What Is a Lighting Director?
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BBC Member for England Role Specification
BBC Member for England The BBC’s mission is defined by Royal Charter: to act in the public interest, serving all audiences through the provision of impartial, high-quality and distinctive output and services which inform, educate and entertain. The BBC is required to do this through delivering five public purposes: 1. To provide impartial news and information to help people understand and engage with the world around them; 2. To support learning for people of all ages; 3. To show the most creative, highest quality and distinctive output and services; 4. To reflect, represent and serve the diverse communities of all of the United Kingdom’s nations and regions and, in doing so, support the creative economy across the United Kingdom; and, 5. To reflect the United Kingdom, its culture and values to the world. The BBC is a public corporation, independent in all matters concerning the fulfilment of its mission and the promotion of the public purposes. It is funded primarily by the licence fee and has a subsidiary commercial operation, which supports the delivery of the Corporation’s mission and public purposes. Each year the BBC is required to publish an Annual Plan, setting out details of its creative remit for the forthcoming year, and an Annual Report and Accounts, reporting back on performance in the previous year. Copies of these can be found here and here. The BBC’s activities and services The BBC Board is responsible for the operation of the entirety of the BBC Group, which includes both the public service broadcasting responsibilities as well as its commercial operations, both in the UK and around the world. -
Manchester's Business Improvement District (Bid)
MANCHESTER’S BUSINESS IMPROVEMENT DISTRICT (BID) 2018 – 2023 DRAFT BUSINESS PLAN MANCHESTER TODAY • Second most visited city in England • £3 billion worth of major property by domestic visitors developments in the pipeline, including at St John’s, Old Granada Studios, • Third most visited UK destination by Mayfield, NOMA and Kampus international visitors, an increase of 30% between 2006 and 2016 • £1.5 billion tram line expansion, with more than £1.85 billlion allocated to • 40 million visitors to Manchester’s transport improvements over the next retail district every year, spending five years, including the transformation over £900 million of Manchester Airport • 100,000 strong student population, • 2,300 new hotel rooms across Manchester the UK’s largest city centre coming on board, increasing • 50,000 city centre residential population, supply by 25% a rise of 20,000 over the last decade, • £11 million worth of development with more than 10,000 new apartments forthcoming at Manchester Arndale, in development the UK’s largest inner city shopping centre IN 2016, LONELY PLANET RATED PART OF THE PICTURE ARE THE 400 MEMBERS OF MANCHESTER ONE OF THE EVERY SUCCESS MANCHESTER’S BUSINESS IMPROVEMENT DISTRICT. HAS A STORY TOP TEN PLACES TO VISIT IN TO TELL... THE WORLD. SINCE 2013, THEY HAVE BEEN WORKING TOGETHER, THROUGH CITYCO, TO SUPPORT CITY CENTRE GROWTH AND ENHANCE THE RETAIL OFFER. 2 3 MANCHESTER BID: THE STORY SO FAR YOUR VOICE, YOUR VIEW, AND OUR SHARED VISION As the end of the BID’s first five years approaches, it seems fitting to celebrate the successes we’ve already had, and to look to the future. -
Translating Music: Dubbing and Musical Strategies in Italian Cinema of the Early Sound Period Luca Battioni
