Cold Turkey

Just before Christmas last year I got the e- mail to die for: Could I quote for supplying 60
days lighting training and workshops for Turkish Television? The winter had been a bit
bleak, work wise so this bit of pre Christmas cheer was most welcome. Negotiations contin-
ued over many weeks, but the eventual format was to comprise three separate trips to Turkey
with the work being mostly in Ankara, but also Istanbul and Izmir.

Sunday January 14
th


The Turkish Airlines office confirmed my flight booking on TK1982. Twas a cold bright
morning as I drove to Heathrow doing the usual Have I really got everything to run 16 days
of lighting training/seminars/whatever?

Problems at check in desk where they have no ticket for me. Has not been delivered. What to
do? Girl not very helpful- need to pay cash for single journey (191) Panic phone call to Ebru
(one of my interpreters) in Ankara-thank
God she had her phone on. She asked me
to ring back in five minutes after she had
made a call to the Turkish Airways office.

Meanwhile, the girl on the check-in real-
ised that there had been confusion because
there was another Mr. Baker on flight, and
money had been put against his name in-
stead of mine. Smiles again, a few deft key
strokes on the key board and the problem
had gone away.

Plane late arriving from Istanbul, late taking off from
Heathrow, 1300 instead of 1145. Good flight, but then rushed for transit connection, which
was due to take off in just 15 minutes. A
sweetly smiling stewardess assured me that
the plane would wait for me. A plane, wait,
for me?

Follow me, the man said, leading the ten or
so transit passengers an enormous hike
around the spanking new terminal to find
an almost full 737 waiting for us.

Less than an hour later, I arrived in Ankara
to be met by the lovely Ebru, and whisked
through a grey cold landscape some 20 Ks to TRTs headquar-
ters high on the hills on the southern edge of the city. I was
duly installed in the same suite of rooms that had been mine in 1999 during my involvement
in Secim 99 (the Turkish General Elections), and then out for a tasty traditional snack. Lots
of meat with melted butter poured over! Very healthy. Then back to my room to unpack, and
set up and check out the laptop.

City of London-with Dome. Any offers?
Turkish sky, What a nice cyc.
Day2

Cold grey and misty. I configured the TV in my room for English instead of Turkish instruc-
tions; very pleased with myself. I met a
slightly late and flustered Ebru and was
dashed down by car to the studio near
the cent re of Ankara that puts on a daily
magazine programme-kind of breakfast
time with added Turkish music, you
know the kind of thing! This place had
been a bit of a Bete Noir on my last trip
to Ankara. The very high lighting levels
and lack of a lighting plan of any kind
were once again evident.

As well as the sweat breaking out on my
brow (3000+lux I subsequently meas-
ured) there was little evidence of using
the barn doors to control the light in any
way, multiple shadows told a sorry tale.
The lamps were either too steep or too
shallow or too far away or in the wrong
place. Ageing Hitachi SK110A tube cam-
eras only partially explained the high
lighting levels.

Need I go on? A short conversation with
some of the lighting men (thats how they
are known-and there are no females) told
me that there was no co-ordinated lighting and vision control during
programme, neither was there a proper line-up at the beginning of
the day. The vision staff often had to desert their position to start or stop a VT machine in
another room! They also confirmed that this was a fast turnaround studio, but without the
wherewithal to fast turnaround the lighting. Touche.

We moved on to another news studio in a
nearby building where similar observa-
tions were made. Then across the city to a
converted cinema which is now the big
TRT Light Entertainment studio. The
Lighting gallery was in the former projec-
tion box. There were just three monitors,
which were all at one side. It didnt take
me too long to see that the lighting people
relied more on what they saw through the
window than what was being transmitted
or recorded. That was a method of work-
ing that had evolved for various reasons
and was the subject of one of my many
This was the artists POV in the magazine studio.
Oh, and shiny sets too.
The converted Cinema studio at Irkut.
daily reports that were typed up in my room in the evenings.

The CCU area and the Production Control room were several minutes walk away at the RHS
of the stage. Talkback between the two areas was not often used except for what sounded
like heated complaints.

A few hours later, and Im practising my Turkish: Yus bin durt (114) and a smile got me
the key for my room from the Receptionist. The TRT Hostel is built into a wing of the vast
main building to cater for the largish number of staff who move regularly between Ankara
and Istanbul.

