controller, with its roller ball rather than faders.
The dimmers (manufactured by LEE) need software to
give them a square law response that most of us are familiar with. A call to Martin Professional Lighting revealed that they have developed software to give variable fader law on demand, but there was not at that time, completed documentation to go with it.
The follow spots in the large studio were not equal in intensity (or colour) at any given distance. I was told that the bubbles had been changed and that this had not improved matters. It appears that TRT is investing large sums of money in new technology, but the lamps, which are many years old, are not having the benefit of proper maintenance or a planned system of replacement.
To be fair to the lighting men, historically, they are basically technicians who have learnt on the job. They are constantly up against a whole layer of officialdom who do not appear to understand or respect their viewpoint.
As if that wasnt enough, whilst I was there, modifications were being made to the metal framed set using angle grinders, just a few metres from the brand new digital cameras. The atmosphere was more that of a factory than a TV studio. A blue haze of the most user unfriendly nature hung in the air.
Friday February 23 rd
Cold but bright, a light covering of the white stuff. Ebru and I went to the studios in the old Radio building. I took measurements of the light intensity in both studios and was shocked (but not entirely surprised) to find that they were as high as 3200lux! Readers will be aware that this is more than twice as much as tube cameras require and ten times as much as CCD cameras need. One studio in the building was still using tube cameras (but not for long) and that is where I chose to give our lighting workshop.
First, I gave my comments (diplomatically) on the existing lighting and why lower light levels would be beneficial. Next I devised a lighting plan for the show that was due to take place the following morning. I explained the function of each lamp and then we proceeded to rig the lamps accordingly. Each key light was set to about 1200 lux with the faders set at 70% rather than the 100% previously.
All very well, but there were a few problems to make life more difficult:
1) The lamps were mostly non pole operated theatre type. 2) There were no stepladders available. 3) There was no system of intercom between studio floor and lighting gallery. 4) There was no way of switching lamps on from the studio floor. 5) There was no light meter available to the studio. 6) Picture monitors were of very poor quality
As if this werent enough, I was told that Directors regularly overrule lighting men and insist on changes to lighting. Make it brighter, would be the plea.
A touch of the white stuff A touch of the angle grinders.. Trying not to be too dispirited, after that session we moved across the corridor into the other studio, recently equipped with new digital Phillips cameras:
Surprise, surprise, light levels were still around 3200 lux. One lamp was being operated without its fresnel lens. Neon displays were being used in many parts of the set whose terminals could easily touched by hand. Worryingly, each time I pointed out what I perceived as a major safety issue, the reaction tended to be one of shoulder shrugging.
My dilemma, as always, was how much change could I introduce without alienating the guys or destroying what was already acceptable. Too many changes at once would confuse and maybe even make things worse.
I was feeling a tad depressed as I typed up the days observations. The enormity of what I had taken on and the inadequate time scale of my training programme in Turkey was coming home to me. This was almost the end of phase two and there seemed so much yet to do. I really needed two of me.
A splendid meal and some kirmizi sarap (red wine) cheered me up and mentally prepared me for the main event of the evening: watching (with a professional eye, you understand) the Eurovision Song Contest Turkish Entry selection Programme. Yes, quite.
Saturday February 24 th
We arrived at one of TRTs oldest studios, somewhere deep below ground level in the old headquarters in Embassy Land. This is just about half way up the giant hill connecting TRTs main broadcasting centre with the city centre.
The previous afternoon I had run a lighting workshop to light a small chat area ready for todays live transmission. I wasnt best pleased when the Camera Control operator complained about the shadows in the picture. The shadows were those of normal portrait lighting with normal, as opposed to cellulose baking levels of fill light.
The lighting man was absent. He arrived some 15 minutes after transmission started! That was OK because the shadow hating CCU operator had put all the lights on at full (except one of the backlights which wasnt on at all) instead of the 70% that I had painstakingly done with explanation to the guys involved. If that wasnt bad enough I noticed that there was absolutely no continuity in lighting staff from the previous day.
The quality of most of the colour monitors in the gallery was appalling, and once again, the production talkback was turned off. Not a good start to the day.
Monday February 26 th
Ebru has arranged a series of workshops and seminars for the few remaining days of phase 2. I created a number of handouts using examples of TRTs lighting to make various lighting points. My technique was to incorporate pictures of lighting in areas where I had already given comprehensive training taken off screen during transmissions. Why was the key light at the wrong angle, blue light hitting a face, insufficient backlight, etc., etc.
Yep, the big hands on 3 and the little hands on 200. The Director watching a sing through The last workshop of this trip was with a completely different set of guys who were from what was once clearly a film unit. It was like a breath of fresh air, they were really quite clued up in many aspects of location lighting and we had a really enjoyable, light-hearted interactive session covering everything from shooting day for night to the best places to eat in Turkey.
And so it was that Phase two faded to black. The view out of the flight linking me with Istanbul and home served to remind me that the horizon of my Turkish experience was not yet calm and untroubled.
Izmir and Istanbul as well as Ankara were to feature in Phase Three. I was looking forward to that, Izmir is on the southern coast of Turkey. That at least promised warmth!