WH
Just to hark back to this, just realised the robot in the titles for The Graham Norton Show is the same one used in the titles for So Graham Norton.
Mind blown. Ish.
Whataday
Founding member
Interesting that the Graham Norton show titles haven’t changed much since the show started. Presumably they were filmed in SD?
There’s a video here about how they were made, including the original version which also features GN himself:
https://www.youtube.com/watch?v=TtMDKx8prJo
There’s a video here about how they were made, including the original version which also features GN himself:
https://www.youtube.com/watch?v=TtMDKx8prJo
Just to hark back to this, just realised the robot in the titles for The Graham Norton Show is the same one used in the titles for So Graham Norton.
Mind blown. Ish.
BL
Yes, the 'air lock' exit is just out of sight to the right hand side of your picture.
Aah here is my favourite Studio, Studio 7, its a sad sight to see.
Wasnt their an exit to go onto the balcony outside the windows, I remember they did this once on Daybreak.
Wasnt their an exit to go onto the balcony outside the windows, I remember they did this once on Daybreak.
Yes, the 'air lock' exit is just out of sight to the right hand side of your picture.
JK
Yes, the 'air lock' exit is just out of sight to the right hand side of your picture.
I remember Daybreak using this studio in 2010. They launched the programme at the wrong time of year in September, when the morning light would get less and less as the show progressed on. If they had have launched in the Spring of 2010 it might have been different.
Aah here is my favourite Studio, Studio 7, its a sad sight to see.
Wasnt their an exit to go onto the balcony outside the windows, I remember they did this once on Daybreak.
Wasnt their an exit to go onto the balcony outside the windows, I remember they did this once on Daybreak.
Yes, the 'air lock' exit is just out of sight to the right hand side of your picture.
I remember Daybreak using this studio in 2010. They launched the programme at the wrong time of year in September, when the morning light would get less and less as the show progressed on. If they had have launched in the Spring of 2010 it might have been different.
ST
But they were going to face the same problem come Autumn, no matter which time of year they launched. Ultimately, it was the format that was wrong, the studio just added to the problems they had.
I remember Daybreak using this studio in 2010. They launched the programme at the wrong time of year in September, when the morning light would get less and less as the show progressed on. If they had have launched in the Spring of 2010 it might have been different.
But they were going to face the same problem come Autumn, no matter which time of year they launched. Ultimately, it was the format that was wrong, the studio just added to the problems they had.
ST
ITV Breakfast have found the best solution now with their large LED screen behind the desk.
Although I don't watch GMB regularly, I think their latest set evolution is far better than anything that could have been achieved by using TLS7.
Having said that, I remember for years people on this forum berating GMTV for not trying to use Studio 7.
ITV Breakfast have found the best solution now with their large LED screen behind the desk.
Although I don't watch GMB regularly, I think their latest set evolution is far better than anything that could have been achieved by using TLS7.
JO
It's interesting that in other countries, they have no issues with having an outside view for the Breakfast shows, looking at shows like GMA or Today in America or Sunrise in Australia, the view is a part of the show but I suppose those studios are on ground level.
Having said that, I remember for years people on this forum berating GMTV for not trying to use Studio 7.
It's interesting that in other countries, they have no issues with having an outside view for the Breakfast shows, looking at shows like GMA or Today in America or Sunrise in Australia, the view is a part of the show but I suppose those studios are on ground level.
LS
Lou Scannon
Having said that, I remember for years people on this forum berating GMTV for not trying to use Studio 7.
It's interesting that in other countries, they have no issues with having an outside view for the Breakfast shows, looking at shows like GMA or Today in America or Sunrise in Australia, the view is a part of the show but I suppose those studios are on ground level.
The ground level thing is key, I'd say. You've got the likes of lamp-posts along the street (etc), at that level.
Anything at a more "skyline" level is only an okay breakfast TV backdrop if some/all of it will always be illuminated during any hours of darkness that coincide with the programme's airtime.
NG
noggin
Founding member
The key requirements for a year-round windowed studio are :
1. Control of sunlight during daylight transmissions. Direct sunlight through your window is incredibly difficult to control. Shade during your transmission hours, or indirect sunlight reflecting off buildings in the background is best. Polarisers, ND filters or scrim/gauzes can help control relative light levels for indirect sunlight and keep it manageable.
2. Control of the lighting of your background during transmissions when the outside is dark. If you can light your backdrop, you can ensure you have a good interior/exterior lighting balance, and avoid your windows turning into mirrors, or having to light your studio with ridiculously low light levels.
The problem Daybreak had was 2. They launched with a studio that had a dark view at 0600, and couldn't control the lighting of the skyline backdrop... To try and see any view, they ran the studio LED lighting at very low levels, which was incredibly unflattering. London Tonight were able to use the studio far more successfully as they were able to optimise the studio design for just a handful of shots (basically a great St Pauls-backed mid shot), and they had a lit St Pauls. (Which I think Daybreak finally organised too)
1. Control of sunlight during daylight transmissions. Direct sunlight through your window is incredibly difficult to control. Shade during your transmission hours, or indirect sunlight reflecting off buildings in the background is best. Polarisers, ND filters or scrim/gauzes can help control relative light levels for indirect sunlight and keep it manageable.
2. Control of the lighting of your background during transmissions when the outside is dark. If you can light your backdrop, you can ensure you have a good interior/exterior lighting balance, and avoid your windows turning into mirrors, or having to light your studio with ridiculously low light levels.
The problem Daybreak had was 2. They launched with a studio that had a dark view at 0600, and couldn't control the lighting of the skyline backdrop... To try and see any view, they ran the studio LED lighting at very low levels, which was incredibly unflattering. London Tonight were able to use the studio far more successfully as they were able to optimise the studio design for just a handful of shots (basically a great St Pauls-backed mid shot), and they had a lit St Pauls. (Which I think Daybreak finally organised too)
NG
Pebble Mill had a pretty good location to avoid direct sunlight AND was the first UK studio I know to use polarising filters (as This Morning used in their last studio on The South Bank)
noggin
Founding member
Did Pebble Mill ever have issues with light and sun? I presume it was the first programme to use a windowed ‘studio’ in the UK.
Pebble Mill had a pretty good location to avoid direct sunlight AND was the first UK studio I know to use polarising filters (as This Morning used in their last studio on The South Bank)