My days observations were duly entered into the laptop.

In every studio I had seen, lamps were being run flat out and camera line up was just a west-
ern dream. Digital cameras were being introduced into the various studios, but lighting levels
were still in excess of 3000 lux. Why bother with lenses, I thought, a pinhole in a piece of
metal on the front of the camera would probably do quite nicely.

To many of my diplomatic comments as to possible improvements in lighting technique I
was to hear the following comments from the lighting men:

We dont have enough time
The Directors want it like this

And of the Directors:
We are not happy with the lighting

Chatting to the CCU operators I was to hear:

The lighting people dont know how to light
We have to use this much light for the cameras (2000+lux?)

Mmmmm. Food for thought

Day3

Ebru informs me that I should attend various prayer meet-
ings this morning! This I found amusing and bewildering
until I realised that she meant planning meetings.

The first part of the day was spent brainstorming with some
devastatingly pretty young designers. It seems that there are
very few male designers now at TRT. Various news type
programmes were about to be re-launched with new sets; the
main news programme, with three separate deep backings
(theres a change) and a rotatable, circular desk. The de-
signer had made a beautiful model nearly as attractive as her
smile. That made it more difficult to criticise. I did foresee
some problems and hinted at them. I got the feeling that as
we were now so close to
A rotating desk and a set jammed against the wall.
D Day, I was really just expected to give the design my blessing. Diplomacy rules OK.

Then across the corridor to watch an amazingly accomplished 3D computer animation of the
Eurovision Song Contest for the Turkish entry. It never fails to amaze me that TRT had
clearly invested huge sums of money in new equipment and technologies and yet I knew
from my previous visit that lighting kit was often very old and poorly maintained. But then, I
believe that was partly why I was there.

That Song contest was to take place during the month of February, during my second
phase. This was originally to have been a new set, but budgetary constraints mean that the
same set will be used on the TRTs anniversary programme will have to be used. This pro-
gramme will be on January 31
st
, when I am not here to
help, but I will be involved in the run up to it.

And then there was a computer simulation of the new
newsroom with its round the clock operation planned
to start soon. It was a long thin room with windows down one of the long walls and up to
three camera positions at one end looking at a desk with a maximum of three people. A se-
ries of panels down the camera left wall effectively hide the windows, or at least thats what
the computer simulation suggests. Each panel also has four small monitors mounted into its
edge.

After lunch, I was whisked to my first lighting workshop down in TRTs big studio; the con-
verted cinema. I proceeded to start lighting the orchestral and soloist positions with much
translation and animated discussion. Sami who had been on our training session in Istanbul
two years ago, was there and very much acting out the role of the man in charge. Other light-
ing men had been scheduled in to watch and supposedly learn from my experience and
Western ways.

All very well, but how often do you have to fine light a large studio with no plan whatsoever
and everything to be rigged over and above the set. No pre-rigging, no rolling pantographs or
monopoles, no floor lamps.

Well, not quite accurate, any floor lamps are the province of a separate department called
Lighting Special Effects Department and under the control of the Scenic Designer!! More of
Three Lara Croft newsreaders in an electronic ver-
sion of the new newsroom.
And in modellers view. North facing wi n-
dows down the left wall.
that later. A ring
of Par lights
rigged on barrels
around the pe-
riphery of the stu-
dio seems to be
the main way of
lighting the set
and floor.

The normal staff-
ing for a large
show in this stu-
dio is, just three.
One to man the
board and the
other two to rig
and finelight on
their own.

During one of the many, welcome tea breaks, we sit in the lighting gallery sipping the rather
nice Turkish tea from small glass handle less cups and chatting. A 100 lire note that I fish
out of my wallet is the subject of much interest; apparently they are now collectors items!
The minimum value note now is 10,000 lire with over 1,800,000 lire to the pound sterling at
the time of writing. (September 2001)

At the end of the afternoon, back to base. Modern Ankara is built on a massive north- facing
hill. The traffic jams are terrible. Our TRT driver is very cool and yet aggressive in his driv-
ing methods, squeezing into sparrow sized gaps. I think he has had lessons by Hayri
Schumacher who used to drive Tim Wallbank and I around Istanbul in 1999.

