Docy Documentation

The Laban Building is sometimes known as the Marion North building.

The Creative Technology Services team support all the studios within the Laban Building.

Location

Studio 1 is located on the ground floor of the Laban building.

Dimensions

Length: 10.8m
Width: 12.7m
Area: 137.16m²
Mirrored wall: No

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Location

Studio 2 is located on the ground floor of the Laban building.

Dimensions

Length: 18.9m
Width: 9.5m
Area: 179.55m²
Min/Max height: 4m/6.3m
Mirrored wall: Yes

Permanent AV facilities

1 x sound system attached to wall-mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI input (with cable provided).

Using The Bluetooth Receiver

Ensure the Amplifier and the Bluetooth Rack Unit Receiver are turned on.

Hold down the pair button on the receiver until the light starts to blink

Go into your device’s bluetooth menu, select pair new device and select DN-300BR

On the Amplifier switch the input selector to bluetooth.

On the receiver and the amplifier turn up the volume knobs and start playing your music

Studio 3 is located on the 2nd floor of the Laban building.

Dimensions

Length: 15.6m
Width: 9m
Area: 140.4m²
Min/Max height: –
Mirrored wall: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 4 is located on the 2nd floor of the Laban building.

Dimensions

Length: 18.9m
Width: 9.5m
Area: 179.55m²
Min/Max height: 4.13m/6.18m
Mirrored wall: No.

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 5 is located on the 2nd floor of the Laban building.

Dimensions

Length: 15m
Width: 7.1m
Area: 106.5m²
Min/Max height: –
Mirrored wall: No.

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 6 is located on the 2nd floor of the Laban building.

Dimensions

Length: 11.2m
Width: 6.4m
Area: 71.68m²
Min/Max height: –
Mirrored wall: No

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 7 is located on the 2nd floor of the Laban building.

Dimensions

Length: 12.9m
Width: 8m
Area: 103.2m²
Min/Max height: –
Mirrored wall: Yes

Permanent AV facilities

1 x sound system attached to wall-mounted speakers with CD player and iPod/laptop input (3.5mm) cable.

1 x TV on wheeled mount with attached HDMI cable.

Studio 8 is located on the 2nd floor of the Laban building.

Dimensions

Length: 18.5m
Width: 8.4m
Area: 155.4m²
Min/Max height: –
Mirrored wall: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 9 is located on the 2nd floor of the Laban building.

Dimensions

Length: 11.4m
Width: 13.6m
Area: 155.04m²
Min/Max height: –
Mirrored wall: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 10 is located on the 2nd floor of the Laban building.

Dimensions

Length: 19.2m
Width: 11m
Area: 211.2m²
Min/Max height: –
Mirrored wall: No

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 11 is located on the 2nd floor of the Laban building.

Dimensions

Length: 12.5m
Width: 13.5m
Area: 168.75m²
Min/Max height: –
Mirrored wall: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 12 is located on the 2nd floor of the Laban building.

Dimensions

Length: 8m
Width: 13m
Area: 104m²
Min/Max height: –
Mirrored wall: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Location

Seminar Room A is located on the 1st floor of the Laban building.

Dimensions

Length: –
Width: –
Area: –
Min/Max height: –
Mirrored wall: No

Permanent AV facilities

1 x built in Windows PC with DVD drive.

1 x VHS player

1 x Projector with options for connection to built PC or laptop with VGA or HDMI connection, and connected audio speakers.

Location

Seminar Room B is located on the 1st floor of the Laban cottages.

Dimensions

Length: –
Width: –
Area: –
Min/Max height: –
Mirrored wall: No

Permanent AV facilities

1 x built in Windows PC (connected to large TV)

1 x Large TV on wheeled mount with optional HDMI/VGA inputs

Location

Conference Room 1 is located on the ground floor of the Laban building, beside Studio 1

Permanent AV facilities

1 x Mobile flatscreen TV with DVD/Blu Ray Player – includes HDMI cable and adapter for VGA input.

Using the TV in Conference Room 1

Using the DVD Player

1. Using the “input” button on the remote, change the channel to HDMI 1.
2. Press the power button on the DVD player.

Connecting a HDMI Device

1. There should be an HDMI cable already connected to the TV – Connect the other end to your HDMI device.
2. Using the “input” button on the remote, change the channel to HDMI 3.

Connecting a VGA Device

1. There should be a VGA + Audio Cable already plugged into the VGA > HDMI converter on top of the DVD player – connect the free end to your VGA device, and plug the audio jack into the device’s headphone socket.
2. Using the “input” button on the remote, change the channel to HDMI 2.

Location

Conference Room 2 is located on the ground floor of the Laban building, beside Conference Room 1.

Permanent AV facilities

1 x Mobile flatscreen TV with DVD/Blu Ray Player – includes HDMI cable and adapter for VGA input.

Using the TV in Conference Room 1

Using the DVD Player

1. Using the “input” button on the remote, change the channel to HDMI 1.
2. Press the power button on the DVD player.

Connecting a HDMI Device

1. There should be an HDMI cable already connected to the TV – Connect the other end to your HDMI device.
2. Using the “input” button on the remote, change the channel to HDMI 3.

Connecting a VGA Device

1. There should be a VGA + Audio Cable already plugged into the VGA > HDMI converter on top of the DVD player – connect the free end to your VGA device, and plug the audio jack into the device’s headphone socket.
2. Using the “input” button on the remote, change the channel to HDMI 2.

Location

The Cafe Meeting Room is located on the ground floor of the Laban building, beside the entrance to the cafeteria.

Dimensions

Length – 9m
Width – 5.4 – 7.2m
Area – 56.7m²
Height – 2.4m
Mirrored wall No

Permanent AV facilities

1 x Mobile flatscreen TV with DVD/Blu Ray Player – includes HDMI cable and adapter for VGA input.

Using the TV in the Cafe Meeting Room

Using the DVD Player

1. Using the “input” button on the remote, change the channel to HDMI 1.
2. Press the power button on the DVD player.

Connecting a HDMI Device

1. There should be an HDMI cable already connected to the TV – Connect the other end to your HDMI device.
2. Using the “input” button on the remote, change the channel to HDMI 3.

Connecting a VGA Device

1. There should be a VGA + Audio Cable already plugged into the VGA > HDMI converter on top of the DVD player – connect the free end to your VGA device, and plug the audio jack into the device’s headphone socket.
2. Using the “input” button on the remote, change the channel to HDMI 2.

The Lecture theatre is located on the Ground floor of the Laban building.

Dimensions

Length: 11m
Width: 9m
Area: 99m²
Mirrored wall: No

Permanent AV facilities

1 x Windows PC

1 x 4K enhanced Projector with options for connection to the PC or a laptop with VGA or HDMI connection.

1 x sound system and wall-mounted speakers.

Additional Information

You can set which mode to display your image, from your computer.

If using a Windows laptop, push the Windows + P key to choose between Extend and Duplicate.

On a Macbook, click the Apple icon > System Preferences > Displays > Arrangement, and check the box which says “Mirror Display”.

When extended, the projection will act as an additional screen you can drag stuff to, whereas duplicate will mirror what is already on your computer screen.

Location

Conference Room 1 is located on the first floor of the Laban building.

Permanent AV facilities

1 x VHS Player

3 x high-spec iMacs with specialist multimedia software.

Using the iMacs in Laban Library

What software is on the devices?

3.28 is located on the third floor of the West Wing at King Charles Court.

Permanent AV Facilities

1 x PA system with a rack mounted mixer, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The mixer also has 2 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

1 x Large flat screen TV, which is fixed to an immovable unit. This has an HDMI lead to plug into a laptop and a remote control.

How to book the Recording Studio

We have an online booking system where you can see the studio’s live availability (please note that bookings are only pending until payment is made).

If you have any questions before booking, please contact recordingstudio@trinitylaban.ac.uk.

How much does it cost?

All sessions are offered together with a recording engineer.

What’s included in the rates?

• Use of the Recording Studio and Control Room, the recording equipment and the instruments therein.
• One of our engineers to work with you.

Getting more information

For further information about the Recording Studio, don’t hesitate to get in touch with us. The full terms and conditions of Recording Studio bookings are available online.

How much free time do I get in the Recording Studio?

BAMPI students currently get 4 hours each per academic year without charge. Any additional time in the Recording Studio would be charged at the usual rates.

How do I book my free time?

There are 3 durations of recording sessions available: Short (2 hours), Medium (3.5 hours), and Long (7 hours + 1 hour lunch). As explained on the main article about the Recording Studio, the online booking system should be used to see when there is availability for each of the different session types.

In order to use your free hours allocation, you must fill out the booking form correctly, ensuring the following fields are correctly input:

• Select from Your course of study dropdown list: BAMPI
• In the “Any additional comments or requests” field at the bottom of the form, you must list the students’ names and how much of their free allocation should be used. This enables bands to split the session’s cost between them, for example for a 3.5 hour session the allocation could be split as such:
  • Person A – 1.5 hours
  • Person B – 1 hour
  • Person C – 1 hour

The student’s name and number of hours’ of allocation MUST be included when booking a session, otherwise an invoice for the session will be raised.

How do I check what my free hours allocation is?

If you’re uncertain how many hours of your allocation you’ve used, we keep detailed records, so can provide the remaining allocation to students on request. Please email recordingstudio@trinitylaban.ac.uk to request this.

Terms and conditions

Regular Recording Studio Terms and Conditions apply to all bookings. Free time allocations are set by the Creative Technology Services Manager together with course leaders. Allocations are reviewed every academic year, and there is no guarantee that allocations will remain as above for future years.

How much free time do I get in the Recording Studio?

Composition students currently get 4 hours each per academic year without charge. Any additional time in the Recording Studio would be charged at the usual rates.

How do I book my free time?

There are 3 durations of recording sessions available: Short (2 hours), Medium (3.5 hours), and Long (7 hours + 1 hour lunch). As explained on the main article about the Recording Studio, the online booking system should be used to see when there is availability for each of the different session types.

In order to use your free hours allocation, you must fill out the booking form correctly, ensuring the following fields are correctly input:

• Select from Your course of study dropdown list: Composition (BMus or MMus)
• In the “Any additional comments or requests” field at the bottom of the form, you must list each of the students’ names and how much of their free allocation should be used. This enables bands to split the session’s cost between them, for example for a 3.5 hour session the allocation could be split as such:
  • Person A – 1.5 hours
  • Person B – 1 hour
  • Person C – 1 hour

The student’s name and number of hours’ of allocation MUST be included when booking a session, otherwise an invoice for the session will be raised.

How do I check what my free hours allocation is?

If you’re uncertain how many hours of your allocation you’ve used, we keep detailed records, so can provide the remaining allocation to students on request. Please email recordingstudio@trinitylaban.ac.uk to request this.

Terms and conditions

Regular Recording Studio Terms and Conditions apply to all bookings. Free time allocations are set by the Creative Technology Services Manager together with course leaders. Allocations are reviewed every academic year, and there is no guarantee that allocations will remain as above for future years.

How much free time do I get in the Recording Studio?

Artist Diploma students currently get 6 hours each without charge. Any additional time in the Recording Studio would be charged at the usual rates.

How do I book my free time?

There are 3 durations of recording sessions available: Short (2 hours), Medium (3.5 hours), and Long (7 hours + 1 hour lunch). As explained on the main article about the Recording Studio, the online booking system should be used to see when there is availability for each of the different session types.

In order to use your free hours allocation, you must fill out the booking form correctly, ensuring the following fields are correctly input:

• Select from Your course of study dropdown list: PgAD
• In the “Any additional comments or requests” field at the bottom of the form, you must list the students’ names and how much of their free allocation should be used. This enables bands to split the session’s cost between them, for example for a 3.5 hour session the allocation could be split as such:
  • Person A – 1.5 hours
  • Person B – 1 hour
  • Person C – 1 hour

The student’s name and number of hours’ of allocation MUST be included when booking a session, otherwise an invoice for the session will be raised.

How do I check what my free hours allocation is?

If you’re uncertain how many hours of your allocation you’ve used, we keep detailed records, so can provide the remaining allocation to students on request. Please email recordingstudio@trinitylaban.ac.uk to request this.

Terms and conditions

Regular Recording Studio Terms and Conditions apply to all bookings. Free time allocations are set by the Creative Technology Services Manager together with course leaders. Allocations are reviewed every academic year, and there is no guarantee that allocations will remain as above for future years.

How much free time do I get in the Recording Studio?

Exchange Application students currently get 2 hours each without charge to support Erasmus application recording. Any additional time in the Recording Studio would be charged at the usual rates.

How do I book my free time?

There are 3 durations of recording sessions available: Short (2 hours), Medium (3.5 hours), and Long (7 hours + 1 hour lunch). As explained on the main article about the Recording Studio, the online booking system should be used to see when there is availability for each of the different session types.

In order to use your free hours allocation, you must fill out the booking form correctly, ensuring the following fields are correctly input:

• Select from the Purpose of Recordings dropdown list: Exchange Application

Please let us know know when you book which formats your application  requires:  CD, audio mp3 file, or video mp4 file.

All file preparation except video conversion happens during your time allocation,  which is 2 hours for either an audio-only,  or a video-only session; however if your application requires both audio and video recordings,  there is an additional 15 minutes setup time at start, and additional 15 mins tech time at the end.

Regarding the recording: “No editing is allowed on any application material for the Erasmus scheme. Discs must be signed [by the Recording Engineer or your Teacher] with a statement saying that the recording is the students own unedited performance.” and we will not edit them.
Further,  video recordings are not trimmed either,  the Engineer starts and stops the camera,  and that is what is submitted.

How do I check what my free hours allocation is?

If you’re uncertain how many hours of your allocation you’ve used, we keep detailed records, so can provide the remaining allocation to students on request. Please email recordingstudio@trinitylaban.ac.uk to request this.

Terms and conditions

Regular Recording Studio Terms and Conditions apply to all bookings. Free time allocations are set by the Creative Technology Services Manager together with course leaders. Allocations are reviewed every academic year, and there is no guarantee that allocations will remain as above for future years.

2.22 is located on the second floor of the East Wing at King Charles Court.

Permanent AV Facilities

1 x active PA stereo system

1 x Large flat screen TV with HDMI

1 x Mackie ProFx12 v3 mixing desk

G.48 is located on the ground floor of the East Wing at King Charles Court.

Permanent AV Facilities

1 x Mackie stereo PA system

1 x Large flat screen TV

1 x Mackie ProFx12

1 x Grand Piano

1 x Fender Rumble 500

1 x Blues Cube Amp

G.17 is located on the ground floor of the West Wing at King Charles Court. It is accessible through Butlers Bar.

Permanent AV Facilities

1 x Mackie stereo PA system

1 x Large flat screen TV

1 x Mackie ProFX 12 mixer

1 x Nord Keyboard

1 x Drum Kit

1 x Fender Twin Amp

1 x Grand Piano

1 x Bass Amp

Bantock Room (G.15) is located on the ground floor of the West Wing at King Charles Court. It is accessible through Butlers Bar.

Permanent AV Facilities

1 x Mackie stereo PA system

1 x Large flat TV screen

1 x Mackie ProFX 12 mixer

1 x Nord Keyboard

1 x Drum Kit

1 x Fender Twin Amp

1 x Grand Piano

1 x Marshall Amp

1 x Bass Amp

1 x Focusrite Red8Pre

2 x Genelec monitor speakers

1x 8ch Stage Box

3.04 is located on the third floor of the West Wing at King Charles Court.

This room is setup as music production/mixing room. It can also be used in conjunction with it’s three neighbouring rooms – 3.03, 304, 3.05 (3.04 being the control room). 