ARTICLES Translating Music: Dubbing and Musical Strategies in Italian Cinema of the Early Sound Period Luca Battioni Throughout the 1930s, the large majority of films distributed and eventu- ally screened in Italy were dubbed. Dubbing practices inevitably had an impact not only on the way sound was experienced in film but also the configuration of the emerging Italian film industry following the introduc- tion of synchronized sound on the one hand, and the consolidation of the Fascist regime on the other. In fact, drawing on the work of Andrew Hig- son, among others, I wish to argue that dubbing complicates the notion of national cinema in the Italian context of the 1930s. Higson was among the first scholars to theorize the concept of national cinema. In his work, he argues against production-centric conceptualizations, pointing out that a full understanding of national cinema begins from the assumption that it is a complex cultural aggregate, and that at its core lies the reception of films by popular audiences. Higson’s approach “lay[s] much greater stress on the point of consumption, and on the use of films (sounds, images, narratives, fantasies), than on the point of production.” This, in turn, encourages “an analysis of how actual audiences construct their cultural identity in relation to the various products of the national and international film and television industries, and the conditions under which this is achieved.”1 The pervasiveness of dubbing in the 1930s needs to be addressed in these terms, and a film’s dubbed soundtrack must be considered as a channel through which audiences construct their own identities—regardless of the geographical provenance of the film screened. -
Barrington Pheloung's Cv
BARRINGTON PHELOUNG’S CV 2004/05 FILMS SHOPGIRL Production Company: Hyde Park Entertainment Directed by: Anand Tucker Produced by: Jon Jashni, Ashok Amritraj & Steve Martin Written by: Steve Martin LITTLE FUGITIVE Production Company: Little Fugitive Directed by: Joanna Lipper Produced by: Joanna Lipper, Vince Maggio, Nicholas Paleologos & Fredrick Zollo Written by: Joanna Lipper A PREVIOUS ENGAGEMENT Production Company: Bucaneer Films Directed by: Joan Carr-Wiggin Produced by: Joan Carr-Wiggin , David Gordian & Damita Nikapota Written by: Joan Carr-Wiggin TELEVISION IMAGINE: SMOKING DIARIES Directed by: Margy Kinmonth Production Company: BBC THE WORLD OF NAT KING COLE Produced by: Kari Lia Production Company: Double Jab Productions 2002/03 FILMS TOUCHING WILD HORSES Production Company: Animal Tales Productions Inc. Directed by: Eleanore Lindo Produced by: Lewis B. Chesler, David M. Perlmutter, Frank Huebner, Rob Vaughan Written by: Murray McRae TELEVISION THE STRANGE TALE OF BARRY WHO Directed by: Margy Kinmonth Documentary on Barry Joule Produced by: Margy Kinmonth/Sam Organ Production Company: Darlowsmithson Productions For BBC4. MOVE TO LEARN Directed by: Sheila Liljeqvist Documentary for Video Produced by: Sheila Liljeqvist and Barbara Pheloung Australian documentary, children with learning difficulties. SHORTS ARDEEVAN Short Feature film made in the UK. Directed and Produced by: Jonathan Richardson NIGHT’S NOONTIME Short Feature film made in the Canada. Executive Producers: Richard Clifford & Amar Singh Produced by: Hanna Tower Directed -
Contents Pages
P a g e | 1 AREA PROFILE CONTENTS PAGES Page 3 What is ‘Big Local’ and who is ‘Leecliffe’? Page 4 Where is the Leecliffe Big Local Area? Pages 4-5 History of Borehamwood Pages 5-7 Maps of Borehamwood and Leecliffe Big Local Boundary Pages 8-13 The Leecliffe Big Local Area – By The Numbers Page 8 – Population Page 9 – Ethnicity & Religion Pages 10-11 – Housing Page 11 – Lone Parent Families Page 12 – Income Page 12 – Employment Page 12 – Employment by Industry Page 13 – Unemployment Page 13 – Disability & Care Pages 13-14 – Health & Lifestyle Page 14 – Deprivation Page 15 – Schools & Education Page 26 – Crime Pages 17-35 What Community Assets Does the Leecliffe Big Local Area Have At Its Disposal? Pages 17-18 - Green Spaces Page 17 - Aberford Park Page 18 - Meadow Park Pages 19-31 – Community Assets Page 19 – Aberford Park Community Centre Pages 20-21 – Allum Manor House & Hall Page 22 – Fairway Hall Page 23 – Farriers Hall Community Centre Page 24 –Maxwell Park Community Centre Page 25 – Organ Hall Community Centre Page 26 – Three Ways Community Centre Page 27 – Windsor Hall Page 28 – Citizens Advice Page 29 – (The) Borehamwood & Elstree Children’s Centre (BECC) Page 30 – The Community Shop (Leeming Road) Page 31 – Denbigh Lodge (7th Borehamwood Scout Hut) Page 32 – The Ark Theatre Page 33 – 96 Shenley Road Leecliffe Big Local - Profile P a g e | 2 Page 34 – (The) Jewish Life Centre Page 35 – Other Community Assets & Religious Partners Pages 36-42 Community, Charity & Voluntary Organistaions Page 36 – Communities 1st Pages 36-37 – Carers in Hertfordshire Page 37 – Crossroads Care Pages 37-38 – Borehamwood Foodbank Page 38 – Gratitude Pages 38-40 – Guideposts Trust (@ ‘Number 10 Leeming Road’) Page 40 – Hospital & Community Navigation Service (@ ‘Number 10 Leeming Road’) Pages 40-41 – Livability Page 41 – MIND Pages 41-42 – The Royal British Legion Page 42 – The Society of St. -
Julia Smith Lighting CV.Pages
CV Lighting Designer Julia Smith 1991: BBC camera trainee - Studios, Film & OBs 1992: BBC camera woman 1996: BBC Lighting & vision operator (racks) 1999: BBC Lighting & vision supervisor (console operator) 2002: Freelance Lighting director & console operator Production History Lighting Designer Rob Beckett’s Playing for Rumpus Media Channel 4 Hospital Studios Time The Darkness of John Phil McIntyre TV Not broadcast as yet BBC Radio Theatre Robbins Tim Vine Travels in Time Baby Cow Productions BBC1 Pinewood Studios Citizen Khan BBC Comedy BBC 1 Dock 10 Yes Primeminister BBC Comedy UKTV TVC Lighting Director - original designs by other Lighting designers Harry Hill’s Alien Fun Capsule CPL Productions ITV 1 TLS Live From the BBC Phil McIntyre TV BBC2 BBC Radio Theatre Cats Do Countdown Zeppatron Productions Channel 4 Dock 10 Eggheads 12 Yard Productions BBC1 BBC2 BBC Scotland Perfection 12 Yard Productions BBC1 BBC Scotland Who Dares Wins 12 Yard Productions BBC1 BBC Scotland Russel Howard’s Good News Avalon BBC2 BBC3 Riverside Studios Sheperton, TLS Unspun with Matt Ford Avalon Dave TLS Question of Sport BBC Entertainment BBC1 Dock 10 Insert Name Here 12 Yard Productions BBC2 Pinewood Studios Football on Five Sunset & Vine Channel 5 Sky Studios Various BT Sport Timeline BT Sport Channel International Broadcasting programmes Centre Dog Ate my homework BBC Children’s Glasgow CBBC Pacific Quay !1 of !3 Production History Vision Supervisor or Console Operator Sitcom Upstart Crow BBC Comedy BBC 2 TLS Not Going Out Avalon BBC 1 TVC, Teddington -
Scottish Affairs Committee Oral Evidence: Public Broadcasting in Scotland, HC 574
Scottish Affairs Committee Oral evidence: Public broadcasting in Scotland, HC 574 Tuesday 20 July 2021 Ordered by the House of Commons to be published on 20 July 2021. Watch the meeting Members present: Pete Wishart (Chair); Mhairi Black; Andrew Bowie; Deidre Brock; Wendy Chamberlain; Alberto Costa; John Lamont; Douglas Ross. Questions 1-72 Witnesses I: Steve Carson, Director, BBC Scotland, Gary Smith, Head of News and Current Affairs, BBC Scotland, and Louise Thornton, Head of Multiplatform Commissioning, BBC Scotland. Examination of witnesses Witnesses: Steve Carson, Gary Smith and Louise Thornton. Q1 Chair: Welcome to the Scottish Affairs Committee for this one-off session with BBC Scotland, in which we will explore some of the pressing issues which are engaging us just now. Before we get started with the questions, I will let our colleagues introduce themselves. Mr Carson, please tell us anything by way of a short introductory statement, and please introduce your colleagues while you’re there. Steve Carson: Good morning Chair and members of the Committee. BBC Scotland last appeared at the Scottish Affairs Committee in December 2018, a few months before the launch of our BBC Scotland channel. Since then, I am delighted to say that that service has become the most- watched digital channel in Scotland, with a higher reach and higher share than some long-established household names. Over the past year and a half, the landscape has been dominated by covid and, like all other industries in Scotland, public broadcasting has adapted and changed its speed to meet the needs of our audiences during this time. -
RFI20200347 Response
