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One of the most enjoyable parts of creative lighting
is to bring out the architectural features of a building.
here I am using floor mounted short nose PAR cans to pick
out the roof. |
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At this stage, there is a mixture of my lighting and
the Abbey's working lights. |
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We are sat with our lighting control kit
just behind the organ. The PAR lamps
on tall stands are used to light the choir stalls opposite. |
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Medwyn, the Producer/Director has
arrived and is talking to the unit manager and Tim Moses, who is the
senior cameraman. |
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The cameras and related hardware is taken into the
Abbey. |
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S.I.S. are the company that now own what used to be
the BBC's O.B. (outside broadcast) fleet. |
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The ladies of the Abbey have worked hard
in decorating the Abbey in an appropriate manner for Christmas.
|
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Microphones are rigged for the broadcast
which will be broadcast in Dolby 5.1 surround sound. |
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|
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Eight CP61 PAR cans now light the roof to reveal its
splendour. |
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I put some light on the wooden choir screen using 65o
watt floor lamps hidden behind the choir. |
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Camera 3 is to be a 'Jimmy Jib', a very
versatile device which enables some dramatic tracking shots. |
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It tries to keep out of other camera
shots by moving behind the pillars when not in use. It is a two man
operation. |
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|
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The arches are back lit with 650 watt fresnel lamps;
once again, on the floor. |
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here they are. Simple but effective. |
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Here is a choristers foots eye view of
the East end of the Abbey. |
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This is one of my favourite shots of the
Abbey roof. |
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My focussing is almost complete. |
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Rehearsal next. |
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It is Christmas Eve and the choristers
are now in position. |
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We do a pre record of Paul, the vicar, in a nativity
scene: with a real baby! |
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