Please email avsupport.music@trinitylaban.ac.uk for more information on this.

For details of the equipment installed in the room please see the .pdf below.

Permanent AV Facilities

3.05 is located on the third floor of the West Wing at King Charles Court.

Whilst this room is setup to be used as its own rehearsal and recording space, it can also be used in conjunction with it’s three neighbouring rooms – 3.03, 304, 3.06 (3.04 being the control room). 

Please email avsupport.music@trinitylaban.ac.uk for more information on this.

For details of the equipment installed in the room please see the .pdf below.

Permanent AV Facilities

3.03 is located on the third floor of the West Wing at King Charles Court.

Whilst this room is setup to be used as its own rehearsal and recording space. It can also be used in conjunction with it’s three neighbouring rooms – 304, 3.05, 3.06 (3.04 being the control room). 

Please email avsupport.music@trinitylaban.ac.uk for more information on this.

For details of the equipment installed in the room please see the .pdf below.

1 x LD PA speaker

1 x Focusrite Red8Pre

1 x Mackie ProFx12 mixer

2 x Drumkit

3.06 is located on the third floor of the West Wing at King Charles Court.

Whilst this room is setup to be used as its own rehearsal and recording space. It can also be used in conjunction with it’s three neighbouring rooms – 3.03, 304, 3.05 (3.04 being the control room).

Please email avsupport.music@trinitylaban.ac.uk for more information on this.

For details of the equipment installed in the room please see the .pdf below.

1 x Mackie PA speaker

1 x Power Amp

1 x Focusrite Red8Pre

1 x Mackie ProFx12 mixer

1 x Yamaha CP88 electric piano

1 x Mark Bass Amp

1 x Fender Twin Amp

1 x Drumkit

1.57 is located on the first floor of the West Wing at King Charles Court.

Permanent AV Facilities

1 x PA system with a mixing desk, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The desk also has 8 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

To download the instruction manual for the mixing desk click on the link here – https://loudaudio.netx.net/api/file/asset/18479?sessionKey=H6hp88ql8fwuzSFgOuah4ytBO

1 x Large flat screen TV, which is fixed to an immovable unit. This has an HDMI lead to plug into a laptop and a remote control.

1.59 is located on the first floor of the West Wing at King Charles Court.

Permanent AV Facilities

1 x PA system with a mixing desk, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The desk also has 8 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

To download the instruction manual for the mixing desk click on the link here – https://loudaudio.netx.net/api/file/asset/18479?sessionKey=H6hp88ql8fwuzSFgOuah4ytBO

1 x Large flat screen TV, which is fixed to an immovable unit. This has an HDMI lead to plug into a laptop and a remote control.

1.22 is located on the first floor of the West Wing at King Charles Court. It is accessible from the doors off of College Way, opposite the Painted Chapel.

Permanent AV Facilities

1 x PA system with a rack mounted mixer, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The mixer also has 2 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

1 x Large flat screen TV, which is fixed to an immovable unit. This has an HDMI lead to plug into a laptop and a remote control.

The Baylis Room (1.48) is located on the first floor of the East Wing at King Charles Court. It is accessible from the doors off of College Way, opposite the Painted Chapel.

Permanent AV Facilities

1 x PA system with a rack mounted mixer, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The mixer also has 2 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

1 x Large flat screen TV, which is fixed to an immovable unit. This has an HDMI lead to plug into a laptop and a remote control.

3.14 is located on the third floor of the West Wing at King Charles Court.

Permanent AV Facilities

1 x HIFI system that can only be used for playback, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone.

1 x Large flat screen TV, which is fixed to an immovable unit. This has an HDMI lead to plug into a laptop and a remote control.

3.12 is located on the third floor of the West Wing at King Charles Court.

Permanent AV Facilities

1 x HIFI system that can only be used for playback, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone.

1 x Large flat screen TV, which is fixed to an immovable unit. This has an HDMI lead to plug into a laptop and a remote control.

The keyboard lab (2.43) is located on the 2nd floor of the East Wing at King Charles Court.

It contains 12 student computers each with a large MIDI keyboard, an audio interface and a pair of headphones. A teacher’s computer attached to 2 screens and a PA system.

Software on the computers

All computers contain the following software:

• Ableton Live
• DaVinci Resolve
• FabFilter Pro
• Final Cut Pro
• Logic Pro

3.30 is located on the third floor of the West Wing at King Charles Court.

Permanent AV Facilities

1 x PA system with a rack mounted mixer, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The mixer also has 2 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

1 x Large flat screen TV, which is fixed to an immovable unit. This has an HDMI lead to plug into a laptop and a remote control.

3.36 is located on the third floor of the West Wing at King Charles Court.

Permanent AV Facilities

1 x PA system with a rack mounted mixer, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The mixer also has 2 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

1 x Large flat screen TV, which is fixed to an immovable unit. This has an HDMI lead to plug into a laptop and a remote control.

3.33 is located on the third floor of the West Wing at King Charles Court.

Permanent AV Facilities

1 x PA system with a rack mounted mixer, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The mixer also has 2 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

1 x Large flat screen TV, which is fixed to an immovable unit. This has an HDMI lead to plug into a laptop and a remote control.

3.26 is located on the third floor of the West Wing at King Charles Court.

Permanent AV Facilities

1 x PA system with a rack mounted mixer, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The mixer also has 2 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

1 x Large flat screen TV, which is fixed to an immovable unit. This has an HDMI lead to plug into a laptop and a remote control.

2.53 is located on the second floor of the West Wing at King Charles Court.

Permanent AV Facilities

1 x PA system with a powered mixer, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The mixer also has 4 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

2.55 is located on the second floor of the West Wing at King Charles Court.

Permanent AV Facilities

1 x PA system with a rack mounted mixer, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The mixer also has 2 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

G.12 is located on the ground floor of the West Wing at King Charles Court. It is accessible through Butlers Bar.

Permanent AV Facilities

1 x Large flat screen TV and a DVD player. This has an HDMI lead to plug into a laptop and a remote control.

G.61 is located on the ground floor of the West Wing at King Charles Court.

Permanent AV Facilities

1 x PA system with a rack mounted mixer, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The mixer also has 2 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

1 x Large flat screen TV, which is fixed to an immovable unit. This has an HDMI lead to plug into a laptop and a remote control.

G.56 is located on the ground floor of the West Wing at King Charles Court.

Permanent AV Facilities

1 x PA system with a rack mounted mixer, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The mixer also has 8 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

To download the instruction manual for the mixing desk click on the link here – https://loudaudio.netx.net/api/file/asset/18479?sessionKey=H6hp88ql8fwuzSFgOuah4ytBO

1 x Large flat screen TV, which is fixed to a movable stand. This has an HDMI lead to plug into a laptop and a remote control.

The Piano Room (2.42) is located on the 2nd floor of the East Wing at King Charles Court.

It contains 12 electric pianos (plus 1 for the tutor). Each piano is a stand alone instrument and comes with a pair of headphones for each.

Information on the piano’s can be found here – https://uk.yamaha.com/en/products/musical_instruments/pianos/arius/ydp-165/index.html

There is also a large flat screen TV and a PA system installed. The TV has an HDMI lead for plugging into a laptop, the PA is for playback only and has an aux lead for connecting a laptop or other playback device. Both can be found attached to the tutors piano.

The Mackerras Room (G.46) is located on the ground floor of the East Wing at King Charles Court. It is accessible from the doors off of College Way, opposite the Painted Chapel.

Permanent AV Facilities

1 x PA system with a rack mounted mixer, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The mixer also has 2 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

1 x Large flat screen TV, which is fixed to an immovable unit. This has an HDMI lead to plug into a laptop and a remote control.

The Phillip Carne Room (G.29) is located on the ground floor of the East Wing at King Charles Court.

Permanent AV Facilities

1 x PA system with a rack mounted mixer, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The mixer also has 2 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

1 x Large flat screen TV, which is fixed to an immovable unit. This has an HDMI lead to plug into a laptop and a remote control.

The Theatre Studio (G.39) is located on the ground floor of the East Wing at King Charles Court.

Permanent AV Facilities

1 x PA system with a mixing desk, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The desk also has 8 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

To download the instruction manual for the mixing desk click on the link here – https://loudaudio.netx.net/api/file/asset/18479?sessionKey=H6hp88ql8fwuzSFgOuah4ytBO

Information on the PA system (HK Audio Polar 10) can be found here – https://hkaudio.com/products/polar/

1 x Large flat screen TV, which is fixed to a trolley with wheels. The comes with an extension lead so that it can be used in most parts of the room and an HDMI lead to plug into a laptop.

The Peacock Room (G.35) is located on the ground floor of the East Wing at King Charles Court.

Permanent AV Facilities

1 x PA system with a built in mixing desk, this comes with an aux in cable that can be plugged into the headphones output of a laptop or mobile phone. The mixer has 4 microphone (XLR) inputs for use with additional equipment like audio interfaces and microphones.

More information on the PA system can be found here – https://www.rcf.it/en/products/product-detail/evox-jmix8#downloads

Laurie Grove has a number of flexible studio spaces, each with a variety of audio visual equipment installed.

Studio 1 is located on the ground floor of the Laurie Grove building.

Mirrored wall: Yes

Piano: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, iPod/laptop input cable and Bluetooth Rack Unit Receiver.

1 x 65 ” TV on wheeled mount, and HDMI input.

Studio 2 is located on the ground floor of the Laurie Grove building.

Mirrored wall: Yes

Piano: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount, with DVD Player and HDMI input.

Studio 3 is located on the ground floor of the Laurie Grove building.

Mirrored wall: Yes

Piano: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x  TV on wheeled mount, with DVD Player and HDMI input.

Studio 4 is located on the ground floor of the Laurie Grove building.

Mirrored wall: No

Piano: Yes

Permanent AV facilities

1 x  TV on wall mount, and HDMI input.

Studio 5 is located on the 2nd floor of the Laurie Grove building.

Mirrored wall: Yes

Piano: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with DVD Player and HDMI input.

Studio 6 is located on the 2nd floor of the Laurie Grove building.

Mirrored wall: Yes

Piano: Yes (X2)

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x 65″ TV on wheeled mount with HDMI input.

Performance Lab 1 is located on the ground floor of the Laurie Grove building.

Mirrored wall: No

Piano: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with HDMI input.

Performance Lab 2 is located on the ground floor of the Laurie Grove building.

Mirrored wall: Yes

Piano: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with HDMI input.

Requires a Laptop with:

• Isadora 3.2.6+
• Isadora NDI Watcher 2.0.2+

Overview of what this enables

The NDI Camera enables you to wireless feed video from a camera to a computer with very minimal latency. The laptop can then be connected to a display such as a projector or TV, and the feed shown or manipulated using software (we would recommend Isadora).

What should be included:

• 1 x Mevo NDI Camera (with power adapter)
• 1 x Wireless Router (with power adapter)

Instructions for use

The order that the devices are turned on or connected is very important.

1. Plug in the router, and turn it on (there is a button on the rear of the router). Lights should appear/flash that indicates that it is powered on.
2. Wait a few minutes.
3. From the Laptop – connect to the router’s Wireless network
   • This is written on the top of the router, and is usually AV_NDI_5G.
   • The password to connect is shown on the top of the router.
   • If a window appears on the laptop stating “The network cable is unplugged”, you can just close the window.
   • Please note that the router does not allow any internet access. If you need to connect to the internet, for example to download files onto the computer, please ensure you have done this prior to connecting to the NDI router.
4. Turn on the Mevo camera (there is a button on the rear of the camera). It should make an audible beep and the lights on the rear should flash before becoming constant (to indicate the battery level of the camera). Once the camera is operational, a green light should appear on the front (which should turn red once the camera is connected).
5. Open up the Isadora patch.

Unlike the GoPro Hero, the GoPro Hero 7 Black has a built-in touchscreen.  This makes navigating all of the features much easier than on the GoPro Hero.  The ease of access means that a lot of settings are now much easier to change – this article will help you get your head around what you can do on the GoPro Hero 7 Black.

What’s in the case?

• GoPro Hero 7 Black (in housing)
• MicroSD card
• MicroSD → Standard SD card adapter
• USB-C cable
• USB-C → USB-A cable
• Battery charger
• Power supply

Preparation

Inserting the battery

The GoPro Hero 5 Black uses a rechargeable battery (the battery charger is included in the case). To access the battery compartment, you first need to remove the housing. To do this, undo the clip on the top of the GoPro, next to the SHUTTER button. This will release the back panel and you will be able to slide out the GoPro. The battery compartment is on the bottom of the GoPro. The batteries simply push into the compartment and pull out using the tab – the same goes for inserting the batteries into the charger.

Inserting the microSD card

The GoPro Hero 7 Black uses a microSD card. The microSD card slot is housed in the battery compartment. The microSD card should already be in the GoPro – but if not, it may be in the SD card adapter – this looks like a standard SD card and is included in the case. To insert it simply push it in – it will only fit in one way so don’t force it!

The microSD card is very small so take care not to lose it. 

Once the battery and SD card are inserted, close the battery compartment and slide the GoPro back into its housing. Make sure the clip on the top is secured.

Turning on

To turn on the GoPro, press the MODE button on the right-hand side once. The red light in the top left of the touch screen should flash on, as should the red light on the front, top left corner of the LCD screen.

Modes

The GoPro has 3 main camera modes – each of which has 3 capture modes. To change between camera modes press the MODE button. This will cycle through each mode: Video, Photo, Burst and Time-lapse.

Video mode

This is for capturing video. Within this mode are video-only capture, video + photo capture and looped capture. To navigate between these tap the video camera icon in the bottom left of the touch screen.

Video-only capture captures only video (as the name suggests).

Video + Photo capture captures video and photos – which are taken at user specified intervals.

Looping capture keeps the camera running from the first push of the shutter button, then will only save the final five minutes of recording before the SHUTTER button is pressed again to stop recording.

Tap the icons at the bottom of the screen to change the resolution (RES), the frame rate (FPS) and the field of view (FOV). Note that some combinations of parameters are incompatible – for example 4k resolution at 240 FPS.

Excessively high resolution and FPS settings will take up more space on the SD card and shorten the battery life of the GoPro – bear this in mind if filming for longer periods of time.

Photo mode

Photo mode takes photos. Capture modes include: photo-only, night photo and burst.

Photo-only simply takes photos.

Night photo optimizes the GoPro for taking photos at night.

Burst takes several photos on pressing the shutter at a specified rate.

To switch between capture modes tap the camera icon in the bottom left corner of the screen.  To change the parameters such as the photo quality, the FOV and burst rate, select the icons across the bottom bar of the screen.

Time-lapse

Time-lapse mode is for capturing footage over a long period of time at a low frame rate, so when it’s played back at a normal frame rate, it appears to be sped up. Time-lapse mode has three capture modes: time-lapse video, time-lapse photo and night-lapse photo.

Time-lapse video captures frames at a set interval and transfers them into a video file.

Time-lapse photo captures frames and saves them as individual photos.

Night-lapse photo is used for minimal light scenarios.

More advanced settings can be accessed by swiping to the left of the screen.

Capturing

Video

In order to start recording, simply press the SHUTTER button – located on the top of the GoPro. Press again to stop recording.

Photos

To take a photo press the SHUTTER button once.

Post-capture

Viewing video and photos

To view your photos and videos, swipe right – this will take you to viewing mode where you will be able to watch the footage you have captured and view any photos you’ve taken. You may also delete unsuitable files.

Transferring footage to a computer

Once you’ve finished filming/photographing you will need to transfer the files on to your computer. To do this, eject the microSD card and insert in into the SD card adapter. Insert the SD card adapter into your computer and transfer the files over.

