prominence of lens flare in the performance. Accommodating more for camera could continue to build on the unique styling to the Bristol Vibes brand, allowing focus purely on the raw performance of the act.

The three point lighting is flipping when compared to previous videos I have deconstructed from the band. This time the key comes from the right hand side of frame putting focus on the neck of the guitar rather than his strumming patterns. Personally I prefer focus on the main body of the guitar, still another concept to experiment with.

The soft fill light creates higher contrast with a lot of shadow cast to the left of frame over the singer’s body and right arm. The slightly harsher light source doesn’t wrap around his face as much as previous performances. I’m not a lover of this slightly harsh beam cast on the face, much preferring the feel when wrapped around the face.

There are some concepts from this video I am tempted to play around with when Alex comes in for the next rehearsal. I’m really happy with the lighting plan for the acoustic stage but there is always room for further experimentation and potential improvements dependent on the results.

Saona Rehearsal Review

Beth has now placed footage from Saona’s performance online so I can now review how the lighting looked in the final export. You can immediately see a subtle difference in colour from the introduction of gels, however as expected this is nowhere near strong enough for any dramatic effect. Currently it softens the skin tones nicely to complement the composition, but nowhere near the final effect I want to achieve.

The lead singer and drummer are both lit nicely, some tweaking could be done on the other members. It is important the lead singer is lit prominently as naturally the camera focuses on them primarily. The hat on the drummer has cast nasty shadows, so this is a consideration that needs to be made by Beth (Producer) when she goes through costumes, I have already raised my concerns.

The static lighting works nicely for this performance. The slightly dim look makes the whole experience feel very intimate. In my mind this music is very chilled back so the general representation of intimacy seems appropriate.

The wide shows the obvious areas of illumination, once again continued to focus on highlighting individual members rather than the bland darkness of the studio floor and curtains. When performers step out of the light their are moments of nice silhouette style illumination.

Overall I am happy with how the lighting turned out for this set. The main issue is directions of lights being off slightly, this could continue to be a potential problem considering I have to do a lighting turnover during the broadcast. I think I feel for narrow beams again for focused lighting points, I must remember to widen the beams to allow performers space for movement and account for errors in light direction. Come the next rehearsal I will ensure I have all of the appropriate lighting gels ready.