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June 2018
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In the magazine
Only available in print
  • Live and direct
    From concerts to cup finals and ceremonial occasions, live events are increasingly important to broadcasters. Tim Dams reports
  • Cutting comments
    In advance of EditFest London 2018, four editors from the worlds of live action and animation who’ve shaped films from Top Gun to Wonderwoman 
to Sweeney Todd, tell Jon Creamer what it takes to create the perfect cut
  • All the World's a stage
    …And nowhere more than the UK, where studios are coping with an unprecedented demand for studio space from TV and film productions. Pippa Considine reports
  • Let's get high
    From the shoot to final delivery, Michael Burns discovers the best route to HDR
  • Tools of the trade
    Televisual’s annual Production Technology Survey reveals the kit that producers are using to make their content – and what they think of it. Jon Creamer reports
  • Get some focus
    Major changes in the camera market have 
made lens choice more important than 
ever. Phil Rhodes runs through some of 
the best options for programme makers
From the magazine
Available to read online
  • The art of the edit
    In advance of EditFest London 2018, four editors from the worlds of live action and animation tell Jon Creamer what it takes to create the perfect cut
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Reports&
surveys

UK Studio Report Back to Reports & survey Listing

Britain’s Got Talent, series 3

Pro
duction company: Talkbackthames/Syco Productions
Studio: Fountain Studios

What did you provide for the show?
We provided a 13,000 square foot studio, 13 cameras, five star dressing rooms, six dressing rooms, four wardrobe rooms and a wardrobe trailer in the scene dock, and makeup for contestants. Judges and presenters are made up in their dressing rooms. On top of this, the production had a main production office here, an office for script supervisors, a secure room for phone voting results, a hospitality room for the sponsors’ guests and a hospitality room for VIP guests before and after the show. The show benefited from three separate entrances for the studio audience and another for the guests. We also provided a star dressing room, a dressing room for special guests, makeup, wardrobe and a hospitality area for the ITV2 show Britain’s Got More Talent.

How long was the production at your studio? The series was in the studio for 15 days

Why do you think the production chose to use your studio?
The size of the studio and its audience capacity, and the flexibility to use all the rooms and resources around the building was necessary for the show.

Britain’s Got the Pop Factor...

Production company: Good Night Vienna/Phil McIntyre Television Ltd
Studio: 3sixtymedia/The Manchester Studios

What did you provide for the show? The production used Studio 12, which is a 7,890 square foot HD studio. They also made use of the Garden Studio, a rehearsal studio and location services. The daily facilities we provided were eight cameras, one star dressing room, one green room, eight dressing rooms, one production office, one makeup area, one wardrobe area and café facilities. The audience handling area was particularly noteworthy, as it was a replica of the Rovers Return. The show also included special effects including flying and pyrotechnics.

How long was the production at your studio? Britain’s Got the Pop Factor... was in The Manchester Studios for 18 days, including rig and de-rig and 12 rehearse/record days
 
Why do you think the production chose to use your studio?
Peter Kay is a valued, long standing client of ours. This complex production required a high level of experienced crew and a proven facility. The production was unusual as it was a hybrid of large scale entertainment and drama – it had drama elements with a big LE live studio audience.

The Alan Titchmarsh Show

Production company: SpunGold
Studio: BBC Studios and Post Production

What did you provide for the show? We provided an 8,000 square foot studio with a fully saturated lighting rig over a 13 week period, in two week blocks – 3 days for the first week, followed by 4 days in the second. We also provided a green room, a production office and various dressing rooms, ranging from 12 to over 20, depending on the show’s daily requirements. We supplied five cameras and three DigiBeta systems and upwards of 14 radio mics, depending on the number of guests and performance requirements. We also provided audience seating and a PA system.

How long was the production at your studio? This was the fourth series, which was 13 weeks.

Why do you think the production chose to use your studio? SpunGold had previously worked with BBC Studios and Post Production and had been pleased with the quality of care and the ability of our craft and support staff, as well as our cost efficiency. Our location plus the availability of onsite editing facilities was also an important factor. In addition, the accessibility at our stage door and quality and number of dressing rooms helped SpunGold enhance the experience for the show’s celebrity guests.

Missing Live

Production company: Leopard Films
Studio: MTV Studios

What did you provide for the show?
The production used Studio B, which is a 750 square foot studio and gallery. The production team were housed in one large production office accommodating 12 people, complete with PCs, printers and photocopiers. We also provided two green rooms for the presenters and guests, two dressing rooms, makeup room facilities, inhouse crew, daily meeting rooms, an interview room, kitchen facilities, lighting design and wireless internet connections on the studio floor.

How long was the production at your studio?
Missing Live was in MTV Studios for four weeks – Monday to Friday, starting 16th March 2009 and finishing 9th April 2009. The show went out live every weekday morning at 9.15am on BBC1. The production office was occupied a week before production commenced.

Why do you think the production chose to use your studio?
Leopard used MTV Studios for Missing Live 2008 and were very happy not just with the studio facilities but also our auxiliary facilities too, so were keen to return here again for this year’s series.

The Colour of Money

Production Company: 12 Yard Productions
Studio: The London Studios

What did you provide for the show? We provided Studio 1, which is an 8,350 square foot space, and they also used a green room, a client production office, five dressing rooms, 12 cameras, one HD super slow-mo camera, a super techno crane, seven telephoto lenses, an EVS, 15 vtr decks, 12 radio mics, a Perception disc recorder plus camera, and sound, lighting and scenic crews.

How long was the production at your studio? It was separated into two blocks; the first was three days for the pilot, and the set was then de-rigged and re-set for the second block of six days for the series.

Why do you think the production chose to use your studio? It was technically challenging but we were able to offer working solutions throughout. The size and capacity of Studio 1, with its separate fixed balcony seating for an audience of 250, allowed us to accommodate the two storey high staging, which featured 20 working cash machines. The weight of the machines required a specially constructed set and two purpose-built scaffold towers. Up to five shows were recorded in a single day. Our central London location enabled us to attract and turn around large audiences for each performance.

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