Live Streaming

Wired streaming

You can also use the GoPro to live stream. To do this you will need cable #15 (microHDMI→StandardHDMI). Plug the small end into the GoPro and the standard end into the TV or Projector.

You may also download the GoPro Capture App to remotely control the GoPro from your mobile device – you will need to connect the GoPro and your device to the same network.

To access the GoPro network settings swipe down on the screen.

For more advanced use please refer to the GoPro Hero 7 Black manual (below).

This article outlines the equipment available for staff to record their classes within the Laban building.

Kits for recording classes

Each Teaching Kit includes:

• 1 x standard video camera (either with a normal lens or a wide-angle lens which may be useful in larger studios)
• 2 x charged batteries – 1 attached to the camera, and 1 spare if you need it.
• 1 x SD Card in the camera.
• 1 x eStream form (so we know what to include when processing the recording).
• 1 x tripod (the tripod clip will be attached to the camera).
• 1 x easy carry box.
• (Optional) Power supply and/or power extension cable.

Booking a Teaching Kit

Teaching Kits must be booked at least one hour before they are required, via eQuip, between 8:30 am and 5:30 pm, Monday to Friday (during term time). You can place bookings now for the rest of the term.

The maximum booking time for a kit is seven hours, as the vast majority of studio-based classes are less than this duration, and we want to ensure that the batteries and SD Cards, supplied, will cover the period.

Collecting a Teaching Kit

You will need to collect the Teaching Kit from the AV Support team, located at the top of the Faculty of Dance Library, from where all equipment is now issued. When the library is closed (for example between 8:30 am and 9 am), you may collect the equipment by ringing the doorbell next to the library’s main entrance, where a member of the AV Support team will bring the equipment to you.

The Teaching Kit will be issued to the person who booked it.

Getting a kit delivered

We also offer the ability to request that a kit is delivered to a room at a specific time, please fill out the required fields (delivery/collection, the start time of the class, and studio) when placing the booking.

Setting up a Teaching Kit

Further details will be available on the AV Support Knowledge Base, however, ease of use has been paramount to our selection of this equipment.

How to attach the camera to the tripod:

All you will then need to do is:

• Make sure the camera is turned on (press the On/Off button)
• Ensure the lens cap is not closed (there’s a switch on the side of the camera)
• Point the camera at what you’d like to record, and hit the rec button.

Considerations when recording

If possible, aim the camera away from any windows where light floods in – we are aware that this can be difficult in the Laban building, however, offering cameras with charged batteries should provide plenty of flexibility over the placement of the camera.

If recording in-building assessments, please ensure that the camera captures the full area that students are moving.

Returning the Teaching Kit

When you have finished recording, please take the camera off the tripod and close up the tripod. Please do not remove the tripod clip from the camera.

Fill out the eStream form with the details of the class that has been recorded. You do not need to remove the SD Card from the camera.

Ensure all items of equipment, which were originally in there, have been placed back into the box. A list of contents is supplied and attached to the box.

Please bring the box and its contents back to the AV Support team at the top of the library. In the morning, if the library is closed, please ring the doorbell by the library entrance, and a member of the AV Support team will collect the box from you. If you are returning in the evening after 6 pm, please hand it to security, at reception, and the AV Support team will collect it in the morning.

What happens then?

There is a two-hour buffer between bookings of each kit, during which time the AV Support team will check the equipment and process the recording, adding it to eStream. We aim to do this within twenty-four hours (Monday to Friday), however, it may take a few days for the recording to appear on eStream, especially during busy periods.

This article, and subsequent others, serves as an introduction to advanced camera settings. These settings can give you more flexibility than simply using the auto settings of the camera. Understanding how to get the most from your camera can really help the finished photos and videos you create.

What will this introduction cover?

This series of articles will cover:

• Exposure
• ISO
• Aperture
• Shutter speed
• White balance

Camera shooting modes

These articles rely on your understanding of the different shooting modes cameras offer. These modes dictate how much control you have over the camera settings and how much the camera does for you. The common settings are:

• Manual: The user controls all of the settings
• Aperture priority: The user controls the aperture setting. The camera then decides the shutter speed and ISO
• Shutter priority: The user controls the shutter speed setting. The camera decides the aperture and ISO
• Program/auto: The camera controls all of the settings

To have the most control over the image you intend to capture, we recommend you practice using the Manual shooting mode.

How to change shooting modes on Laban Library cameras

Exposure

Understanding exposure is essential to understanding some of the advanced camera settings in these articles. Exposure is the process of making sure images are the correct brightness. That means the lightest and darkest parts of the image are rich but aren’t clipping.

If there is not enough, or too much, light hitting the camera’s sensor it cannot record the image you are capturing accurately. As a result, clipping occurs and you lose definition in parts of your image. Often this cannot be corrected in post-production. Therefore, it is advised you expose your image to capture as much detail as possible and then use post-production software to alter the look of the image.

When we think of photography or video, we often think of exposure as a triangle. The Exposure Triangle outlines the relationship between three camera settings ISO, aperture and shutter speed. These three settings need to be balanced to achieve a well-exposed picture.

As you can see from the diagram above when you change one of the three settings, you have to change another to ensure the exposure is correct. This may mean reducing the aperture when you increase the shutter speed, for example.

• well-exposed picture

• under-exposed picture

• over-exposed picture

The triangle points – ISO, aperture, shutter speed

But what do each of the three settings do?

We have three articles, one about each setting, which will explain the setting in detail. We’ll also show you what changing each setting will do to the images you produce and how to find them on Laban cameras.

The articles can be found here:

• ISO
• Aperture
• Shutter Speed

Ensuring Good Exposure

So how do you know if your images are exposed properly?

You can use certain settings on your camera to make sure the exposure is correct.

One such setting is “zebra” highlights. This places black and white stripes over areas of the image the camera believes to be overexposed. These stripes don’t appear on the final image, just the LCD screen at the back of the camera. You can set the zebra to appear at certain thresholds. The most common are 70% and 100%.

Here’s how you can turn zebras on and off.

When set to 70%, zebras appear on anything with a brightness over the 70% value. This highlights areas that are overexposed along with areas at risk of becoming overexposed.

When set to 100%, zebras appear on anything with a brightness over the 100% value. This highlights areas that are overexposed.

Dynamic Range

Sometimes, the way light is distributed within a scene means the exposure cannot be set in a way that captures everything around you. This is where something called dynamic range comes into the picture.

Dynamic range can refer to two different things, so it’s important to know what you are referring to when you use dynamic range. Dynamic range can refer to the conditions of the scene you are photographing. It can also refer to the capabilities of your camera’s sensor and the variety of light and shadow it can capture.

If your camera cannot capture the range of light to dark present in the scene, or you want to create an atmospheric image, sometimes you may choose to leave parts of your image under or overexposed.

This article, and subsequent others, serves as an introduction to advanced camera settings. These settings can give you more flexibility than simply using the auto settings of the camera. Understanding how to get the most from your camera can really help the finished photos and videos you create.

What will this introduction cover?

This series of articles will cover:

• Exposure
• ISO
• Aperture
• Shutter speed
• White balance

Camera shooting modes

These articles rely on your understanding of the different shooting modes cameras offer. These modes dictate how much control you have over the camera settings and how much the camera does for you. The common settings are:

• Manual: The user controls all of the settings
• Aperture priority: The user controls the aperture setting. The camera then decides the shutter speed and ISO
• Shutter priority: The user controls the shutter speed setting. The camera decides the aperture and ISO
• Program/auto: The camera controls all of the settings

To have the most control over the image you intend to capture, we recommend you practice using the Manual shooting mode.

How to change shooting modes on Laban Library cameras

This article is an introduction to shutter speed, as well as shutter angle. We will cover what the terms mean and how they affect the images you produce. This guide can be applied to both digital video cameras and digital stills cameras. However, there will be differences between video and photography in this setting’s application.

What is shutter speed?

Shutter speed is how quickly the camera’s shutter opens and closes. It affects how much light is let into the camera.

Shutter speed is commonly presented as a fraction, which indicates the fraction of a second the shutter is open for.

• A shutter speed of 1/4 is slow, it is one-quarter of a second.
• A fast shutter speed would be 1/250, this is one-two-hundred-and-fiftieth of a second.

A camera’s shutter speed can also last more than a second. In that case, the shutter speed will be presented as the number of seconds, followed by either s or “.

Shutter speed and shooting video

Most camera settings don’t differ in application between video and photography. Shutter speed is one of the few that does.

When you record video, the camera is capturing individual still images. When played back at a certain speed, the still images are perceived as moving by the human eye. The rate these still images or “frames” are played back is called the frame rate and is measured in fps or frames per second.

Generally, video is shot at 24 or 30 fps. There are reasons you may want to shoot at a higher frame rate, such as 60 fps, but the standard for most video sharing platforms is 24 or 30 fps.

The most important rule for setting your shutter speed is that it should be double your number of frames per second. So, if you are shooting at 30 fps, your shutter speed should be 1/60. If you have a frame rate like 24 fps, which is 48 when doubled, you can round it to 50 and the shutter speed would be 1/50.

There’s an easy way to make sure your shutter speed is double your frames per second and that is ensuring your Shutter Angle is set to 180°.

It’s another term to remember and can make shutter speed one of the trickier camera settings to comprehend, but it’s worth understanding. The term Shutter Angle has been carried over from the days of physical film cameras when a revolving shutter would allow light to expose the film. The industry standard was 180° as this resulted in sharp images and only slight motion blur.

What does changing shutter speed do?

Changing the shutter speed changes how much light is let into the camera.

It can also change the amount of motion blur in an image.

Changing the shutter speed for still images

For still images, changing the shutter speed is relatively straightforward.

If you want to capture a fast movement in a really sharp image, make sure you use a fast shutter speed. This will require more light, so you may also need to adjust your ISO or aperture, or use additional lighting.

If you want images with motion blur, or you are shooting in a darker area, you will need to use a slower shutter speed.

Changing the shutter speed for moving images

Changing the shutter speed (or shutter angle) is less straightforward when you are working with moving image.

You can’t simply change the shutter speed to increase or reduce the amount of light, as this will have a direct effect on the motion blur of the video too. However, you can use the effect of the shutter speed as an artistic choice if you wish.

Increasing the shutter speed will result in sharp, choppy movements.

Decreasing the shutter speed will result in a more dreamlike, blurry image, with more motion blur.

However, once filmed, these effects can’t be removed from the image. So often it is more practical to put effects like these on video at the post-production stage.

How do I change the shutter speed?

This article is an introduction to white balance, what it is and what correctly white balancing does to the images you produce. This guide can be applied to both digital video cameras and digital stills cameras.

What is white balancing?

White balancing is the process of telling your camera “this object is white”

Have you ever taken a picture and noticed that what you can see with your eye and what the camera has recorded are slightly different? Or noticed how under different lights, colours appear differently?

The colours your camera picks up can differ from what is actually seen by the human eye. This is because of the colour temperature of different light sources. This is measured in degrees Kelvin and is represented with a K.

Light with a higher colour temperature will appear more blue and have a larger Kelvin value.

Light with a lower colour temperature will appear redder and have a smaller Kelvin value. Natural daylight tends to have a higher Kelvin value than artificial light.

Natural light picture

These differing colour temperatures can leave what’s called colour casts on images. This means that the entire image has a blue, orange or green tint to it.

White balancing is the process of telling the camera’s digital sensor “this object is white”. This will yield images that are much closer to what the human eye can see and should reduce colour inconsistencies between shots. As a result, any post-production work you do on your photos or videos likely be easier.

How do I set white balance?

This article explains what aperture is, how it can affect an image and how to change the aperture on Laban Library cameras. This guide can be applied to both the digital video camera and the stills camera.

What is aperture?

To understand aperture, you should first have an understanding of how cameras work.

There’s an important part of your camera’s lens called the iris. It controls how much light is allowed through to hit the digital sensor. By opening the iris further, you can let more light into the camera, closing it will let less light in. Aperture controls the positions of the iris.

f-stop scale

Aperture is measured by the f-stop scale. On your camera, this will appear as ‘f/’ followed by a number. The scale in its most basic form appears as follows: f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22.

Each of these values in the scale are known as a stop. You may hear the phrases “stopping up” or “stop down” when people talk about using cameras. This refers to changing the aperture. When you ‘stop up’ you are moving up the f-stop scale. When you ‘stop down’ you are moving down the f-stop scale.

The most important thing to remember about aperture is that as the number in the f-stop increases, the size of the aperture decreases. This means the higher up the f-stop scale you go, the less light is being let into the camera.

Depth of field

However, changing the aperture doesn’t just affect the amount of light coming into the camera, it also affects the depth of field. 

Depth of field describes how much of your shot is in focus when the camera is focused correctly. For example:

• The more shallow a depth of field, the smaller the focal plane, the more of your background (and foreground) will appear blurred
• The greater a depth of field, the larger the focal plane, the more the entire image will be in sharp focus

What does changing the aperture do to my images?

Simply, changing the aperture of the camera will change the amount of light let into the camera, along with the image’s depth of field.

Bokeh

However, experimenting with aperture will lead you to realise that additional effects can be achieved. Bokeh (pronounced BOH-ka) is used to describe an effect where the areas outside of the focal plane are pleasingly blurred.

The blurring is most noticeable in the image’s highlights, which become softer and often take a round or hexagonal shape.

This effect is ideal for portraits or video clips where you want your subject to stand out. To achieve bokeh in your image you want to use a small f-stop (such as f/2.8) and try to reduce the distance between your camera and subject as much as possible.

Focus pulling

Focus pulling is a technique used in film where the focus of a shot, normally from one subject to another. Similarly to Bokeh, this requires a low f-stop, as the technique only works when the focal plane is small.

A focus pull is achieved by using the focus ring, which circles the lens of the camera. Twisting this will bring the plane of focus closer or further from the camera, allowing you to change the subject of the shot.

How do I change the aperture on Laban Library cameras?

Below is an interactive tutorial on how to change the aperture on the Canon 4k cameras available from the Laban Library

This article is an introduction to ISO, what it is and what changing the ISO number does to the images you produce. This guide can be applied to both digital video cameras and digital stills cameras.

What is ISO?

Put simply, ISO controls how sensitive the cameras digital sensor is to light. This makes it a useful setting to understand, as it makes up one of the components of the exposure triangle (alongside aperture and shutter speed).

ISO numbers normally start at 100 or 200. The lowest ISO number your camera has is called the Base ISO. As the ISO number increases, it doubles each time. So the ISO settings your camera has might look like this: 100, 200, 400, 800, 1600, 3200, 6400.

On many digital video cameras, ISO is often referred to as gain and uses decibels (dB) as a measurement, rather than ISO numbers. Decibels and ISO numbers might seem completely different, but a general rule is changing the gain by 6dB is the same as going up (or down) one ISO number.

What does changing the ISO number do?

When you increase the ISO number, you increase how sensitive the camera is to light. This can be extremely helpful in situations where there are lower light levels and you can’t change your shutter speed or aperture.

However, raising the ISO number too much can lead to what’s known as digital noise. This presents as discoloured pixels, which can be seen in the darker areas of the image. To avoid this, it is best to add more light to the subject you are shooting, rather than raising the ISO number too much.

How do I change the ISO number on Laban Library cameras?

Below is an interactive guide on how to change the ISO number on our new 4k video cameras.

The audio recorders at Laban Library are very flexible and enable you to get a really high-quality recording.  Using all of the features can get a little complicated which is why we’ve put together this article to help you get started.

What’s in the case?

• Audio recorder
• Power supply

Recording

How to record

The first time you press the RECORD button, the light around it will start flashing. The recorder is not recording yet! 