British Broadcasting Corporation Room BC2 A4 Broadcast Centre White City Wood Lane London W12 7TP Telephone 020 8008 2882 Email [email protected] Information Rights bbc.co.uk/foi bbc.co.uk/privacy Emily [email protected] 9 July 2020 Dear Emily, Freedom of Information request – RFI20200915 Thank you for your request to the BBC of 6 July 2020 seeking the following information under the Freedom of Information (FOI) Act 2000: I intend to apply for a permanent job currently available in BBC Children's, that states it is Band B. Can you please tell me the current pay bracket for this band, for this area of the BBC. In response to your request, all our Public Service Broadcasting (PSB) jobs fall into a broad band career level from A-F and each level has a pay range. The bands are the same for both inside and outside of London; however those within London are entitled to London Weighting. In addition to Bands A-F there is also a senior leader (SL) Band. There are no set salary ranges for staff at this level. Please note the bands below do not cover BBC Orchestras, BBC subsidiaries including BBC Studios, BBC Studios & Post Production Ltd, UKTV, BBC Global News Ltd and BBC Worldwide Ltd; as well as the charities BBC Media Action and BBC Children in Need. The broad band pay ranges effective 1st August 2019 are the following: Band Band Pay Range 2019 A £20,536 - £30,804 B £23,103 - £37,992 C £25,670 - £50,313 D £36,195 - £64,688 E £48,516 - £82,144 F £61,608 - £112,948 As set out in section 6(1)(b)(ii) of the Act, our subsidiaries (including BBC Studioworks Limited, UKTV, BBC Global News Ltd and BBC Studios Ltd), as well as the charities BBC Media Action and BBC Children in Need, are not subject to the Act. -
LR003208 - Alfred Bradley (Interview 14) - No Date.Wav Duration: 0:39:10 Date: 31/07/2017 Typist: 715
File: LR003208 - Alfred Bradley (interview 14) - no date.wav Duration: 0:39:10 Date: 31/07/2017 Typist: 715 START AUDIO Interviewer: A history of north regional broadcasting, interview number 14, Alfred Bradley. Radio's very first play was broadcast from Station 2LO London on the 15th November 1922. The day after Broadcasting England first began and it was heard in the children's programme but the north region can probably boast the first adult play written for wireless. L. du Garde Peach was the author. It came from the British Broadcasting Company's Metrovix studio and was broadcast by Station 2ZY. By the start of the 1930s far more Northerners were hearing plays than seeing them in the theatre. They were produced by the likes of Jan Bussell, Cecil McGiven and by Edward Wilkinson. The radio dramatic feature became the invention and hallmark of Geoffrey Brideson and Frances Dillon, Olive Shapley and Joan Littlewood all working from North region. By the 1940s James R Gregson had started a school for Radio Playwrights at the Leeds Studios. No history of North Regional Broadcasting would be anywhere near compete without BBC Regional Drama's most distinguished name, that of Alfred Bradley who's with me now. 0:01:19 Alfred you joined in 1959? Alfred Bradley: Yes, I came from a strange job. I was drama advisor in Leicestershire. I suppose I started off wanting to be an actor and I grew out of that very quickly. Found I was better at directing than acting. I couldn't be bothered to remember the lines. -
The Factory, Manchester
THE FACTORY, MANCHESTER The Factory is where the art of the future will be made. Designed by leading international architectural practice OMA, The Factory will combine digital capability, hyper-flexibility and wide open space, encouraging artists to collaborate in new ways, and imagine the previously unimagined. It will be a new kind of large-scale venue that combines the extraordinary creative vision of Manchester International Festival (MIF) with the partnerships, production capacity and technical sophistication to present innovative contemporary work year-round as a genuine cultural counterweight to London. It is scheduled to open in the second half of 2019. The Factory will be a building capable of making and presenting the widest range of art forms and culture plus a rich variety of technologies: film, TV, media, VR, live