SC
scottishtv
Founding member
Very nice, I hope this will bring an end to the nasty Newsday split screen and a few more creative shots. Actually, they'd be mad not to use some new shots. I guess the presenters would might even need a bit of a refresher, with so many new screens to stand in front of and cameras to look at.
A couple of extra shots - one of 'the gallery' and another of a camera in shot. I note it was said we'll be getting updates every day.
A couple of extra shots - one of 'the gallery' and another of a camera in shot. I note it was said we'll be getting updates every day.
SC
With a studio this big, it'd almost be worth moving Breakfast again!
scottishtv
Founding member
For a studio that is currently only used for a few hours a day this would seem quite grand - could we perhaps see more programming from Singapore in the future?
With a studio this big, it'd almost be worth moving Breakfast again!
MY
It certainly carries a lot of elements of Studio C in London. The catwalk looks very similar. I think I see similar lightboxes, i.e. the circular ring above the main desk and the panels above and below the catwalk monitors. If so, think they should be able to light up in different colours to match the theme of programs as Studio C does.
With this studio, they could even be able to host documentaries or HardTalk editions out of Singapore.
With this studio, they could even be able to host documentaries or HardTalk editions out of Singapore.
RK
Given the space constraints in the studio I probably would have gone with using the Furio tracked cameras for simplicity and versatility. You could probably fit two tracks between the catwalk and the desk. I would have the tracks to almost all the way around the desk that way you could shoot with the talent against the windows or the monitor wall. Plus with the Furios you could probably reposition the cameras quicker than person would with out risking a camera man appearing in shot.
NG
However, for a small remote studio which is only on-air for a relatively short amount of time each day, it would be very difficult to justify the huge additional cost of multiple Furio cameras over lightweight peds. Do you know how much a Furio system costs? I suspect that they are re-using existing camera mountings they already own, so buying new mountings would be an additional expense they would find difficult to justify. Camera peds are things that go on working for decades and decades if properly looked after. There are jibs working in UK TV studios on peds that were probably built in the 60s or 70s...
noggin
Founding member
Given the space constraints in the studio I probably would have gone with using the Furio tracked cameras for simplicity and versatility. You could probably fit two tracks between the catwalk and the desk. I would have the tracks to almost all the way around the desk that way you could shoot with the talent against the windows or the monitor wall. Plus with the Furios you could probably reposition the cameras quicker than person would with out risking a camera man appearing in shot.
However, for a small remote studio which is only on-air for a relatively short amount of time each day, it would be very difficult to justify the huge additional cost of multiple Furio cameras over lightweight peds. Do you know how much a Furio system costs? I suspect that they are re-using existing camera mountings they already own, so buying new mountings would be an additional expense they would find difficult to justify. Camera peds are things that go on working for decades and decades if properly looked after. There are jibs working in UK TV studios on peds that were probably built in the 60s or 70s...
LX
Not sure that they are going to replace that role.
Karishma Vaswani (currently Indonesia Editor based in Jakarta) has been appointed Asia Business Correspondent based in Singapore, and that will presumably take on some of the responsibilities that the Chief Business Correspondent had.
Linda Yueh as guest today on TWT. I understand she has stepped down from being Chief Business Correspondent, so have they appointed her replacement yet?
Not sure that they are going to replace that role.
Karishma Vaswani (currently Indonesia Editor based in Jakarta) has been appointed Asia Business Correspondent based in Singapore, and that will presumably take on some of the responsibilities that the Chief Business Correspondent had.
RK
However, for a small remote studio which is only on-air for a relatively short amount of time each day, it would be very difficult to justify the huge additional cost of multiple Furio cameras over lightweight peds. Do you know how much a Furio system costs? I suspect that they are re-using existing camera mountings they already own, so buying new mountings would be an additional expense they would find difficult to justify. Camera peds are things that go on working for decades and decades if properly looked after. There are jibs working in UK TV studios on peds that were probably built in the 60s or 70s...
I was assuming based on the styles of the set they were going to mimic some of the shots that are used at NBH. I imagine over the life of the set the CAPEX of purchasing the Furios would be cheaper than the OPEX of having someone manning/changing the camera shots for the same time period.
Given the space constraints in the studio I probably would have gone with using the Furio tracked cameras for simplicity and versatility. You could probably fit two tracks between the catwalk and the desk. I would have the tracks to almost all the way around the desk that way you could shoot with the talent against the windows or the monitor wall. Plus with the Furios you could probably reposition the cameras quicker than person would with out risking a camera man appearing in shot.
However, for a small remote studio which is only on-air for a relatively short amount of time each day, it would be very difficult to justify the huge additional cost of multiple Furio cameras over lightweight peds. Do you know how much a Furio system costs? I suspect that they are re-using existing camera mountings they already own, so buying new mountings would be an additional expense they would find difficult to justify. Camera peds are things that go on working for decades and decades if properly looked after. There are jibs working in UK TV studios on peds that were probably built in the 60s or 70s...
I was assuming based on the styles of the set they were going to mimic some of the shots that are used at NBH. I imagine over the life of the set the CAPEX of purchasing the Furios would be cheaper than the OPEX of having someone manning/changing the camera shots for the same time period.
MO
Nice to see BBCGN Ltd has got some spare money laying around. Looks good.
I love the PTZ "spy cam" on the top of the ladder. Probably so the big wigs in London can keep an eye on things as the build-out progressed.
Nice to see BBCGN Ltd has got some spare money laying around. Looks good.
I love the PTZ "spy cam" on the top of the ladder. Probably so the big wigs in London can keep an eye on things as the build-out progressed.