You should be able to hear what the recorder can hear through the headphones, and see the levels moving on the screen. The volume of the recording can be changed with the buttons on the right-hand side of the recorder labelled MIC LEVEL. Make sure that you don’t let the levels get too loud or your recording will be clipped – this is indicated by the ‘lights’ on the screen to the far right of the audio metre.

Once the recording level has been set, press the RECORD button again to start recording – the light around the record button should become solid (not flashing). You can see the recording time on the screen, as well as the audio level.

Watching the levels and clipping

If the audio level gets too high, the sound will clip. This means that the sound source is too loud for the microphone and the recording level will have to be reduced. Clipping causes distortion on the final recording. You can see if clipping has occurred by looking at the right side of the screen – at the right-end of the audio metre – there are little ‘lights’ which will be filled in when clipping has occurred.

Stop Recording

Press the STOP button to stop recording – the light on the RECORD button will go off and the icon in top corner of the screen will change to the stop icon.

Post-recording

Playback

In order to playback your recordings simply select the recording you wish to play using the scroll wheel, then press the PLAY button.

Transferring files from SD card

Once recording is complete it’s time to put the files onto the computer. Simply switch off the recorder and eject the SD card. Put the SD card into your computer (either in the SD card slot or via a USB SD card reader – available to borrow from the library) and open the contents. You will find 3 folders – one for each recording mode. Open STEREO folder (or the folder corresponding to the mode you recorded in). In each of these three folders there are 10 subfolders labelled 1-10. Your recording is in the folder which you specified back at the beginning of the recording process. Simply copy and paste or drag and drop the file/s (the default file name is STE-000.wav) on to your computer.

Post-recording

Playback

In order to playback your recordings simply select the recording you wish to play using the scroll wheel, then press the PLAY button.

Transferring files from SD card

Once recording is complete it’s time to put the files onto the computer. Simply switch off the recorder and eject the SD card. Put the SD card into your computer (either in the SD card slot or via a USB SD card reader – available to borrow from the library) and open the contents. You will find 3 folders – one for each recording mode. Open STEREO folder (or the folder corresponding to the mode you recorded in). In each of these three folders there are 10 subfolders labelled 1-10. Your recording is in the folder which you specified back at the beginning of the recording process. Simply copy and paste or drag and drop the file/s (the default file name is STE-000.wav) on to your computer.

Preparing for recording

Battery / power supply

The audio recorders available for loan are supplied with a power adapter. This is NOT a charger, only a power supply – this plugs in on the bottom side of the device. Alternatively, the audio recorders take two AA batteries which are NOT supplied by the library.

SD card

You will need to provide your own SD card to use the audio recorders. 

Begin by inserting your SD card into the slot on the right-hand side of the recorder. Please note that the recorders will not work with an SD card over 32 Gb in capacity.

Turning on

The ON switch is on the left-hand side at the bottom. Pull the switch down and release. The screen will come on and light up.

Headphones

You may want to use headphones to monitor the sound whilst recording, simply plug headphones into the headphone socket on the left-hand side.

Pick up area (90º / 120º)

The built-in microphones at the top of the recorder can be angled differently depending on your recording situation. Simply twist the microphones between the 90º and 120º positions – 90º will focus the recording more, 120º will pick up sound from a wider area.

Changing Settings

Setting Date and Time

You may want to set the date and time so that the recording metadata is correct. To do this press the MENU button on the right-hand side and use the scroll wheel to navigate to SYSTEM then DATE/TIME. Press the scroll wheel to select each option. Use the scroll wheel to set the date and time then select OK when done. Press MENU again to exit the menu.

Mode

Ensure that the MODE is set to STEREO by looking at the 3 red lights above the screen – the light farthest left is the STEREO indicator. We recommend using STEREO mode.

Save folder

Next select the save folder by pressing the FOLDER button (farthest left) underneath the screen. There are 10 folders to choose from – remember which one you choose as you will need it later. Use the selection wheel at the top of the right-hand side and scroll through the folders. To select simply press down on the scroll wheel.

Recording Formats

We recommend using .WAV 48kHz 24bit to record in. The audio recorders can also record in .MP3 format but the quality of your recording will be reduced due to .MP3 being a more compressed format.

For more advanced use please refer to the Zoom H4n Manual.

The Shure SM57 is a cardioid dynamic microphone, great on electric guitar amps, snare, horns, and vocals. Mostly designed for live sound, it can also be used for recording hi-volume instruments.

lots of good information can be found here – https://www.shure.com/en-US/docs/guide/SM57

The Shure BETA 57A is a super cardioid dynamic microphone, great on electric guitar amps, snare, horns, and vocals. Mostly designed for live sound, it can also be used for recording hi-volume instruments.

Whilst in many ways this is very similar to the SM57 there are some important differences. This article spells out the important ones – https://www.shure.com/en-US/insights/whats-the-difference-between-shures-sm57-and-beta57

lots of good information can be found here – https://www.shure.com/en-US/docs/guide/BETA57A

The Shure SM58 is a cardioid dynamic microphone. Mostly designed for live sound, it can also be used for recordings and rehearsals.

lots of good information can be found here – https://www.shure.com/en-US/docs/guide/SM58

The BETA 58A is a super cardioid dynamic microphone. Mostly designed for live sound, it can also be used for recordings and rehearsals.

Whilst similar in many ways to the SM58, the BETA 58A has some important differences. This article does a very good job at explaining these – https://www.shure.com/en-US/insights/faq-whats-the-difference-between-the-sm58-and-the-beta58a

lots of good information can be found here – https://www.shure.com/en-US/docs/guide/BETA58A

This kit comprises six microphones of various types (details below). It is designed to cover a complete drum kit and for use during live applications as well as recording.

The kit contains –

1 x PGA52 kick drum microphone – This dynamic cardioid microphone is primarily designed for use with a bass drum, this can also be used with other low end instruments, for example a double bass. More information can be found here – https://www.shure.com/en-US/docs/guide/PGA52

2 x PGA56 drum microphones – This dynamic cardioid microphone is design for use with snare and tom drums. More information can be found here – https://www.shure.com/en-US/docs/guide/PGA56

1 x PGA57 instrument microphone – This dynamic cardioid microphone is designed for close-miking and acoustic drum applications. More information can be found here – https://www.shure.com/en-US/docs/guide/PGA57

2 x PGA81 instrument microphones – The dynamic cardioid microphone is designed for general instrument applications. It is especially good when used with acoustic guitar and pianos. In this instance it would be mounted over the drum kit to pickup the cymbals and hi-hat.

This kit comprises eight microphones of various types (details below). It is designed to cover a complete drum kit and for use during live applications as well as recording.

Lots of Information can be found here – https://uk.akg.com/drum-microphone-bundles/DrumsetPremium.html

The kit contains –

1 x D12 VR Dynamic Bass Drum Microphone – dynamic cardioid microphone, specifically designed for kick drum applications. https://uk.akg.com/outlet/D12VR.html?cgid=Outlet

1 x C214 Matched Pair Condenser Microphones For Overheads – large diaphram condenser mic, designed to capture realistic sound with ultra-low noise. https://uk.akg.com/condenser-microphones/C214MatPair.html?dwvar_C214MatPair_color=Black-GLOBAL-Current

1 x C451 B Condenser Microphone For Hi Hat – small diagram condenser mic, airy sound and designed to take high volumes. https://uk.akg.com/condenser-microphones/C451B.html?dwvar_C451B_color=Nickel-GLOBAL-Current

4 x D40 Dynamic Instrument Microphones For Snare And Toms – designed to accurately pick up sounds from various high pressure instruments i.e. drums, percussion, wind instruments and guitar amps.https://uk.akg.com/dynamic-microphones/D40.html?cgid=dynamic-microphones

Rode NT4, stereo condenser type microphone. Featuring a matched pair of cardioid condenser capsules makes this perfect for drum overheads, percussion, choir vocals, environmental recording and sound design in the studio or outdoors. Being a condenser mic this will require either phantom power can take a 9V battery.

To download the manual click here – https://edge.rode.com//pdf/products/75/nt4_product_manual.pdf

Multipattern condenser microphone. This is one of the best microphones we have. designed to give a neutral and realistic recreation within a recording environment. It can be switched between nine different polar patterns, three different bass-cut filters and three different attenuation levels. whilst designed to be used in many different scenarios, this mic is especially good for recording vocals and acoustic instruments.

To download the manual click here (page 26 for the English version) – https://uk.akg.com/on/demandware.static/-/Sites-masterCatalog_Harman/default/dw0d863e9c/pdfs/AKG_C414XLS_C414XLII_Manual.pdf

Multipattern condenser microphones. Delivers a smooth, balanced sound with very low self-noise. These come with cardioid directional capsules. Ideal for recording everything from acoustic instruments to drum overheads and cymbals to live performances and dialogue on-location.

More info can be found here –NT55MP_ds_V01.pdf

A cardioid condenser microphone, ideally suited for vocals and solo instruments, that you want to ‘standout’ in the mix. Being a condenser microphone this is highly sensitive and should only be used in a recording environment.

More info can be found here – https://www.neumann.com/en-gb/products/microphones/tlm-103

This is designed as a ‘cost-effective’ alternative to the C414 whilst keeping a similar sonic character. It has a switchable bass-cut filter and attenuator, for recording of loud sources.

To download the manual click here (page 31 for the English version) – https://support.akg.com/on/demandware.static/-/Sites-masterCatalog_Harman/default/dw68e8cfc1/pdfs/AKG_C214_Manual.pdf

This compact mixer features 8 low-noise, high-headroom Onyx mic preamps, ensuring pristine audio clarity. It offers powerful USB capabilities with 192 kHz recording quality for detailed, high-resolution audio. The GigFX effects engine enriches your sound with 24 built-in effects, perfect for enhancing live performances or studio recordings.

It is available in rooms 303 – 304 – 305 – 306 – g48 – g15 – g17 – 222.

To download the manual click here: https://mackie.com/img/file_resources/ProFXv3_Series_OM2024July.pdf

The Scarlett 2i2 is a compact USB-c powered audio interface featuring 2 switchable microphone/instrument/line preamps with 48v phantom power, 2 balanced line outputs and a 6.3mm Stereo headphone output.

More information on the Scarlett 2i2 can be found here – https://downloads.focusrite.com/focusrite/scarlett-3rd-gen/scarlett-2i2-3rd-gen

Focusrite Control software can be downloaded here – DownloadDownload 11.79 MB .dmg

The Scarlett 4i4 is a compact USB-c powered audio interface featuring 2x switchable microphone / instrument / line preamps with 48v phantom power, 2x line inputs, 4x balanced line outputs and a 6.3mm Stereo headphone output.

More information on the Scarlett 4i4 can be found here – https://downloads.focusrite.com/focusrite/scarlett-3rd-gen/scarlett-4i4-3rd-gen

Focusrite Control software can be downloaded here – DownloadDownload 11.79 MB .dmg

The Roland SPD-SX is a professional sampler and electric percussion instrument equipped with 9x highly sensitive rubber pads with two independent real-time control knobs and four dedicated effect buttons. A large backlit LCD provides easy-to-read data in all varieties of environments.

The SPD-SX has three multi-effects units onboard: one master unit and two units that are assignable per kit, as well as 4 GB internal memory enabling approximately 720 minutes of sampling (mono) without requiring external memory.

The SPD-SX Wave Manager software app lets you import audio files directly from computer via USB, assign the samples to each pad, and organise the thousands of samples efficiently.

More information can be found here – https://www.roland.com/global/products/spd-sx/support/

Focusrite Control software can be downloaded here – DownloadDownload 11.79 MB .dmg

The M-Audio Oxygen Pro Mini is a USB MIDI keyboard controller that comes fitted with 32-velocity sensitive, semi-weighted keys, also featuring 8x velocity-sensitive assignable pads with Note Repeat, an in-built arpeggiator and 4x assignable knobs, buttons and faders, USB-MIDI connection and MIDI Output for controlling external MIDI gear.

More information can be found here – https://support.m-audio.com/en/support/solutions/articles/69000804463-m-audio-oxygen-pro-series-i-setup-in-ableton-live-lite

Focusrite Control software can be downloaded here – DownloadDownload 11.79 MB .dmg

MiniFreak is a 6-voice polyphonic hybrid keyboard that unites dual digital sound engines with analog filters, extensive modulation incl. FM and ring modulation, instinctive sequencing with arpeggiator, and 3 stereo effects.

• Stereo line output: 2 x 6.3 mm jack
• Line input: 6.3 mm jack
• Stereo headphone output: 6.3 mm jack
• Sustain pedal input: 6.3 mm jack
• Clock in/out and reset output: 3.5 mm jack
• MIDI In/Out/Thru
• USB-B port

More information and video tutorials can be found here – https://www.arturia.com/products/hardware-synths/minifreak/resources

Hybrid polyphonic synth with 37 velocity-sensitive keys, 4-track sequencer and arpeggiator, modulations and built-in effect engine (Distortion, Fuzz, Compressor, Bit Crusher, Flanger, Phaser, Ring Mod, Vocoder, Reverbs and Delays).

Connections:

• Headphones Jack: Stereo 1/4-inch phone type
• Output Jacks (L/MONO, R): 1/4-inch phone type
• Input Jack (LINE(MONO) / Guitar Input): 1/4-inch phone type
• MIC Input Jack: XLR type, unbalance
• MIDI Connectors (IN, OUT)
• USB COMPUTER Port (USB Hi-Speed AUDIO/MIDI)
  
  

More information can be found here – https://www.roland.com/global/products/jd-xi/support/

Recommended Equipment for your Hybrid meeting

• Webcam – You might also want to book a mini tripod for the webcam to stand on.
• Laptop with Zoom or Microsoft Teams Installed
• TV Screen/ Monitor – All AV supported spaces have TV screens set up already with HDMI cables already plugged in.
• Speaker/ Microphone – We offer two sizes of speaker/ microphones. Specifications are based on the size of the meeting.
• HDMI cable to connect to TV
• Adaptor to connect HDMI and USB-A to USB-C – This is only necessary if using newer Mac laptop such as our Laptop for Hybrid setups.

Booking equipment

All items should be booked in advance, as all equipment is briefly checked and prepared in advance of the specified collection time. To book items, students must have fully completed the online training course, staff are encouraged to complete this course too, but if permissions are not present on their account to book teaching related equipment, they should email avsupport.dance@trinitylaban.ac.uk in order to get these applied.

All standard bookings should be placed on our self service booking system, eQuip. Help with booking items is available on the knowledgebase.

For other items, please email avsupport.dance@trinitylaban.ac.uk with your request (including preferred collection and return dates & times) at least 1 working day before the items are required.

Loan conditions

Upon placing a booking for equipment, AV Support staff will prepare the reserved items (including any specified cables, adapters, or other accessories). All items will be issued to the library account of the person who placed the booking, so please ensure that your library account exists and is in good standing (ie, there are no fines above £5, as equipment can not be issued if there are excessive fines).

With the exception of Teaching & Streaming Kits (which are only available for teachers of in-building classes during the week), we ask that you collect the items from the AV Support area at the top of the Laban Library at – or shortly after – the agreed collection time.

Items should be returned to the AV Support area at the top of the library and placed in the returns box. In the event of the library being closed, please hand all items to security at reception who will secure these until AV Staff are next in. Late return of items will result in fines being applied to your library account and may result in your ability to reserve and use equipment being suspended.

The self-service booking system, eQuip, allows for concurrent reservations of several items at a time – usually a maximum of 2 of each type of equipment for up to 7 days duration, however, different items have slightly different rules applied – see the latest details for each item on eQuip.

If items are damaged or lost then you are liable for their replacement. All equipment must be returned in the same condition in which it was loaned. The equipment is your responsibility, and you will be held liable for any damage or missing equipment, as the person placing the booking. We do not advise you on reserving equipment on behalf of your peer or colleague to ensure correct liability in case of loss or damage.

Please clear any data before returning equipment, as any data saved on returned equipment (including hard drives) will be cleared as soon as it is identified by AV staff.

Late return of equipment

Please ensure you return equipment on time, as other people may be waiting to collect it. If you have any trouble returning equipment at the agreed time, please let us know as soon as you can.

The late return of equipment affects the ability of other staff and students to borrow and use equipment and may disrupt their work. For this reason, we apply fines: If equipment is returned late, your library account will be charged for each item, and the library’s overdue procedure is used in the event of very late return of items.

We reserve the right to refuse service to those who we believe are in violation of our Loan Procedures. Your account may be suspended if you are found to be in violation of our Loan Procedures.

Lost, stolen, or broken items

If you are using equipment away from the building, please ensure that you have suitable insurance cover.

If an item you borrow is stolen please report this both to us and the local police. They will issue you with a crime reference number, which you’ll need to inform us of.

Please let us know if there are any faults with the equipment. We check and test equipment regularly, however sometimes there are pre-existing faults that may have been missed. It’s important that you let us know when returning an item so that you are not held accountable.

Please note that you are responsible for complying with all legal requirements such as data protection and the acquisition of filming rights when using our equipment to create and edit digital media.

If you need equipment but are unable to collect it during standard AV office hours (currently 09:00 – 17:00 Monday to Friday in term time), a limited selection is available for collection outside these times. Follow the steps below to arrange your booking.

What You Need to Know

A limited range of AV equipment can be booked for collection outside of AV office hours at KCC. Once booked, the equipment will be placed in the AV cupboard located in the corridor next to the AV office.

Accessing the Cupboard

• The cupboard is secure and requires your staff or student ID card to unlock it.
• Please ensure you have your card with you, as there is no alternative way to access the cupboard.

How to Book Equipment

To arrange equipment for collection outside of office hours, please book in advance via email. Include the following details in your request:

1. Your name
2. The equipment you need (be specific, e.g., “vocal mic/SM58”, “mic stand”, “xlr”, “zoom video recorder”, “Mini tripod”, etc.)
3. The date and time you need to collect it
4. The date and time you’d like the equipment until

Send your booking request to: avsupport.music@trinitylaban.ac.uk.

Collection Details

Once your booking is confirmed:

• The AV team will prepare the equipment and place it in the AV cupboard.
• You will receive a confirmation email when the equipment is ready for collection.
• Use your staff or student ID card to unlock the cupboard and collect the equipment.

Important Notes

• Only a limited selection of equipment is available for collection outside office hours. Please plan ahead and book early to avoid disappointment.
• Check your equipment upon collection to ensure it is complete and in working order.
• Please return the equipment on time, as others may need to use it. If the office is closed when you want to return the items, please take them to Room Bookings.

If you have any questions or require further assistance, please contact us at avsupport.music@trinitylaban.ac.uk.

We understand that sometimes you might need equipment for a little longer, however, our maximum booking durations are set so that as many people as possible have access to our equipment.

Sometimes – and only for selected items of equipment (such as items we have multiple quantities of) – we will listen to requests for extended bookings, particularly for vacation periods.

Not all requests can be approved, and they must be received by email to avsupport.dance@trinitylaban.ac.uk at least 7 days prior to the initial collection.

Requests should include:

• The item(s) you’d like to borrow
• The date and time you’d like to collect the item(s)
• The date and time you’d like to return the item(s)
• A brief reason why you need the extension

The request will be reviewed by the Creative Technology Services Manager, who will aim to respond within 1 working day of receiving the request.

The Red 8Pre is a professional audio interface featuring a total of 64 inputs and 64 outputs (including 16 analogue inputs and 18 analogue outputs), 2x Thunderbolt™ ports for round-trip latency as low as 1.67ms, and the ability to connect up to 32 additional inputs and outputs via Dante™ Ethernet-based audio networking.

Available at KCC in rooms 303 – 304 – 305 – 306 – G15 and The Recording Studio

More information on the Red 8Pre can be found here – https://downloads.focusrite.com/focusrite/red/red-8pre

——————————————————————————————————————————————————————–

How to install the Red8 Thunderbolt drivers

Please note that the below steps are only required on Apple silicon systems (M1-M2-M3), they’re not necessary on Intel-based Mac systems.

Apple silicon computers come with increased security which prevents users from installing non-Apple drivers by default. To install the Focusrite Thunderbolt driver, you must follow these steps before you run the installer:

1. Switch off your computer.

2. Hold the power button to switch the computer on in Recovery mode, keeping the button pressed until the Startup Options dialogue appears on the screen.

3. Click Options, then click your language.

4. At the top of the screen, you’ll see the taskbar with the Apple logo in it. Click Utilities, then select Startup Security Utility.

5. Select your boot drive (generally named “Macintosh HD”).

6. Go to the Security Policy section, click Reduced Security and then Allow user management of kernel extensions from

identified developers.

7. Click the Apple logo in the top left corner and then select Restart to restart your computer. Once your computer boots up again as normal, run the appropriate installer that can be downloaded at the link below:

https://downloads.focusrite.com/focusrite/red/red-8pre

Midway through the installer, you may see the below error messages after installing Focusrite software or drivers.

Go to: Apple > System Settings > Privacy & Security

Under the Security section, click on Details…

After you click the Allow button, you might be presented with a list of software/drivers that have been blocked. Tick the box next to anything with ‘Focusrite’ or ‘TC Technologies’ in the name. Click OK and select the option to restart the computer.

Ensure the Amplifier and the Bluetooth Rack Unit Receiver are turned on.

Hold down the pair button on the receiver until the light starts to blink

Go into your device’s bluetooth menu, select pair new device and select DN-300BR

On the Amplifier switch the input selector to bluetooth.

On the receiver and the amplifier turn up the volume knobs and start playing your music

Laban Building

• Studio 1
• Studio 2
• Studio 8
• Studio 9
• Studio 10
• Studio 11

Laurie Grove Building

• Studio 1
• Studio 2
• Studio 3
• Studio 5
• Studio 6
• Performance Lab 1
• Performance Lab 2

Requires a Laptop with:

• Isadora 3.2.6+
• Isadora NDI Watcher 2.0.2+

Overview of what this enables

The NDI Camera enables you to wireless feed video from a camera to a computer with very minimal latency. The laptop can then be connected to a display such as a projector or TV, and the feed shown or manipulated using software (we would recommend Isadora).

What should be included:

• 1 x Mevo NDI Camera (with power adapter)
• 1 x Wireless Router (with power adapter)

Instructions for use

The order that the devices are turned on or connected is very important.

1. Plug in the router, and turn it on (there is a button on the rear of the router). Lights should appear/flash that indicates that it is powered on.
2. Wait a few minutes.
3. From the Laptop – connect to the router’s Wireless network
   • This is written on the top of the router, and is usually AV_NDI_5G.
   • The password to connect is shown on the top of the router.
   • If a window appears on the laptop stating “The network cable is unplugged”, you can just close the window.
   • Please note that the router does not allow any internet access. If you need to connect to the internet, for example to download files onto the computer, please ensure you have done this prior to connecting to the NDI router.
4. Turn on the Mevo camera (there is a button on the rear of the camera). It should make an audible beep and the lights on the rear should flash before becoming constant (to indicate the battery level of the camera). Once the camera is operational, a green light should appear on the front (which should turn red once the camera is connected).
5. Open up the Isadora patch.

Unlike the GoPro Hero, the GoPro Hero 7 Black has a built-in touchscreen.  This makes navigating all of the features much easier than on the GoPro Hero.  The ease of access means that a lot of settings are now much easier to change – this article will help you get your head around what you can do on the GoPro Hero 7 Black.

What’s in the case?

• GoPro Hero 7 Black (in housing)
• MicroSD card
• MicroSD → Standard SD card adapter
• USB-C cable
• USB-C → USB-A cable
• Battery charger
• Power supply

Preparation

Inserting the battery

The GoPro Hero 5 Black uses a rechargeable battery (the battery charger is included in the case). To access the battery compartment, you first need to remove the housing. To do this, undo the clip on the top of the GoPro, next to the SHUTTER button. This will release the back panel and you will be able to slide out the GoPro. The battery compartment is on the bottom of the GoPro. The batteries simply push into the compartment and pull out using the tab – the same goes for inserting the batteries into the charger.

Inserting the microSD card

The GoPro Hero 7 Black uses a microSD card. The microSD card slot is housed in the battery compartment. The microSD card should already be in the GoPro – but if not, it may be in the SD card adapter – this looks like a standard SD card and is included in the case. To insert it simply push it in – it will only fit in one way so don’t force it!

The microSD card is very small so take care not to lose it. 

Once the battery and SD card are inserted, close the battery compartment and slide the GoPro back into its housing. Make sure the clip on the top is secured.

Turning on

To turn on the GoPro, press the MODE button on the right-hand side once. The red light in the top left of the touch screen should flash on, as should the red light on the front, top left corner of the LCD screen.

Modes

The GoPro has 3 main camera modes – each of which has 3 capture modes. To change between camera modes press the MODE button. This will cycle through each mode: Video, Photo, Burst and Time-lapse.

Video mode

This is for capturing video. Within this mode are video-only capture, video + photo capture and looped capture. To navigate between these tap the video camera icon in the bottom left of the touch screen.

Video-only capture captures only video (as the name suggests).

Video + Photo capture captures video and photos – which are taken at user specified intervals.

Looping capture keeps the camera running from the first push of the shutter button, then will only save the final five minutes of recording before the SHUTTER button is pressed again to stop recording.

Tap the icons at the bottom of the screen to change the resolution (RES), the frame rate (FPS) and the field of view (FOV). Note that some combinations of parameters are incompatible – for example 4k resolution at 240 FPS.

Excessively high resolution and FPS settings will take up more space on the SD card and shorten the battery life of the GoPro – bear this in mind if filming for longer periods of time.

Photo mode

Photo mode takes photos. Capture modes include: photo-only, night photo and burst.

Photo-only simply takes photos.

Night photo optimizes the GoPro for taking photos at night.

Burst takes several photos on pressing the shutter at a specified rate.

To switch between capture modes tap the camera icon in the bottom left corner of the screen.  To change the parameters such as the photo quality, the FOV and burst rate, select the icons across the bottom bar of the screen.

Time-lapse

Time-lapse mode is for capturing footage over a long period of time at a low frame rate, so when it’s played back at a normal frame rate, it appears to be sped up. Time-lapse mode has three capture modes: time-lapse video, time-lapse photo and night-lapse photo.

Time-lapse video captures frames at a set interval and transfers them into a video file.

Time-lapse photo captures frames and saves them as individual photos.

Night-lapse photo is used for minimal light scenarios.

More advanced settings can be accessed by swiping to the left of the screen.

Capturing

Video

In order to start recording, simply press the SHUTTER button – located on the top of the GoPro. Press again to stop recording.

Photos

To take a photo press the SHUTTER button once.

Post-capture

Viewing video and photos

To view your photos and videos, swipe right – this will take you to viewing mode where you will be able to watch the footage you have captured and view any photos you’ve taken. You may also delete unsuitable files.

Transferring footage to a computer

Once you’ve finished filming/photographing you will need to transfer the files on to your computer. To do this, eject the microSD card and insert in into the SD card adapter. Insert the SD card adapter into your computer and transfer the files over.

Live Streaming

Wired streaming

You can also use the GoPro to live stream. To do this you will need cable #15 (microHDMI→StandardHDMI). Plug the small end into the GoPro and the standard end into the TV or Projector.

You may also download the GoPro Capture App to remotely control the GoPro from your mobile device – you will need to connect the GoPro and your device to the same network.

To access the GoPro network settings swipe down on the screen.

For more advanced use please refer to the GoPro Hero 7 Black manual (below).

This article outlines the equipment available for staff to record their classes within the Laban building.

Kits for recording classes

Each Teaching Kit includes:

• 1 x standard video camera (either with a normal lens or a wide-angle lens which may be useful in larger studios)
• 2 x charged batteries – 1 attached to the camera, and 1 spare if you need it.
• 1 x SD Card in the camera.
• 1 x eStream form (so we know what to include when processing the recording).
• 1 x tripod (the tripod clip will be attached to the camera).
• 1 x easy carry box.
• (Optional) Power supply and/or power extension cable.

Booking a Teaching Kit

Teaching Kits must be booked at least one hour before they are required, via eQuip, between 8:30 am and 5:30 pm, Monday to Friday (during term time). You can place bookings now for the rest of the term.

The maximum booking time for a kit is seven hours, as the vast majority of studio-based classes are less than this duration, and we want to ensure that the batteries and SD Cards, supplied, will cover the period.

Collecting a Teaching Kit

You will need to collect the Teaching Kit from the AV Support team, located at the top of the Faculty of Dance Library, from where all equipment is now issued. When the library is closed (for example between 8:30 am and 9 am), you may collect the equipment by ringing the doorbell next to the library’s main entrance, where a member of the AV Support team will bring the equipment to you.

The Teaching Kit will be issued to the person who booked it.

Getting a kit delivered

We also offer the ability to request that a kit is delivered to a room at a specific time, please fill out the required fields (delivery/collection, the start time of the class, and studio) when placing the booking.

Setting up a Teaching Kit

Further details will be available on the AV Support Knowledge Base, however, ease of use has been paramount to our selection of this equipment.

How to attach the camera to the tripod:

All you will then need to do is:

• Make sure the camera is turned on (press the On/Off button)
• Ensure the lens cap is not closed (there’s a switch on the side of the camera)
• Point the camera at what you’d like to record, and hit the rec button.

Considerations when recording

If possible, aim the camera away from any windows where light floods in – we are aware that this can be difficult in the Laban building, however, offering cameras with charged batteries should provide plenty of flexibility over the placement of the camera.

If recording in-building assessments, please ensure that the camera captures the full area that students are moving.

Returning the Teaching Kit

When you have finished recording, please take the camera off the tripod and close up the tripod. Please do not remove the tripod clip from the camera.

Fill out the eStream form with the details of the class that has been recorded. You do not need to remove the SD Card from the camera.

Ensure all items of equipment, which were originally in there, have been placed back into the box. A list of contents is supplied and attached to the box.

Please bring the box and its contents back to the AV Support team at the top of the library. In the morning, if the library is closed, please ring the doorbell by the library entrance, and a member of the AV Support team will collect the box from you. If you are returning in the evening after 6 pm, please hand it to security, at reception, and the AV Support team will collect it in the morning.

What happens then?

There is a two-hour buffer between bookings of each kit, during which time the AV Support team will check the equipment and process the recording, adding it to eStream. We aim to do this within twenty-four hours (Monday to Friday), however, it may take a few days for the recording to appear on eStream, especially during busy periods.

This article, and subsequent others, serves as an introduction to advanced camera settings. These settings can give you more flexibility than simply using the auto settings of the camera. Understanding how to get the most from your camera can really help the finished photos and videos you create.

What will this introduction cover?

This series of articles will cover:

• Exposure
• ISO
• Aperture
• Shutter speed
• White balance

Camera shooting modes

These articles rely on your understanding of the different shooting modes cameras offer. These modes dictate how much control you have over the camera settings and how much the camera does for you. The common settings are:

• Manual: The user controls all of the settings
• Aperture priority: The user controls the aperture setting. The camera then decides the shutter speed and ISO
• Shutter priority: The user controls the shutter speed setting. The camera decides the aperture and ISO
• Program/auto: The camera controls all of the settings

To have the most control over the image you intend to capture, we recommend you practice using the Manual shooting mode.