Reflecting on the day, Ahmet, one of the few male designers (who I worked with on the
election in 99) did a nice set in the big studio. The lighting guys seemed to take on board the
points that I was raising, time will tell. Its a bit like building on sand, though; I cant be sure
that the various bits of new knowledge will survive.

Day 4


The day started well; Ahmet (my other translator) had talked with the producer of last nights
programme and he was very pleased with the results of yesterdays efforts in the large stu-
dio. That was pleasing to hear but also very necessary for the successful outcome of this kind
of training.

Then a medium hike down the kilometres of corridors to the new newsroom where a 24- hour
news service is planned. Shades of BBC World, CNN, SKY etc. here. I met one of the ten or
so news Directors and also the two designers who are involved with this project. It seems
that there is no one single person who is in charge of this project and as a result the design is
going ahead in a somewhat piecemeal manner. Everyone is aware of this particular headless
chicken (turkey?) and agreed with my description of Byzantine planning.

A ring of virtually immovable Par lamps around the periphery of the studio and
no floor lamps. Seen from the former projection box of the big L.E. studio.
I took my trusty Seconic light meter around the
room and noted that the level of key light from the
two DeSisti cold light units was approximately 800
lux at the proposed desk position. Once again, I
think I was expected to give my blessing to the posi-
tioning of the lamps, they were well and truly bolted
to the ceiling. Three quarter front softs. Know what I
mean?

The very pleasant and knowledgeable senior engi-
neer who had shopped for the lights was Mr. Fatih
(pronounced Farty, I kid you not) was keen to ask
my opinions on this opening gambit, and should we do something with the windows? Al-
though the windows were North facing, it was clear to my Seconic that on a bright day, ND
was going to be useful. Oh, and daylight Colour Temperature tubes would be quite useful
in the DeSistis instead of the tungsten ones.

Having given Mr Fatih a shopping list, it was time for a trip into the existing news studio
(digital Hyperhad cameras) and measured 1600 lux! Even with autocue on two of the three
cameras, they were working at f5.6. I would just love to have changed the lighting immedi-
ately, without waiting for the new set. The vertical glass panels around the rear of the news
reader would have been a challenge but I knew that it could have looked so much better than
it did.

After lunch, (three courses, every day, weight watchers beware) I went over to the design
block to talk to the designers of the new news sets, which were now being manufactured. I
expressed concern that parts of the set were going right up to the wall and would restrict ac-
cess to the various cable sockets on the studio wall. The designers said that they would move
the set away from the walls. As the set was already the full width of the studio, I wasnt sure
how they were going to achieve that. I asked to see a scale plan so that I could prepare a
lighting plan. Well, there has to be a first time. Eventually, one was produced.

That evening, I tried to approach the rather nice TRT restaurant via an internal route, but the
Byzantine intricacy of TRTs megapolis had already defeated me on two of the three nights
The new newsroom, a little imagination was required here. Ebru sits in.
Three quarter front softs..
that I had been there. I usually end up at the wrong end of a security mans long torch. To-
night was one of those, so I ended up walking around the outside of the building in tempera-
tures that would have embarrassed a brass monkey. On approaching the main entrance, one
could not help but notice several elongated black Mercedes limos complete with darkened
windows and multi litre motors murmuring as they kept their unseen chauffeurs warm.

My usual table was displaced a little to make way for what was clearly a ministerial bunch of
Turkish Gourmets. Some twenty of Ankaras finest were enjoying the same grub as I. The
manager confided in me that not only did he have some 60 covers, but he was down four
waiters on a normal night. Certainly I realised he was multi tasking when he later sprayed
the air above me in the gentlemens toilet. Or maybe he just didnt approve of my deodorant.

As always, there was an accomplished musician/singer
who provided background music. With his keyboard and
multiple synthesisers Orhan lured diners to the small dance
area between courses or even between Turkish cigarettes.
At least this dining room had a high ceiling; many of the
areas that I worked were shared with smokers of the aro-
matic but toxic substance called tobacco. I noticed that
many areas (including vehicles), which could easily offer
ventilation, were in fact operating on a closed system so
that you had to enjoy the noxious stuff time and time
again. Not for the faint hearted (or lunged).

I finished the evening with a little homework, plotting in the News studio and proposed set
into my laptop.