relays, and the connections between all of these – all under one roof. With a total floor space in excess of 15,000 square meters, high-spec tech throughout, and very flexible seating options, The Factory will be a space large enough and adaptable enough to allow more than one new work of significant scale to be shown and/or created at the same time, accommodating combined audiences of up to 7000. It will be able to operate as an 1800 seat theatre space as well as a 5,000 capacity warehouse for immersive, flexible use - with the option for these elements to be used together, or separately, with advanced acoustic separation. It will be a laboratory as much as a showcase, a training ground as well as a destination. Artists and companies from across the globe, as well as from Manchester, will see it as the place where they can explore and realise dream projects that might never come to fruition elsewhere. -
Case Study ITV
Case Study ITV Case Study ITV “The main benefit of moving to Fujitsu and their VME services is risk mitigation. In moving to Fujitsu from our incumbent provider we get access to a very rare resource base for VME development and support. This provides us with a path enabling us to keep our critical Artist Payments System application running and allows us to keep our options open when VME as a product is end dated in 2020.” Anthony Chin, Head of Technology - Finance Systems, ITV The customer ITV is an integrated producer broadcaster and the largest commercial television network in the UK. It is the home of popular television from the biggest entertainment events, to original drama, major sport, landmark factual series and independent news. It operates a family of channels including ITV, ITVBe, ITV2, ITV3 and ITV4 and CITV, which are broadcast free-to-air, as well as the pay channel ITV Encore. ITV is also focused on delivering its programming across multiple platforms including itv.com, mobile devices, video on demand and third party platforms. ITV Studios is a global production business, creating and selling programmes and formats from offices in the UK, US, Australia, France, Germany, the Nordics and the Netherlands. It is the largest and most successful commercial production company in the UK, the largest independent non-scripted indie in the US and ITV Studios Global Entertainment is a leading international distribution The customer businesses. The challenge Country: United Kingdom ITV receives revenue from advertising, its online, pay and interactive Industry: Broadcasting business as well as from the production and sales of the programmes Founded: 1955 it creates and holds rights to. -
Transatlantic Spaces: Production, Location and Style in 1960S-1970S Action- Adventure TV Series
Transatlantic spaces: production, location and style in 1960s-1970s action- adventure TV series Article Accepted Version Bignell, J. (2010) Transatlantic spaces: production, location and style in 1960s-1970s action-adventure TV series. Media History, 16 (1). pp. 53-65. ISSN 1469-9729 doi: https://doi.org/10.1080/13688800903395460 Available at http://centaur.reading.ac.uk/17666/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/13688800903395460 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Transatlantic spaces: Production, location and style in 1960s-70s Action-Adventure TV Series Jonathan Bignell Abstract This article argues that transatlantic hybridity connects space, visual style and ideological point of view in British television action-adventure fiction of the 1960s-70s. It analyses the relationship between the physical location of TV series production at Elstree Studios, UK, the representation of place in programmes, and the international trade in television fiction between the UK and USA. The TV series made at Elstree by the ITC and ABC companies and their affiliates linked Britishness with an international modernity associated with the USA, while also promoting national specificity. To do this, they drew on film production techniques that were already common for TV series production in Hollywood.