How to change shooting modes on Laban Library cameras

Exposure

Understanding exposure is essential to understanding some of the advanced camera settings in these articles. Exposure is the process of making sure images are the correct brightness. That means the lightest and darkest parts of the image are rich but aren’t clipping.

If there is not enough, or too much, light hitting the camera’s sensor it cannot record the image you are capturing accurately. As a result, clipping occurs and you lose definition in parts of your image. Often this cannot be corrected in post-production. Therefore, it is advised you expose your image to capture as much detail as possible and then use post-production software to alter the look of the image.

When we think of photography or video, we often think of exposure as a triangle. The Exposure Triangle outlines the relationship between three camera settings ISO, aperture and shutter speed. These three settings need to be balanced to achieve a well-exposed picture.

As you can see from the diagram above when you change one of the three settings, you have to change another to ensure the exposure is correct. This may mean reducing the aperture when you increase the shutter speed, for example.

• well-exposed picture

• under-exposed picture

• over-exposed picture

The triangle points – ISO, aperture, shutter speed

But what do each of the three settings do?

We have three articles, one about each setting, which will explain the setting in detail. We’ll also show you what changing each setting will do to the images you produce and how to find them on Laban cameras.

The articles can be found here:

• ISO
• Aperture
• Shutter Speed

Ensuring Good Exposure

So how do you know if your images are exposed properly?

You can use certain settings on your camera to make sure the exposure is correct.

One such setting is “zebra” highlights. This places black and white stripes over areas of the image the camera believes to be overexposed. These stripes don’t appear on the final image, just the LCD screen at the back of the camera. You can set the zebra to appear at certain thresholds. The most common are 70% and 100%.

Here’s how you can turn zebras on and off.

When set to 70%, zebras appear on anything with a brightness over the 70% value. This highlights areas that are overexposed along with areas at risk of becoming overexposed.

When set to 100%, zebras appear on anything with a brightness over the 100% value. This highlights areas that are overexposed.

Dynamic Range

Sometimes, the way light is distributed within a scene means the exposure cannot be set in a way that captures everything around you. This is where something called dynamic range comes into the picture.

Dynamic range can refer to two different things, so it’s important to know what you are referring to when you use dynamic range. Dynamic range can refer to the conditions of the scene you are photographing. It can also refer to the capabilities of your camera’s sensor and the variety of light and shadow it can capture.

If your camera cannot capture the range of light to dark present in the scene, or you want to create an atmospheric image, sometimes you may choose to leave parts of your image under or overexposed.

This article, and subsequent others, serves as an introduction to advanced camera settings. These settings can give you more flexibility than simply using the auto settings of the camera. Understanding how to get the most from your camera can really help the finished photos and videos you create.

What will this introduction cover?

This series of articles will cover:

• Exposure
• ISO
• Aperture
• Shutter speed
• White balance

Camera shooting modes

These articles rely on your understanding of the different shooting modes cameras offer. These modes dictate how much control you have over the camera settings and how much the camera does for you. The common settings are:

• Manual: The user controls all of the settings
• Aperture priority: The user controls the aperture setting. The camera then decides the shutter speed and ISO
• Shutter priority: The user controls the shutter speed setting. The camera decides the aperture and ISO
• Program/auto: The camera controls all of the settings

To have the most control over the image you intend to capture, we recommend you practice using the Manual shooting mode.

How to change shooting modes on Laban Library cameras

This article is an introduction to shutter speed, as well as shutter angle. We will cover what the terms mean and how they affect the images you produce. This guide can be applied to both digital video cameras and digital stills cameras. However, there will be differences between video and photography in this setting’s application.

What is shutter speed?

Shutter speed is how quickly the camera’s shutter opens and closes. It affects how much light is let into the camera.

Shutter speed is commonly presented as a fraction, which indicates the fraction of a second the shutter is open for.

• A shutter speed of 1/4 is slow, it is one-quarter of a second.
• A fast shutter speed would be 1/250, this is one-two-hundred-and-fiftieth of a second.

A camera’s shutter speed can also last more than a second. In that case, the shutter speed will be presented as the number of seconds, followed by either s or “.

Shutter speed and shooting video

Most camera settings don’t differ in application between video and photography. Shutter speed is one of the few that does.

When you record video, the camera is capturing individual still images. When played back at a certain speed, the still images are perceived as moving by the human eye. The rate these still images or “frames” are played back is called the frame rate and is measured in fps or frames per second.

Generally, video is shot at 24 or 30 fps. There are reasons you may want to shoot at a higher frame rate, such as 60 fps, but the standard for most video sharing platforms is 24 or 30 fps.

The most important rule for setting your shutter speed is that it should be double your number of frames per second. So, if you are shooting at 30 fps, your shutter speed should be 1/60. If you have a frame rate like 24 fps, which is 48 when doubled, you can round it to 50 and the shutter speed would be 1/50.

There’s an easy way to make sure your shutter speed is double your frames per second and that is ensuring your Shutter Angle is set to 180°.

It’s another term to remember and can make shutter speed one of the trickier camera settings to comprehend, but it’s worth understanding. The term Shutter Angle has been carried over from the days of physical film cameras when a revolving shutter would allow light to expose the film. The industry standard was 180° as this resulted in sharp images and only slight motion blur.

What does changing shutter speed do?

Changing the shutter speed changes how much light is let into the camera.

It can also change the amount of motion blur in an image.

Changing the shutter speed for still images

For still images, changing the shutter speed is relatively straightforward.

If you want to capture a fast movement in a really sharp image, make sure you use a fast shutter speed. This will require more light, so you may also need to adjust your ISO or aperture, or use additional lighting.

If you want images with motion blur, or you are shooting in a darker area, you will need to use a slower shutter speed.

Changing the shutter speed for moving images

Changing the shutter speed (or shutter angle) is less straightforward when you are working with moving image.

You can’t simply change the shutter speed to increase or reduce the amount of light, as this will have a direct effect on the motion blur of the video too. However, you can use the effect of the shutter speed as an artistic choice if you wish.

Increasing the shutter speed will result in sharp, choppy movements.

Decreasing the shutter speed will result in a more dreamlike, blurry image, with more motion blur.

However, once filmed, these effects can’t be removed from the image. So often it is more practical to put effects like these on video at the post-production stage.

How do I change the shutter speed?

This article is an introduction to white balance, what it is and what correctly white balancing does to the images you produce. This guide can be applied to both digital video cameras and digital stills cameras.

What is white balancing?

White balancing is the process of telling your camera “this object is white”

Have you ever taken a picture and noticed that what you can see with your eye and what the camera has recorded are slightly different? Or noticed how under different lights, colours appear differently?

The colours your camera picks up can differ from what is actually seen by the human eye. This is because of the colour temperature of different light sources. This is measured in degrees Kelvin and is represented with a K.

Light with a higher colour temperature will appear more blue and have a larger Kelvin value.

Light with a lower colour temperature will appear redder and have a smaller Kelvin value. Natural daylight tends to have a higher Kelvin value than artificial light.

Natural light picture

These differing colour temperatures can leave what’s called colour casts on images. This means that the entire image has a blue, orange or green tint to it.

White balancing is the process of telling the camera’s digital sensor “this object is white”. This will yield images that are much closer to what the human eye can see and should reduce colour inconsistencies between shots. As a result, any post-production work you do on your photos or videos likely be easier.

How do I set white balance?

This article explains what aperture is, how it can affect an image and how to change the aperture on Laban Library cameras. This guide can be applied to both the digital video camera and the stills camera.

What is aperture?

To understand aperture, you should first have an understanding of how cameras work.

There’s an important part of your camera’s lens called the iris. It controls how much light is allowed through to hit the digital sensor. By opening the iris further, you can let more light into the camera, closing it will let less light in. Aperture controls the positions of the iris.

f-stop scale

Aperture is measured by the f-stop scale. On your camera, this will appear as ‘f/’ followed by a number. The scale in its most basic form appears as follows: f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22.

Each of these values in the scale are known as a stop. You may hear the phrases “stopping up” or “stop down” when people talk about using cameras. This refers to changing the aperture. When you ‘stop up’ you are moving up the f-stop scale. When you ‘stop down’ you are moving down the f-stop scale.

The most important thing to remember about aperture is that as the number in the f-stop increases, the size of the aperture decreases. This means the higher up the f-stop scale you go, the less light is being let into the camera.

Depth of field

However, changing the aperture doesn’t just affect the amount of light coming into the camera, it also affects the depth of field. 

Depth of field describes how much of your shot is in focus when the camera is focused correctly. For example:

• The more shallow a depth of field, the smaller the focal plane, the more of your background (and foreground) will appear blurred
• The greater a depth of field, the larger the focal plane, the more the entire image will be in sharp focus

What does changing the aperture do to my images?

Simply, changing the aperture of the camera will change the amount of light let into the camera, along with the image’s depth of field.

Bokeh

However, experimenting with aperture will lead you to realise that additional effects can be achieved. Bokeh (pronounced BOH-ka) is used to describe an effect where the areas outside of the focal plane are pleasingly blurred.

The blurring is most noticeable in the image’s highlights, which become softer and often take a round or hexagonal shape.

This effect is ideal for portraits or video clips where you want your subject to stand out. To achieve bokeh in your image you want to use a small f-stop (such as f/2.8) and try to reduce the distance between your camera and subject as much as possible.

Focus pulling

Focus pulling is a technique used in film where the focus of a shot, normally from one subject to another. Similarly to Bokeh, this requires a low f-stop, as the technique only works when the focal plane is small.

A focus pull is achieved by using the focus ring, which circles the lens of the camera. Twisting this will bring the plane of focus closer or further from the camera, allowing you to change the subject of the shot.

How do I change the aperture on Laban Library cameras?

Below is an interactive tutorial on how to change the aperture on the Canon 4k cameras available from the Laban Library

This article is an introduction to ISO, what it is and what changing the ISO number does to the images you produce. This guide can be applied to both digital video cameras and digital stills cameras.

What is ISO?

Put simply, ISO controls how sensitive the cameras digital sensor is to light. This makes it a useful setting to understand, as it makes up one of the components of the exposure triangle (alongside aperture and shutter speed).

ISO numbers normally start at 100 or 200. The lowest ISO number your camera has is called the Base ISO. As the ISO number increases, it doubles each time. So the ISO settings your camera has might look like this: 100, 200, 400, 800, 1600, 3200, 6400.

On many digital video cameras, ISO is often referred to as gain and uses decibels (dB) as a measurement, rather than ISO numbers. Decibels and ISO numbers might seem completely different, but a general rule is changing the gain by 6dB is the same as going up (or down) one ISO number.

What does changing the ISO number do?

When you increase the ISO number, you increase how sensitive the camera is to light. This can be extremely helpful in situations where there are lower light levels and you can’t change your shutter speed or aperture.

However, raising the ISO number too much can lead to what’s known as digital noise. This presents as discoloured pixels, which can be seen in the darker areas of the image. To avoid this, it is best to add more light to the subject you are shooting, rather than raising the ISO number too much.

How do I change the ISO number on Laban Library cameras?

Below is an interactive guide on how to change the ISO number on our new 4k video cameras.

The audio recorders at Laban Library are very flexible and enable you to get a really high-quality recording.  Using all of the features can get a little complicated which is why we’ve put together this article to help you get started.

What’s in the case?

• Audio recorder
• Power supply

Recording

How to record

The first time you press the RECORD button, the light around it will start flashing. The recorder is not recording yet! 

You should be able to hear what the recorder can hear through the headphones, and see the levels moving on the screen. The volume of the recording can be changed with the buttons on the right-hand side of the recorder labelled MIC LEVEL. Make sure that you don’t let the levels get too loud or your recording will be clipped – this is indicated by the ‘lights’ on the screen to the far right of the audio metre.

Once the recording level has been set, press the RECORD button again to start recording – the light around the record button should become solid (not flashing). You can see the recording time on the screen, as well as the audio level.

Watching the levels and clipping

If the audio level gets too high, the sound will clip. This means that the sound source is too loud for the microphone and the recording level will have to be reduced. Clipping causes distortion on the final recording. You can see if clipping has occurred by looking at the right side of the screen – at the right-end of the audio metre – there are little ‘lights’ which will be filled in when clipping has occurred.

Stop Recording

Press the STOP button to stop recording – the light on the RECORD button will go off and the icon in top corner of the screen will change to the stop icon.

Post-recording

Playback

In order to playback your recordings simply select the recording you wish to play using the scroll wheel, then press the PLAY button.

Transferring files from SD card

Once recording is complete it’s time to put the files onto the computer. Simply switch off the recorder and eject the SD card. Put the SD card into your computer (either in the SD card slot or via a USB SD card reader – available to borrow from the library) and open the contents. You will find 3 folders – one for each recording mode. Open STEREO folder (or the folder corresponding to the mode you recorded in). In each of these three folders there are 10 subfolders labelled 1-10. Your recording is in the folder which you specified back at the beginning of the recording process. Simply copy and paste or drag and drop the file/s (the default file name is STE-000.wav) on to your computer.

Post-recording

Playback

In order to playback your recordings simply select the recording you wish to play using the scroll wheel, then press the PLAY button.

Transferring files from SD card

Once recording is complete it’s time to put the files onto the computer. Simply switch off the recorder and eject the SD card. Put the SD card into your computer (either in the SD card slot or via a USB SD card reader – available to borrow from the library) and open the contents. You will find 3 folders – one for each recording mode. Open STEREO folder (or the folder corresponding to the mode you recorded in). In each of these three folders there are 10 subfolders labelled 1-10. Your recording is in the folder which you specified back at the beginning of the recording process. Simply copy and paste or drag and drop the file/s (the default file name is STE-000.wav) on to your computer.

Preparing for recording

Battery / power supply

The audio recorders available for loan are supplied with a power adapter. This is NOT a charger, only a power supply – this plugs in on the bottom side of the device. Alternatively, the audio recorders take two AA batteries which are NOT supplied by the library.

SD card

You will need to provide your own SD card to use the audio recorders. 

Begin by inserting your SD card into the slot on the right-hand side of the recorder. Please note that the recorders will not work with an SD card over 32 Gb in capacity.

Turning on

The ON switch is on the left-hand side at the bottom. Pull the switch down and release. The screen will come on and light up.

Headphones

You may want to use headphones to monitor the sound whilst recording, simply plug headphones into the headphone socket on the left-hand side.

Pick up area (90º / 120º)

The built-in microphones at the top of the recorder can be angled differently depending on your recording situation. Simply twist the microphones between the 90º and 120º positions – 90º will focus the recording more, 120º will pick up sound from a wider area.

Changing Settings

Setting Date and Time

You may want to set the date and time so that the recording metadata is correct. To do this press the MENU button on the right-hand side and use the scroll wheel to navigate to SYSTEM then DATE/TIME. Press the scroll wheel to select each option. Use the scroll wheel to set the date and time then select OK when done. Press MENU again to exit the menu.

Mode

Ensure that the MODE is set to STEREO by looking at the 3 red lights above the screen – the light farthest left is the STEREO indicator. We recommend using STEREO mode.

Save folder

Next select the save folder by pressing the FOLDER button (farthest left) underneath the screen. There are 10 folders to choose from – remember which one you choose as you will need it later. Use the selection wheel at the top of the right-hand side and scroll through the folders. To select simply press down on the scroll wheel.

Recording Formats

We recommend using .WAV 48kHz 24bit to record in. The audio recorders can also record in .MP3 format but the quality of your recording will be reduced due to .MP3 being a more compressed format.

For more advanced use please refer to the Zoom H4n Manual.

The Shure SM57 is a cardioid dynamic microphone, great on electric guitar amps, snare, horns, and vocals. Mostly designed for live sound, it can also be used for recording hi-volume instruments.

lots of good information can be found here – https://www.shure.com/en-US/docs/guide/SM57

The Shure BETA 57A is a super cardioid dynamic microphone, great on electric guitar amps, snare, horns, and vocals. Mostly designed for live sound, it can also be used for recording hi-volume instruments.

Whilst in many ways this is very similar to the SM57 there are some important differences. This article spells out the important ones – https://www.shure.com/en-US/insights/whats-the-difference-between-shures-sm57-and-beta57

lots of good information can be found here – https://www.shure.com/en-US/docs/guide/BETA57A

The Shure SM58 is a cardioid dynamic microphone. Mostly designed for live sound, it can also be used for recordings and rehearsals.

lots of good information can be found here – https://www.shure.com/en-US/docs/guide/SM58

The BETA 58A is a super cardioid dynamic microphone. Mostly designed for live sound, it can also be used for recordings and rehearsals.

Whilst similar in many ways to the SM58, the BETA 58A has some important differences. This article does a very good job at explaining these – https://www.shure.com/en-US/insights/faq-whats-the-difference-between-the-sm58-and-the-beta58a

lots of good information can be found here – https://www.shure.com/en-US/docs/guide/BETA58A

This kit comprises six microphones of various types (details below). It is designed to cover a complete drum kit and for use during live applications as well as recording.

The kit contains –

1 x PGA52 kick drum microphone – This dynamic cardioid microphone is primarily designed for use with a bass drum, this can also be used with other low end instruments, for example a double bass. More information can be found here – https://www.shure.com/en-US/docs/guide/PGA52

2 x PGA56 drum microphones – This dynamic cardioid microphone is design for use with snare and tom drums. More information can be found here – https://www.shure.com/en-US/docs/guide/PGA56

1 x PGA57 instrument microphone – This dynamic cardioid microphone is designed for close-miking and acoustic drum applications. More information can be found here – https://www.shure.com/en-US/docs/guide/PGA57

2 x PGA81 instrument microphones – The dynamic cardioid microphone is designed for general instrument applications. It is especially good when used with acoustic guitar and pianos. In this instance it would be mounted over the drum kit to pickup the cymbals and hi-hat.

This kit comprises eight microphones of various types (details below). It is designed to cover a complete drum kit and for use during live applications as well as recording.

Lots of Information can be found here – https://uk.akg.com/drum-microphone-bundles/DrumsetPremium.html

The kit contains –

1 x D12 VR Dynamic Bass Drum Microphone – dynamic cardioid microphone, specifically designed for kick drum applications. https://uk.akg.com/outlet/D12VR.html?cgid=Outlet

1 x C214 Matched Pair Condenser Microphones For Overheads – large diaphram condenser mic, designed to capture realistic sound with ultra-low noise. https://uk.akg.com/condenser-microphones/C214MatPair.html?dwvar_C214MatPair_color=Black-GLOBAL-Current

1 x C451 B Condenser Microphone For Hi Hat – small diagram condenser mic, airy sound and designed to take high volumes. https://uk.akg.com/condenser-microphones/C451B.html?dwvar_C451B_color=Nickel-GLOBAL-Current

4 x D40 Dynamic Instrument Microphones For Snare And Toms – designed to accurately pick up sounds from various high pressure instruments i.e. drums, percussion, wind instruments and guitar amps.https://uk.akg.com/dynamic-microphones/D40.html?cgid=dynamic-microphones

Rode NT4, stereo condenser type microphone. Featuring a matched pair of cardioid condenser capsules makes this perfect for drum overheads, percussion, choir vocals, environmental recording and sound design in the studio or outdoors. Being a condenser mic this will require either phantom power can take a 9V battery.

To download the manual click here – https://edge.rode.com//pdf/products/75/nt4_product_manual.pdf

Multipattern condenser microphone. This is one of the best microphones we have. designed to give a neutral and realistic recreation within a recording environment. It can be switched between nine different polar patterns, three different bass-cut filters and three different attenuation levels. whilst designed to be used in many different scenarios, this mic is especially good for recording vocals and acoustic instruments.

To download the manual click here (page 26 for the English version) – https://uk.akg.com/on/demandware.static/-/Sites-masterCatalog_Harman/default/dw0d863e9c/pdfs/AKG_C414XLS_C414XLII_Manual.pdf

Multipattern condenser microphones. Delivers a smooth, balanced sound with very low self-noise. These come with cardioid directional capsules. Ideal for recording everything from acoustic instruments to drum overheads and cymbals to live performances and dialogue on-location.

More info can be found here –NT55MP_ds_V01.pdf

A cardioid condenser microphone, ideally suited for vocals and solo instruments, that you want to ‘standout’ in the mix. Being a condenser microphone this is highly sensitive and should only be used in a recording environment.

More info can be found here – https://www.neumann.com/en-gb/products/microphones/tlm-103

This is designed as a ‘cost-effective’ alternative to the C414 whilst keeping a similar sonic character. It has a switchable bass-cut filter and attenuator, for recording of loud sources.

To download the manual click here (page 31 for the English version) – https://support.akg.com/on/demandware.static/-/Sites-masterCatalog_Harman/default/dw68e8cfc1/pdfs/AKG_C214_Manual.pdf

This compact mixer features 8 low-noise, high-headroom Onyx mic preamps, ensuring pristine audio clarity. It offers powerful USB capabilities with 192 kHz recording quality for detailed, high-resolution audio. The GigFX effects engine enriches your sound with 24 built-in effects, perfect for enhancing live performances or studio recordings.

It is available in rooms 303 – 304 – 305 – 306 – g48 – g15 – g17 – 222.

To download the manual click here: https://mackie.com/img/file_resources/ProFXv3_Series_OM2024July.pdf

The Scarlett 2i2 is a compact USB-c powered audio interface featuring 2 switchable microphone/instrument/line preamps with 48v phantom power, 2 balanced line outputs and a 6.3mm Stereo headphone output.

More information on the Scarlett 2i2 can be found here – https://downloads.focusrite.com/focusrite/scarlett-3rd-gen/scarlett-2i2-3rd-gen

Focusrite Control software can be downloaded here – DownloadDownload 11.79 MB .dmg

The Scarlett 4i4 is a compact USB-c powered audio interface featuring 2x switchable microphone / instrument / line preamps with 48v phantom power, 2x line inputs, 4x balanced line outputs and a 6.3mm Stereo headphone output.

More information on the Scarlett 4i4 can be found here – https://downloads.focusrite.com/focusrite/scarlett-3rd-gen/scarlett-4i4-3rd-gen

Focusrite Control software can be downloaded here – DownloadDownload 11.79 MB .dmg

The Roland SPD-SX is a professional sampler and electric percussion instrument equipped with 9x highly sensitive rubber pads with two independent real-time control knobs and four dedicated effect buttons. A large backlit LCD provides easy-to-read data in all varieties of environments.

The SPD-SX has three multi-effects units onboard: one master unit and two units that are assignable per kit, as well as 4 GB internal memory enabling approximately 720 minutes of sampling (mono) without requiring external memory.

The SPD-SX Wave Manager software app lets you import audio files directly from computer via USB, assign the samples to each pad, and organise the thousands of samples efficiently.

More information can be found here – https://www.roland.com/global/products/spd-sx/support/

Focusrite Control software can be downloaded here – DownloadDownload 11.79 MB .dmg

The M-Audio Oxygen Pro Mini is a USB MIDI keyboard controller that comes fitted with 32-velocity sensitive, semi-weighted keys, also featuring 8x velocity-sensitive assignable pads with Note Repeat, an in-built arpeggiator and 4x assignable knobs, buttons and faders, USB-MIDI connection and MIDI Output for controlling external MIDI gear.

More information can be found here – https://support.m-audio.com/en/support/solutions/articles/69000804463-m-audio-oxygen-pro-series-i-setup-in-ableton-live-lite

Focusrite Control software can be downloaded here – DownloadDownload 11.79 MB .dmg

MiniFreak is a 6-voice polyphonic hybrid keyboard that unites dual digital sound engines with analog filters, extensive modulation incl. FM and ring modulation, instinctive sequencing with arpeggiator, and 3 stereo effects.

• Stereo line output: 2 x 6.3 mm jack
• Line input: 6.3 mm jack
• Stereo headphone output: 6.3 mm jack
• Sustain pedal input: 6.3 mm jack
• Clock in/out and reset output: 3.5 mm jack
• MIDI In/Out/Thru
• USB-B port

More information and video tutorials can be found here – https://www.arturia.com/products/hardware-synths/minifreak/resources

Hybrid polyphonic synth with 37 velocity-sensitive keys, 4-track sequencer and arpeggiator, modulations and built-in effect engine (Distortion, Fuzz, Compressor, Bit Crusher, Flanger, Phaser, Ring Mod, Vocoder, Reverbs and Delays).

Connections:

• Headphones Jack: Stereo 1/4-inch phone type
• Output Jacks (L/MONO, R): 1/4-inch phone type
• Input Jack (LINE(MONO) / Guitar Input): 1/4-inch phone type
• MIC Input Jack: XLR type, unbalance
• MIDI Connectors (IN, OUT)
• USB COMPUTER Port (USB Hi-Speed AUDIO/MIDI)
  
  

More information can be found here – https://www.roland.com/global/products/jd-xi/support/

Recommended Equipment for your Hybrid meeting

• Webcam – You might also want to book a mini tripod for the webcam to stand on.
• Laptop with Zoom or Microsoft Teams Installed
• TV Screen/ Monitor – All AV supported spaces have TV screens set up already with HDMI cables already plugged in.
• Speaker/ Microphone – We offer two sizes of speaker/ microphones. Specifications are based on the size of the meeting.
• HDMI cable to connect to TV
• Adaptor to connect HDMI and USB-A to USB-C – This is only necessary if using newer Mac laptop such as our Laptop for Hybrid setups.

Before you begin

This article is intended to provide ways of compressing or optimising video files to make them smaller and easier to upload to eStream, which should help address a number of issues that arise when trying to post content to eStream. This guide should be used if you’ve already got a video (e.g. from Zoom, on your computer, etc) that you’re trying to upload and are experiencing difficulty.

Your internet upload speed is key to determining how long a file will take to upload. We would always recommend running a speed test before attempting your first upload from a new location and then possibly transcoding the file as described below depending on the Upload speed. If possible, use wired connection to the internet when uploading files, as these tend to be more consistent in their speeds.

One very reliable speed test is available at https://www.speedtest.net/

Once you know your upload speed, you can run a quick calculation at https://downloadtime.org/ to see how long it will take to upload a file.

We would strongly recommend downloading and installing the free Handbrake application.

Installing Handbrake

Handbrake is free, and works on Windows, Mac and Linux. It is available to download from https://handbrake.fr/downloads.php.

Once you have downloaded the installer:

• Windows: Open it and follow the onscreen instructions to install.
• Mac: Open the dmg file and drag the Handbrake icon to your Applications folder.

You should then be able to launch Handbrake via:

• Windows: Start Menu -> All Apps -> Handbrake
• Mac: Launchpad -> Handbrake (or via the Applications folder in Finder)

Using Handbrake

Step 1: Open the Handbrake application, and select Open Source

Step 2: Browse to the folder where the file you’d like to optimise is, select the file and click Open

Step 3: You should then see the file load into Handbrake, and a preview thumbnail of the file appears.

Step 4: Select the Presets button from the Handbrake’s top toolbar

Step 5: Select the appropriate preset for your internet upload speed:

• If your upload speed is greater than 5mbps: use Fast 720p30 setting
• If your upload speed is less than 5mbps: use the Fast 480p30 setting

Step 6: Once selected, you should see that the preview screen has changed a little and the preset you selected should be visible in the preset area of the preview window

Step 7: You should also check a couple of other things:

In the Summary tab:

• Format: MP4 File
• Align A/V Start: Checked

Step 8: At the bottom of the window, you can specify what you’d like your optimised file to be called, as well as specifying the folder in to which it will be saved.

Step 9: When you are ready to start optimising the file, press the Start button.

Step 10: You should see a progress bar at the bottom of the Handbrake window indicating the encode’s progress, and you will be notified when the process has been completed.

There are a range of options for editing video at Trinity Laban.

At the Laban Building

Laban Library

There are 3 high-spec iMac computers in the Laban Library that are supported by the Creative Technology Services team – these are situated at the top of the Library, near the AV area. They can be used without booking whenever the library is open.

These computers contain a range of software, including:

• Adobe Premiere Pro
• DaVinci Resolve

Borrowable Laptops

A number of borrowable laptops designed for AV use are available from the Creative Technology Services at the Laban building. These can be booked for up to a week on our eQuip online booking system (look for the AV Laptops).

These laptops contain a range of software, including:

• Adobe Premiere Pro
• DaVinci Resolve

There are a range of options for editing video at Trinity Laban.

At the Laban Building

Laban Library

There are 3 high-spec iMac computers in the Laban Library that are supported by the Creative Technology Services team – these are situated at the top of the Library, near the AV area. They can be used without booking whenever the library is open.

These computers contain a range of software, including:

• Adobe Premiere Pro
• DaVinci Resolve

Borrowable Laptops

A number of borrowable laptops designed for AV use are available from the Creative Technology Services at the Laban building. These can be booked for up to a week on our eQuip online booking system (look for the AV Laptops).

These laptops contain a range of software, including:

• Adobe Premiere Pro
• DaVinci Resolve

Booking equipment

All items should be booked in advance, as all equipment is briefly checked and prepared in advance of the specified collection time. To book items, students must have fully completed the online training course, staff are encouraged to complete this course too, but if permissions are not present on their account to book teaching related equipment, they should email avsupport.dance@trinitylaban.ac.uk in order to get these applied.

All standard bookings should be placed on our self service booking system, eQuip. Help with booking items is available on the knowledgebase.

For other items, please email avsupport.dance@trinitylaban.ac.uk with your request (including preferred collection and return dates & times) at least 1 working day before the items are required.

Loan conditions

Upon placing a booking for equipment, AV Support staff will prepare the reserved items (including any specified cables, adapters, or other accessories). All items will be issued to the library account of the person who placed the booking, so please ensure that your library account exists and is in good standing (ie, there are no fines above £5, as equipment can not be issued if there are excessive fines).

With the exception of Teaching & Streaming Kits (which are only available for teachers of in-building classes during the week), we ask that you collect the items from the AV Support area at the top of the Laban Library at – or shortly after – the agreed collection time.

Items should be returned to the AV Support area at the top of the library and placed in the returns box. In the event of the library being closed, please hand all items to security at reception who will secure these until AV Staff are next in. Late return of items will result in fines being applied to your library account and may result in your ability to reserve and use equipment being suspended.

The self-service booking system, eQuip, allows for concurrent reservations of several items at a time – usually a maximum of 2 of each type of equipment for up to 7 days duration, however, different items have slightly different rules applied – see the latest details for each item on eQuip.

If items are damaged or lost then you are liable for their replacement. All equipment must be returned in the same condition in which it was loaned. The equipment is your responsibility, and you will be held liable for any damage or missing equipment, as the person placing the booking. We do not advise you on reserving equipment on behalf of your peer or colleague to ensure correct liability in case of loss or damage.

Please clear any data before returning equipment, as any data saved on returned equipment (including hard drives) will be cleared as soon as it is identified by AV staff.

Late return of equipment

Please ensure you return equipment on time, as other people may be waiting to collect it. If you have any trouble returning equipment at the agreed time, please let us know as soon as you can.

The late return of equipment affects the ability of other staff and students to borrow and use equipment and may disrupt their work. For this reason, we apply fines: If equipment is returned late, your library account will be charged for each item, and the library’s overdue procedure is used in the event of very late return of items.

We reserve the right to refuse service to those who we believe are in violation of our Loan Procedures. Your account may be suspended if you are found to be in violation of our Loan Procedures.

Lost, stolen, or broken items

If you are using equipment away from the building, please ensure that you have suitable insurance cover.

If an item you borrow is stolen please report this both to us and the local police. They will issue you with a crime reference number, which you’ll need to inform us of.

Please let us know if there are any faults with the equipment. We check and test equipment regularly, however sometimes there are pre-existing faults that may have been missed. It’s important that you let us know when returning an item so that you are not held accountable.

Please note that you are responsible for complying with all legal requirements such as data protection and the acquisition of filming rights when using our equipment to create and edit digital media.

If you need equipment but are unable to collect it during standard AV office hours (currently 09:00 – 17:00 Monday to Friday in term time), a limited selection is available for collection outside these times. Follow the steps below to arrange your booking.

What You Need to Know

A limited range of AV equipment can be booked for collection outside of AV office hours at KCC. Once booked, the equipment will be placed in the AV cupboard located in the corridor next to the AV office.

Accessing the Cupboard

• The cupboard is secure and requires your staff or student ID card to unlock it.
• Please ensure you have your card with you, as there is no alternative way to access the cupboard.

How to Book Equipment

To arrange equipment for collection outside of office hours, please book in advance via email. Include the following details in your request:

1. Your name
2. The equipment you need (be specific, e.g., “vocal mic/SM58”, “mic stand”, “xlr”, “zoom video recorder”, “Mini tripod”, etc.)
3. The date and time you need to collect it
4. The date and time you’d like the equipment until

Send your booking request to: avsupport.music@trinitylaban.ac.uk.

Collection Details

Once your booking is confirmed:

• The AV team will prepare the equipment and place it in the AV cupboard.
• You will receive a confirmation email when the equipment is ready for collection.
• Use your staff or student ID card to unlock the cupboard and collect the equipment.

Important Notes

• Only a limited selection of equipment is available for collection outside office hours. Please plan ahead and book early to avoid disappointment.
• Check your equipment upon collection to ensure it is complete and in working order.
• Please return the equipment on time, as others may need to use it. If the office is closed when you want to return the items, please take them to Room Bookings.

If you have any questions or require further assistance, please contact us at avsupport.music@trinitylaban.ac.uk.

We understand that sometimes you might need equipment for a little longer, however, our maximum booking durations are set so that as many people as possible have access to our equipment.

Sometimes – and only for selected items of equipment (such as items we have multiple quantities of) – we will listen to requests for extended bookings, particularly for vacation periods.

Not all requests can be approved, and they must be received by email to avsupport.dance@trinitylaban.ac.uk at least 7 days prior to the initial collection.

Requests should include:

• The item(s) you’d like to borrow
• The date and time you’d like to collect the item(s)
• The date and time you’d like to return the item(s)
• A brief reason why you need the extension

The request will be reviewed by the Creative Technology Services Manager, who will aim to respond within 1 working day of receiving the request.

How much free time do I get in the Recording Studio?

BAMPI students currently get 4 hours each per academic year without charge. Any additional time in the Recording Studio would be charged at the usual rates.

How do I book my free time?

There are 3 durations of recording sessions available: Short (2 hours), Medium (3.5 hours), and Long (7 hours + 1 hour lunch). As explained on the main article about the Recording Studio, the online booking system should be used to see when there is availability for each of the different session types.

In order to use your free hours allocation, you must fill out the booking form correctly, ensuring the following fields are correctly input:

• Select from Your course of study dropdown list: BAMPI
• In the “Any additional comments or requests” field at the bottom of the form, you must list the students’ names and how much of their free allocation should be used. This enables bands to split the session’s cost between them, for example for a 3.5 hour session the allocation could be split as such:
  • Person A – 1.5 hours
  • Person B – 1 hour
  • Person C – 1 hour

The student’s name and number of hours’ of allocation MUST be included when booking a session, otherwise an invoice for the session will be raised.

How do I check what my free hours allocation is?

If you’re uncertain how many hours of your allocation you’ve used, we keep detailed records, so can provide the remaining allocation to students on request. Please email recordingstudio@trinitylaban.ac.uk to request this.

Terms and conditions

Regular Recording Studio Terms and Conditions apply to all bookings. Free time allocations are set by the Creative Technology Services Manager together with course leaders. Allocations are reviewed every academic year, and there is no guarantee that allocations will remain as above for future years.

How much free time do I get in the Recording Studio?

Composition students currently get 4 hours each per academic year without charge. Any additional time in the Recording Studio would be charged at the usual rates.

How do I book my free time?

There are 3 durations of recording sessions available: Short (2 hours), Medium (3.5 hours), and Long (7 hours + 1 hour lunch). As explained on the main article about the Recording Studio, the online booking system should be used to see when there is availability for each of the different session types.

In order to use your free hours allocation, you must fill out the booking form correctly, ensuring the following fields are correctly input:

• Select from Your course of study dropdown list: Composition (BMus or MMus)
• In the “Any additional comments or requests” field at the bottom of the form, you must list each of the students’ names and how much of their free allocation should be used. This enables bands to split the session’s cost between them, for example for a 3.5 hour session the allocation could be split as such:
  • Person A – 1.5 hours
  • Person B – 1 hour
  • Person C – 1 hour

The student’s name and number of hours’ of allocation MUST be included when booking a session, otherwise an invoice for the session will be raised.

How do I check what my free hours allocation is?

If you’re uncertain how many hours of your allocation you’ve used, we keep detailed records, so can provide the remaining allocation to students on request. Please email recordingstudio@trinitylaban.ac.uk to request this.

Terms and conditions

Regular Recording Studio Terms and Conditions apply to all bookings. Free time allocations are set by the Creative Technology Services Manager together with course leaders. Allocations are reviewed every academic year, and there is no guarantee that allocations will remain as above for future years.

How much free time do I get in the Recording Studio?

Artist Diploma students currently get 6 hours each without charge. Any additional time in the Recording Studio would be charged at the usual rates.

How do I book my free time?

There are 3 durations of recording sessions available: Short (2 hours), Medium (3.5 hours), and Long (7 hours + 1 hour lunch). As explained on the main article about the Recording Studio, the online booking system should be used to see when there is availability for each of the different session types.

In order to use your free hours allocation, you must fill out the booking form correctly, ensuring the following fields are correctly input:

• Select from Your course of study dropdown list: PgAD
• In the “Any additional comments or requests” field at the bottom of the form, you must list the students’ names and how much of their free allocation should be used. This enables bands to split the session’s cost between them, for example for a 3.5 hour session the allocation could be split as such:
  • Person A – 1.5 hours
  • Person B – 1 hour
  • Person C – 1 hour

The student’s name and number of hours’ of allocation MUST be included when booking a session, otherwise an invoice for the session will be raised.

How do I check what my free hours allocation is?

If you’re uncertain how many hours of your allocation you’ve used, we keep detailed records, so can provide the remaining allocation to students on request. Please email recordingstudio@trinitylaban.ac.uk to request this.

Terms and conditions

Regular Recording Studio Terms and Conditions apply to all bookings. Free time allocations are set by the Creative Technology Services Manager together with course leaders. Allocations are reviewed every academic year, and there is no guarantee that allocations will remain as above for future years.

How much free time do I get in the Recording Studio?

Exchange Application students currently get 2 hours each without charge to support Erasmus application recording. Any additional time in the Recording Studio would be charged at the usual rates.

How do I book my free time?

There are 3 durations of recording sessions available: Short (2 hours), Medium (3.5 hours), and Long (7 hours + 1 hour lunch). As explained on the main article about the Recording Studio, the online booking system should be used to see when there is availability for each of the different session types.

In order to use your free hours allocation, you must fill out the booking form correctly, ensuring the following fields are correctly input:

• Select from the Purpose of Recordings dropdown list: Exchange Application

Please let us know know when you book which formats your application  requires:  CD, audio mp3 file, or video mp4 file.

All file preparation except video conversion happens during your time allocation,  which is 2 hours for either an audio-only,  or a video-only session; however if your application requires both audio and video recordings,  there is an additional 15 minutes setup time at start, and additional 15 mins tech time at the end.

Regarding the recording: “No editing is allowed on any application material for the Erasmus scheme. Discs must be signed [by the Recording Engineer or your Teacher] with a statement saying that the recording is the students own unedited performance.” and we will not edit them.
Further,  video recordings are not trimmed either,  the Engineer starts and stops the camera,  and that is what is submitted.

How do I check what my free hours allocation is?

If you’re uncertain how many hours of your allocation you’ve used, we keep detailed records, so can provide the remaining allocation to students on request. Please email recordingstudio@trinitylaban.ac.uk to request this.

Terms and conditions

Regular Recording Studio Terms and Conditions apply to all bookings. Free time allocations are set by the Creative Technology Services Manager together with course leaders. Allocations are reviewed every academic year, and there is no guarantee that allocations will remain as above for future years.

The Red 8Pre is a professional audio interface featuring a total of 64 inputs and 64 outputs (including 16 analogue inputs and 18 analogue outputs), 2x Thunderbolt™ ports for round-trip latency as low as 1.67ms, and the ability to connect up to 32 additional inputs and outputs via Dante™ Ethernet-based audio networking.

Available at KCC in rooms 303 – 304 – 305 – 306 – G15 and The Recording Studio

More information on the Red 8Pre can be found here – https://downloads.focusrite.com/focusrite/red/red-8pre

——————————————————————————————————————————————————————–

How to install the Red8 Thunderbolt drivers

Please note that the below steps are only required on Apple silicon systems (M1-M2-M3), they’re not necessary on Intel-based Mac systems.

Apple silicon computers come with increased security which prevents users from installing non-Apple drivers by default. To install the Focusrite Thunderbolt driver, you must follow these steps before you run the installer:

1. Switch off your computer.

2. Hold the power button to switch the computer on in Recovery mode, keeping the button pressed until the Startup Options dialogue appears on the screen.

3. Click Options, then click your language.

4. At the top of the screen, you’ll see the taskbar with the Apple logo in it. Click Utilities, then select Startup Security Utility.

5. Select your boot drive (generally named “Macintosh HD”).

6. Go to the Security Policy section, click Reduced Security and then Allow user management of kernel extensions from

identified developers.

7. Click the Apple logo in the top left corner and then select Restart to restart your computer. Once your computer boots up again as normal, run the appropriate installer that can be downloaded at the link below:

https://downloads.focusrite.com/focusrite/red/red-8pre

Midway through the installer, you may see the below error messages after installing Focusrite software or drivers.

Go to: Apple > System Settings > Privacy & Security

Under the Security section, click on Details…

After you click the Allow button, you might be presented with a list of software/drivers that have been blocked. Tick the box next to anything with ‘Focusrite’ or ‘TC Technologies’ in the name. Click OK and select the option to restart the computer.

Ensure the Amplifier and the Bluetooth Rack Unit Receiver are turned on.

Hold down the pair button on the receiver until the light starts to blink

Go into your device’s bluetooth menu, select pair new device and select DN-300BR

On the Amplifier switch the input selector to bluetooth.

On the receiver and the amplifier turn up the volume knobs and start playing your music

Laban Building

• Studio 1
• Studio 2
• Studio 8
• Studio 9
• Studio 10
• Studio 11

Laurie Grove Building

• Studio 1
• Studio 2
• Studio 3
• Studio 5
• Studio 6
• Performance Lab 1
• Performance Lab 2

Before you begin

This article is intended to provide ways of compressing or optimising video files to make them smaller and easier to upload to eStream, which should help address a number of issues that arise when trying to post content to eStream. This guide should be used if you’ve already got a video (e.g. from Zoom, on your computer, etc) that you’re trying to upload and are experiencing difficulty.

Your internet upload speed is key to determining how long a file will take to upload. We would always recommend running a speed test before attempting your first upload from a new location and then possibly transcoding the file as described below depending on the Upload speed. If possible, use wired connection to the internet when uploading files, as these tend to be more consistent in their speeds.

One very reliable speed test is available at https://www.speedtest.net/

Once you know your upload speed, you can run a quick calculation at https://downloadtime.org/ to see how long it will take to upload a file.

We would strongly recommend downloading and installing the free Handbrake application.

Installing Handbrake

Handbrake is free, and works on Windows, Mac and Linux. It is available to download from https://handbrake.fr/downloads.php.

Once you have downloaded the installer:

• Windows: Open it and follow the onscreen instructions to install.
• Mac: Open the dmg file and drag the Handbrake icon to your Applications folder.

You should then be able to launch Handbrake via:

• Windows: Start Menu -> All Apps -> Handbrake
• Mac: Launchpad -> Handbrake (or via the Applications folder in Finder)

Using Handbrake

Step 1: Open the Handbrake application, and select Open Source

Step 2: Browse to the folder where the file you’d like to optimise is, select the file and click Open

Step 3: You should then see the file load into Handbrake, and a preview thumbnail of the file appears.

Step 4: Select the Presets button from the Handbrake’s top toolbar

Step 5: Select the appropriate preset for your internet upload speed:

• If your upload speed is greater than 5mbps: use Fast 720p30 setting
• If your upload speed is less than 5mbps: use the Fast 480p30 setting

Step 6: Once selected, you should see that the preview screen has changed a little and the preset you selected should be visible in the preset area of the preview window

Step 7: You should also check a couple of other things:

In the Summary tab:

• Format: MP4 File
• Align A/V Start: Checked

Step 8: At the bottom of the window, you can specify what you’d like your optimised file to be called, as well as specifying the folder in to which it will be saved.

Step 9: When you are ready to start optimising the file, press the Start button.

Step 10: You should see a progress bar at the bottom of the Handbrake window indicating the encode’s progress, and you will be notified when the process has been completed.

If preferred a PDF version of this article can be downloaded here –

There are a variety of different ways of recordings videos for auditions, in this article we are going to cover three different setups. These will range from very basic, to two slightly more advanced methods. The hope is that this guide will help you decide which is best for you and the intended use for the resulting video.

For any technical terms please see the glossary of terms at the end of this article this will be highlighted by being in italics. You can also email us, avsupport@trinitylaban.ac.uk.

To book out equipment either email us at avsupport.music@trinitylaban.ac.uk or you pop into the office during opening hours (9:00-17:00, Monday-Friday). For Laban there is the online booking system – https://cts.trinitylaban.ac.uk/loginfod/

Summary – 

Method 1 – the easiest option, this should be sufficient for most applications. You simply position the camera, check the gain and record.

Method 2 – medium difficulty, this option will give you better picture quality (especially when you need to position the camera at a distance). The audio is also better, but the setup is much more involved.

Method 3 – medium difficulty, this is basically the same as Method 2 except you will be using your mobile phone as the camera. It requires much more setting up than Method 1 but because most people already know how to record video on their phones this should be a bit easier than Method 2.

Method 1. Zoom Camera – difficulty, EASY

Equipment needed for this method – 

Zoom Q8 video camera

SD card

Tripod 

The most basic method is to use one of our Zoom Q8 Video Cameras. The main feature, and selling point, of these cameras is that they have a pair of built in X-Y configured microphones. These will give you an above average stereo audio recording. The compromise with this camera is that the camera sensor is very small, so the quality of the videos is average and will be worse in lower lighting conditions. Also, these only have a digital zoom, meaning that the further you zoom in the lower the video resolution gets.

This aside, with the correct setup, these cameras will be good enough for most archival and audition quality recordings. 

A video on the basics of using this camera can be found here – 

Lighting – The first thing to consider is the lighting conditions. These cameras perform best in ