Returning to his place as lighting director following a successful first series was London- and Cardiff-based Steff Jones, who worked closely with production designer Gwyn Eiddior throughout the planning process.
Jones comments: "Versatility was a major key in the brief from Elis (series producer) this series, which had to be reflected in both the scenic and lighting design departments. The production executives were keen to keep every programme as fresh and as different as possible whilst portraying and maintaining the identity and brand of the show".
The set consisted of large piped structures, which were backed by frosted vinyl. The set clusters could be moved and configured into an array of setups across the studio. The main stage area consisted of an elevated clear Perspex stage, with a further elevated drum riser.
Jones's lighting supplier was Blackburn-based HSL Group.
Jones's design consisted of 30 x Clay Paky Sharpys, 8 x Martin TW1 Washes, 10 x Robe LED 600s in Chrome Shells, 7 x SGM Rebaltas, 24 x Chromlec Sunstrips, 14 x Floor Pars, 7 x Arri 2K, 9 x Arri 1K, 19 x Arri 300, an array of Source Four Profiles.
The rig was controlled by Jones's own Compulite Vector's and playback wing.
Jones went onto explain that: "one of the main constrains that I faced was working with the regional budgetary constraints, whilst trying to meet the brief requirements and striving to produce high-end visual impact and a primetime look with little money".
A large proportion of the rig had to flexible to move around in some instances up-to two or three times a day depending on the set configuration.
My extended thanks once again go to Sean McGlone, and his team at HSL Group along with group managing director Simon Stuart for his dedicated and continued support.
The series director was Nest Griffiths, produced by Elis Roberts, and Jones' gaffer was Iestyn Jones.