Day 5

A little about breakfast. As I leave my room, there is a tantalising smell of cooked breakfast,
which gradually disappears as I near the breakfast bar. There, one finds a long table laid out
with fresh bread rolls, two kinds of cheese, one not unlike Edam, the other a salty, crumbly
variety; similar to Feta cheese, black olives, and cartons of honey and jams. But never any-
thing cooked!

Shortly after I have sat down with this Asian breakfast, a smiling waiter brings me a cup of
coffee. In an effort to please, having ordered coffee on my first day, it now arrives relig-
iously, although I would quite like to ring the changes and have tea, I dont want to offend
my hosts by seeming ungracious!

Today, I ran two half-day seminars. In the morning, I talked to the lighting people who I met
in the big studio earlier in the week. Some points of the morning seminar were:

1) We looked at a VHS tape of the programme with which I had helped and discussed
the changes in lighting and how they affected the finished result.
2) I talked about the BBC planning process and how I thought it produced a better result
than TRTs no planning process.
3) We also discussed the new digital cameras that TRT were buying and why it was im-
portant to light to a lower level of lux, and the benefits to TRT of doing so.
4) A general approach to lighting in a big studio
5) Problem solving in the studio
6) Follow spots, their type and use

In the afternoon, it was to a large group of CCU operators. Interactive session about basic
lighting requirements and vision control.

Evening came and I was refreshed, Yeni Rakid, (Turkish Pastis equivalent) and on my way
to the posh restaurant. As I entered I am met by the manager with his wall- to-wall smile and
am ushered to my usual table, number seven. The background music is distinctly western
European; this seems to be the mark of the posh restaurants around central Anatolia. Ethnic
Turkish music is either played softly in lifts and taxis, or at brain liquidising levels on some
of TRTs audience shows.

The usual selection of visually challenging aperitifs ar-
rives on a trolley. The object is to choose a few of them
for your first course. The trolley disappears for a while
and my chosen starters then arrive in style along with a
bottle of Sarap Kirmizi (red wine) Like the morning cof-
fee, the waiters are getting to know me.

One of the waiters is knee high to a grasshopper, but hes
a star. Not only is he a good and communicative person,
he is also exactly the right height to take the many
happy snaps that the posh diners seem to want taking of
their tables. He tells me the names of the dishes that I
am about to eat, and, sadly, I instantly forget them. I
never was any good at languages.

I award myself a gold star for finding my way back through the building without having to
experience the raw numbing cold that is January in Anatolia. Thus ends day five.

Day 6

Dawns cold and grey, as usual! Today is a free day, so I
have decided to explore Ankara. This I do without great en-
thusiasm. Ebru arranges for the TRT driver to take me into
town via the huge and impressive Ataturk Mausoleum. Built
to commemorate the founder of modern Turkey, its sheer
scale is certainly imposing. Ataturk is celebrated big time in
Turkey; his image appears in many shapes and sizes. Photo-
graphs, bronze statues and posters never allow one to forget
his enormous contribution to his country. I enjoyed seeing
some of his real estate trappings that are exhibited in various
museums adjoining the mausoleum. A couple of huge
American Cadillacs, but best of all, a rather fine wooden
rowing machine!

Onward my chauffeur took me to the old part of the city. He looked suspiciously at me as I
struggled to fasten my seat belt. I really did not want to offend my man, but the cut and
thrust of Turkish driving just has to be seen to believed. If the car/bus/taxi/truck in front
Ataturk, the father of modern Turkey
The grub is always excellent. Remem-
ber when the Beeb had logos on their
plates?
doesnt leap away from the lights on a green, he will be flashed and hooted at by all behind.
Pedestrians take alarming routes between the vehicles. I actually closed my eyes on several
occasions, just waiting for the thud of body meeting car body. Amazingly, it didnt happen
whilst I was there.

Lane discipline there isnt. Cars just duck and dive and twist and turn into impossible spaces.
That also prepares you for their parking techniques. I even saw cars parked on steps!

Now lets get one thing straight. Ankara is not exactly the sort of place that you would choose
for a holiday. It is very big, and to Western eyes, somewhat chaotic On one side of the city,
there are just hillsides full of what looks like shanty town accommodation, whilst on the
other, wide boulevards flanked by designer shops and huge Embassies, Universities and spa-
cious parks. Ataturk consulted many European countries in his quest to build a new, modern
capital. Apparently, in 1920 it had a population of just 30,000; it now stands at almost three
million!

It is situated in a natural bowl in the otherwise empty landscape of middle Anatolya. The
hills are rounded and snow capped, visually it suggests the Russian Steppes to me. No walls,
no fields for walls to enclose, no trees other than those planted by man. The greyness of
January does nothing to enhance my liking for the city. I am missing the greenery of Britain.

The headquarters of TRT, the state broadcaster
for whom I am working, is a massive building
11 stories high. And thats just the main block;
other two and three storey blocks sprawl over
the vast site. It stands some 8 miles out of the
city centre up a never-ending hill. (The bus fare
for that 8 miles is just 45 pence!) It is just below
the snow line at about 1500 metres above sea
level, on the very edge of the city. Every week-
day morning some 7000 members of staff are
bussed in from all parts of the city.

Watching them all being disgorged from the never end-
ing chain of buses, all smartly dressed in well cut suits, with overcoats or smart leather coats
made me feel distinctly under dressed. More Civil Servant than Broadcaster. But then, TRT
employment is a job for life and highly valued for that.

Day 7

Snowflakes are gently falling out of a
grey sky.

The entire day was spent at the large
studio (Irkut) in the former cinema,
which is using the Hitachi tube cam-
eras for the very last time. When I ar-
rived, the entire floor area was, unusu-
ally, empty. The first lighting men ar-
rived after lunch. I prioritised the tasks
Heres one I took earlier, 1999 in fact.
of trying to improve the weekly lottery programme. When we set the lighting, I was encour-
aging the guys to light down to about 1000 lux for the Hitachis swan song.
I talked with the Producer/Director of the pro-
gramme to find out what he liked and didnt
like about lighting in this studio. He mentioned
the Jimmy Jib shadows, the line of colour Par
lamps across the balcony and the uneven light-
ing of the audience.

Today, Mr. Mikes message was how floor
lamps could and should be used on stage and
how useful to giving a different look they
could be. It would have been a relatively sim-
ple matter to install sockets around the periph-
ery of the studio at floor level. Suitable stands or turtles could
either be bought, or made locally. All the stands and turtles that we take for granted are no-
ticeable here by their absence. Not a pantograph or a drop arm in sight.

I sneaked into the Vision Control Gallery and noted that the CCU operator that evening did
have an interest in lighting and was checking camera line up using the built in diascopes. At
the start of transmission F-stops were around f4 on all cameras, which is what I would ex-
pect.

Day 8

A free day. Clouds and snow all gone. An
unusual combination of bright sun, snow
and fog had me snapping pictures of sun
beams off the windows of TRT, through
the early morning mist like some huge
HMI in a rather large studio. My big mis-
take later that day was to walk the eight
miles back to TRT from a spot of retail
therapy in central Ankara. After a
shower, my left knee was decidedly swol-
len and giving me a bit of gip.

Day 9

Back to the big Irkut studio to find what seemed more like a factory than a studio! Men
were using welding equipment and angle grinders to produce the framework of the new set,
which is to be used on various prestigious programmes in the next few weeks. There was
smoke, dust, noxious fumes and amid all this, engineers were installing the brand new digital
cameras.

Once again, a set is being built before any lighting has (or can be) planned and rigged.

Day 10

Bright and sunny; concern for my hobbling has me taken promptly off to TRTs dedicated
medical centre where ten doctors and two dentists work full time, just for TRT staff. Whilst
waiting for doctor, am alarmed by woman screaming in pain in the room next door. If thats
treatment, I suddenly feel a lot better!
Coming to camera Bir (one!)
Just a big mirror ball..

A nice, English speaking lady doctor fiddles with my knees and arranges an immediate X
ray where I queue jump to get nice piccys of my knees to take home. The amputations are
to be deferred until pills and soothing balm have had an effect. As I hobbled out, she
smiled and said that I had good bones!

Checked out my laptop with a rather swish Toshiba video projector for tomorrows meet-
ing. Did two lighting plans for the small studio on Corel Draw. I also finished my presen-
tation for the top brass of TRT Television.

Day 11

Checked out presentation and made a few changes. The men in suits arrive. I recognise
one of them as the senior news Director who two years ago had been the senior Director
in Election 99.

Two hours elapsed of me talking and Ahmet doing a grand job interpreting for me. I think
it went well judging by all the nodding from the men in suits. They said that they were
aware of many of the points that I brought up, but I guess that also meant that they must
not have been aware of others!

At the end of the day, this was little old me, talking with the acquired wisdom of 33 years
of BBC custom and practice, telling a major European Broadcaster how to re-organise it-
self in one of its craft departments!

Day 12

Very cold. I printed off lighting plots from my laptop for the small news studio. Took
them down there to find that there were several logistical problems, none of them to do
with lighting, but all affecting it. We should have set the lamps by lunchtime, but no
chance. Left them to it as I had to prepare for a seminar with Production and design staff
at 1400. I chose the biggest room (of several well equipped lecture rooms) and had the
Toshiba projector again. I dont have PowerPoint, but it was quite an enjoyable challenge
to make up a Presentation using Word, Photoshop and Corel Draw. The Powerpoint pres-
entations that I have seen have usually been for sleeping through.
The view from my window.
One of the odd things about TRT is that many of the production people said that they wanted
training in lighting! Why?

Day 13

I spent much of the day
in the News area,
checking out develop-
ments in the newsroom
first. The windows
have had neutral den-
sity material applied
and most of the ele-
ments of the set are
present. I noted that
both cameras were
working at an aperture
of f5.6. I suggest that it might be a good idea to put in neutral density filters to force them to
work wider open so that the background of the newsroom is thrown out of focus, so that we
are not too conscious of tea drinking, nose picking, etc.

Gradually, it all comes together, as these things do. Hav-
ing mourned the lack of any backlight for the Presenters
in the News room, Mr. Fatih comes up with some ceil-
ing light fittings with a built in reflector. We experiment
and eventually find a place where they give a sort of soft
backlight, which is a lot better than none. The monitor
pillars are made of brushed aluminium and flare horri-
bly.

Because it is in use at regular intervals throughout the
day, it is almost impossible to complete the task. However, by late afternoon, I am reasona-
bly happy. As I set each lamp, I carefully explained why the lamp was where it was and all
the factors involving its position, brightness etc.

I am greatly encouraged when one of the newsreaders tells us that she has never looked so
good on the screen as with the new lighting!

Day 14

Yesterday evening I went into the news studio to see if there were any clues as to why the
news pictures were sat up as seen on my bedroom TV. It was clear to me that not only were
the monitors not lined up; but also the waveform monitor was not even switched on. There
was no way that anyone could judge the black level of the pictures leaving that studio. I was
not a happy bunny, but had no way of expressing my views with my twenty few words of
Turkish.

TRT news has now got some very good and modern kit but the output quality of the news
studio is variable, to say the least. As I had set up the lighting on this particular shot, I knew
that the lighting could not be blamed this time!
Cameras have appeared..
..but Design still have much to do
Sneak in a little backlight...

Day 15

This always going to be a long day! The new
news set was more or less in place, but the desk
area wasnt, and we had to manhandle it to where
we thought it should be.

The two main backgrounds seen here in house-
lights, were, shall we say, interesting. Horizontal
layers of clear Perspex, shiny tubes and brushed
aluminium vertical surfaces. They certainly pre-
sented lighting challenges, given that floor lamps
had to be organised through a separate depart-
ment and lamps that we take for granted just
werent available.

When the news directors came and saw it for real
rather than a model or computer animation,
raised voices and serious body language told me
what I suspected, they were not exactly in love
with the new set. Two days to go before the relaunch.

I did my best, carefully setting each lamp whilst explaining my tactics to the assembled
lighting men on a flip chart. Barn doors carefully set: one lamp, one job as I kept emphasis-
ing, 600 lux, lamps at 70%, etc.,etc.

The day concluded with a debrief
of the trip thus far with Tarik
Baykur, TRTs head of Training.
We agreed a schedule for phase 2,
which was to start in just about a
weeks time. Hours later, I was on
my way home, mission partially
accomplished, but much more to
do. One down, two to go.

As we broke through the low
cloud over west London, the sight
of green fields and parks made
me realise what we take for granted about lil ol England. For me, January in Turkey had
reminded me of those bitter winters we used to get way back in the 1950s.

Roll on February.

The leaving of Istanbul. Phase 1 completed. Two more to go..