(21-05-2022, 02:04 PM)Brekkie Wrote: [ -> ]The trouble is all that shows is how bad the red used for most output actually is. The studio almost always looks better in other colours. The same goes for the Salford set too.
Yep, red doesn't particularly 'lightbox' well and there is limited ability to really get the correct shade of red with LED lighthing so you often end up with a red that is too bright, too pale and/or too orangey. Oddly the red catwalk lightbox in Studio E does look better than Studio B or C lit in red - AFAIK they use the same basic set-up, but something is clearly different as it appears darker and the gradient is less apparent. It might just be the general lighthing - Studio C always looks a bit overlit to me.
For me, red looks best on a set when it is painted - such as in the cream and red era, the pillars in the 2010/11 English regional news studios or the main NBH newsroom.
(21-05-2022, 02:21 PM)DTV Wrote: [ -> ] (21-05-2022, 02:04 PM)Brekkie Wrote: [ -> ]The trouble is all that shows is how bad the red used for most output actually is. The studio almost always looks better in other colours. The same goes for the Salford set too.
Yep, red doesn't particularly 'lightbox' well and there is limited ability to really get the correct shade of red with LED lighthing so you often end up with a red that is too bright, too pale and/or too orangey. Oddly the red catwalk lightbox in Studio E does look better than Studio B or C lit in red - AFAIK they use the same basic set-up, but something is clearly different as it appears darker and the gradient is less apparent. It might just be the general lighthing - Studio C always looks a bit overlit to me.
For me, red looks best on a set when it is painted - such as in the cream and red era, the pillars in the 2010/11 English regional news studios or the main NBH newsroom.
One wonders if with the brightness of the redness levels in B & C could be down to two possible elements playing in concert with each other.
1: The studios being in enclosed spaces with no natural escape for possible light pollution, however minimal it is.
and
2: The 'auto white balance' - or whatever applicable term is used in this case - because the sets (two in B, one in C) are circular sets that have the ability to reflect the light back in on themselves and subsequently the cameras.
As a side note. One thing that made C look better in my opinion with using the red in the lightbox was when it has the night time view of London because it wasn't too 'bright' if you get my drift.
Getting an accurate red is also made harder when viewing through iPlayer as the red colour can often look more orange due to compression
Any idea of when Studio B will come into operation?
(21-05-2022, 07:29 PM)JK1985 Wrote: [ -> ]Any idea of when Studio B will come into operation?
When it and the teams are ready. If we are lucky we might get a sneaky intriguing rehearsal post which may give an indication as to how much longer. Given the upcoming bank holiday though I'd suggest probably not before then.
(21-05-2022, 08:31 AM)Inspector Sands Wrote: [ -> ] (20-05-2022, 08:55 PM)Jexedback Wrote: [ -> ]Don’t be disillusioned with the old branding.
Just wait until you see the space.
It’s brilliant.
The space more than makes up for the branding delays.
And there'll be one feature that is going to go down very well on here 
I've seen it, and I think you're right!
(21-05-2022, 02:21 PM)DTV Wrote: [ -> ] (21-05-2022, 02:04 PM)Brekkie Wrote: [ -> ]The trouble is all that shows is how bad the red used for most output actually is. The studio almost always looks better in other colours. The same goes for the Salford set too.
Yep, red doesn't particularly 'lightbox' well and there is limited ability to really get the correct shade of red with LED lighthing so you often end up with a red that is too bright, too pale and/or too orangey. Oddly the red catwalk lightbox in Studio E does look better than Studio B or C lit in red - AFAIK they use the same basic set-up, but something is clearly different as it appears darker and the gradient is less apparent. It might just be the general lighthing - Studio C always looks a bit overlit to me.
For me, red looks best on a set when it is painted - such as in the cream and red era, the pillars in the 2010/11 English regional news studios or the main NBH newsroom.
Agreed Studio C in the Catwalk area theres an extra light or something which is knocking out the colours at the top its like a cross over it, but not there on Studio E's Catwalk.
Good grief, ‘it’ll be ready when it’s ready’ is such a BBC approach to something, can you imagine a commercial organisation working to that sort of timeline? Maddening.
(22-05-2022, 09:53 AM)AaronTV Wrote: [ -> ]Good grief, ‘it’ll be ready when it’s ready’ is such a BBC approach to something, can you imagine a commercial organisation working to that sort of timeline? Maddening.
If you'd agreed to provide a service for someone, and they said that, it would indeed be annoying.
However, this is the BBC doing something internally, so are free to launch it when they believe the time is right. Nobody is holding them to account over any timescale.
(22-05-2022, 09:53 AM)AaronTV Wrote: [ -> ]Good grief, ‘it’ll be ready when it’s ready’ is such a BBC approach to something, can you imagine a commercial organisation working to that sort of timeline? Maddening.
Can you imagine a commercial organisation telling random folk on a random forum the date of a relaunch, especially when it isn't set in stone themselves yet.
No, thought not.
We have absolutely no right to this information.
(22-05-2022, 10:29 AM)Brekkie Wrote: [ -> ] (22-05-2022, 09:53 AM)AaronTV Wrote: [ -> ]Good grief, ‘it’ll be ready when it’s ready’ is such a BBC approach to something, can you imagine a commercial organisation working to that sort of timeline? Maddening.
Can you imagine a commercial organisation telling random folk on a random forum the date of a relaunch, especially when it isn't set in stone themselves yet.
No, thought not.
We have absolutely no right to this information.
I didn’t say we did have any right to this information. In fact, I didn’t say anything even
remotely like that, so not sure what necessitates the attitude.
It was clearly a comment on the BBC’s apparent inability to meet any kind of deadline or complete anything to target, as is often the case with large, bureaucratic organisations. Had absolutely nothing to do with this forum.
(22-05-2022, 02:33 AM)harshy Wrote: [ -> ]Agreed Studio C in the Catwalk area theres an extra light or something which is knocking out the colours at the top its like a cross over it, but not there on Studio E's Catwalk.
Lighting is probably one factor, and you also have to take into account that the top catwalk lightbox is 'taller' in C than in E, but all the lighboxes in E provide a more solid and less harsh colour than those in C. I imagine it's down to one of the several ways that E benefited from being the last studio to be put into use - several elements were being altered right up until first broadcast.
(22-05-2022, 10:56 AM)AaronTV Wrote: [ -> ]I didn’t say we did have any right to this information. In fact, I didn’t say anything even remotely like that, so not sure what necessitates the attitude.
It was clearly a comment on the BBC’s apparent inability to meet any kind of deadline or complete anything to target, as is often the case with large, bureaucratic organisations. Had absolutely nothing to do with this forum.
How do you know the deadline or target?
I appreciate your frustration if there are any ACTUAL unnecessary delays; but really that would only ever be known to people working on the project, and wouldn't be made public.
Also, the whole "when its ready, its ready" isn't just "something unique to the BBC or all bureaucratic organisations", its a business model used by a whole range of organisations, including just people on their own personal projects. It's a very good philosophy, because it means any change will be released when those involved with it are happy to sign off.
Rushing to meet deadlines -- or even going out into the public domain and specifying deadlines -- incites low quality output and always results in viewers being upset by the outcome or by the lack of anything changing when the company says it will. Just look at how many video games have released to "deadlines" in the last 5-6 years or so, and ended up being terrible for weeks or months later, instead of waiting a few months to reach something more stable, by which point you've already done the damage of negative publicity which is harder to claw back from in many instances.
If it was a new service or programme that was launching then there might be some justification for being frustrated about not having a date for it starting. But it's not, it'll just be existing programmes coming from a different place.
It's just a new set, it's not Crossrail