A Week at Endemol
Day 3 Schedule
Wednesday 4th March
09.00 – 11.30
Report to Kevin Sharp, Chief Spark/Lighting (lighting/director/gallery)
Break
11.45 – 13.45
Report to Phil Ingamells, Director in Gallery
Lunch Unit A
14.40 – 16.45 (or when final record ends)
Report to Stacy Heaven, Gallery/Office Runner and help assist with tasks
In the morning I reported to Kevin Sharp, the chief lighting guy, or 'spark'.
He and his two colleagues, Mike and Grahame, are based in the lighting booth in the gallery area of the studio. All these guys have been in the business for many years and work under contract for Deal or no Deal. They have all worked on the show for several years and can do their jobs almost without thinking. I don't know too much about lighting so I was interested to find out a little more about the subject. But to be honest the show is so formulaic and choreographed that the lighting is more a light show than lighting a set or for a mood. There are thousands of low amp lights all over the set and the biggest task seems to be making sure they are all working properly. One man handles the flashing and strobing one the studio lights and one sweeps the set and directs the light as necessary. Its all very planned and although it was interesting watching them work, as experts, I didn't learn too much about the process of lighting. They were very nice though, and funny.
The rest of the morning was spent in the gallery with the director Phil Ingamells, another very nice,very funny guy.
I basically observed the whole show taping from the directors perspective, trying to stay out of the way again and only ask questions when things seemed quiet, which wasn't very ofter during the taping. They show is shot as if it were going out live, which means the director calls out the camera changes live and mostly there are faultless shots after faultless shots. There is an online editor in the gallery, which is apparently unusual, but necessary with Deal or no Deal because of the quick turnaround. The editor takes notes of the shots captured and any mistake made which will speed up the final edit.
I was given a pair of headphones and listened in on the floor manager and the bankers comments too which was interesting because their dialogue is of course quite different from the cameramen and the director. Over all it was exciting to be in the gallery during shooting, its the brain of the show and you can really feel the connections between every departments, everyone channelling all their energies into the product. I think I would make an excellent director! Its certainly the most multi tasking I have ever witnessed by a man!
Day 3 Schedule
Wednesday 4th March
09.00 – 11.30
Report to Kevin Sharp, Chief Spark/Lighting (lighting/director/gallery)
Break
11.45 – 13.45
Report to Phil Ingamells, Director in Gallery
Lunch Unit A
14.40 – 16.45 (or when final record ends)
Report to Stacy Heaven, Gallery/Office Runner and help assist with tasks
In the morning I reported to Kevin Sharp, the chief lighting guy, or 'spark'.
He and his two colleagues, Mike and Grahame, are based in the lighting booth in the gallery area of the studio. All these guys have been in the business for many years and work under contract for Deal or no Deal. They have all worked on the show for several years and can do their jobs almost without thinking. I don't know too much about lighting so I was interested to find out a little more about the subject. But to be honest the show is so formulaic and choreographed that the lighting is more a light show than lighting a set or for a mood. There are thousands of low amp lights all over the set and the biggest task seems to be making sure they are all working properly. One man handles the flashing and strobing one the studio lights and one sweeps the set and directs the light as necessary. Its all very planned and although it was interesting watching them work, as experts, I didn't learn too much about the process of lighting. They were very nice though, and funny.
The rest of the morning was spent in the gallery with the director Phil Ingamells, another very nice,very funny guy.
I basically observed the whole show taping from the directors perspective, trying to stay out of the way again and only ask questions when things seemed quiet, which wasn't very ofter during the taping. They show is shot as if it were going out live, which means the director calls out the camera changes live and mostly there are faultless shots after faultless shots. There is an online editor in the gallery, which is apparently unusual, but necessary with Deal or no Deal because of the quick turnaround. The editor takes notes of the shots captured and any mistake made which will speed up the final edit.
I was given a pair of headphones and listened in on the floor manager and the bankers comments too which was interesting because their dialogue is of course quite different from the cameramen and the director. Over all it was exciting to be in the gallery during shooting, its the brain of the show and you can really feel the connections between every departments, everyone channelling all their energies into the product. I think I would make an excellent director! Its certainly the most multi tasking I have ever witnessed by a man!
1 comment:
3 x photos, 1 x link C&P (same) good desc.
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