Lighting director Bernie Davis commented: "As soon as it was announced that the marriage ceremony was taking place in Westminster Abbey I knew that ELP were the right crew for the job. Over the last eight years or so I've used ELP as the lighting supplier on so many high profile broadcasts from the Abbey that by now ELP riggers and electricians know every square inch of the building. They are trusted by the facilities staff at the Abbey and virtually on first name terms with the Vergers...so when thinking about risk management, who else was I going to use?"
With so much cutting-edge digital technology on display from the words broadcast media - high definition cameras and satellite communications - Bernie went against the high-tech grain and chose to hire over 300 Thomas PAR 64 long nose black cans from ELP as the main lamp within the Abbey. "These low-tech, old-school lamps, often associated with rock and roll lighting rigs of the 1970s and 80s were the perfect solution for Bernie's design," says ELP.
"PAR Cans provide maximum light coverage for the weight of the lamp which is a huge consideration in such an ancient building and they look very tidy with no intrusive barn doors to worry about" remarks Bernie.
The ELP crew, which consisted of Paul Tibbles (crew chief), Mark Gardiner, Greg Fitzgerald, Justin Denchfield, Colin Jones, Saul Harris and John Murray were able to carefully position the lamps exactly where the LD required without fear of overloading or damaging the fabric of the Abbey.
The other lighting kit supplied by ELP inside the Abbey included an assortment of Arri Junior Fresnels, Thomas Pixel Pars and Source 4 profile spots which were used to light 'specials' such as the fanfare conductor or readings from the pulpit.
Bernie explained that his design made certain there wasn't a single important space within the Abbey where, if any light should fail, it would result in leaving a dark patch, and every light had its own purpose. "My design allows for the occasional lamp failure while not needing to rig spares. But on the day nothing failed"
Nigel Catmur assisted Bernie as the board operator but as Bernie explained "Nigel is so experienced that he could have stepped in as deputy lighting director should anything have happened to me. So much about this job involved risk management."
Due to a recently condemned local power supply adding to the potential risk, ELP supplied a 200KW Twinset Generator to power all lighting controls on the north side of the Abbey plus a 140 KW Twinset Generator for the south side. All technical vehicles, broadcast scanners and vision trucks in the outside compound took their power feed from four of ELP's unique LitePower 150kva Super Silent Generators.
Elsewhere, two identically designed BBC studios were positioned in prime locations. One opposite the Abbey and one opposite Buckingham Palace. Both featured a large viewing window framed with an LED border in order to make the most of the majestic backdrops.
Both BBC studios were similarly kitted out with ELP lighting and used Source 4 profile sports as 'key lights' and 1ks, 2ks and 650W Arri Junior Fresnels as 'fills'. An assortment of Thomas Pixel Pars and Chromafloods were also on hand to augment the set with colour changes as required.
The BBC Studio opposite the Abbey was situated on the roof of the Methodist Central Hall. Lighting Director in charge was Lee Allen. ELP's T.C. Thomas was the Gaffer; The Canada Gate studio hosted by Huw Edwards was lit by LD Dave Gibson with ELP's Barry Dennison on Gaffer duty.
For more on Bernie Davis' lighting for the Royal Wedding, see the June issue of L&SI (out soon).
(Claire
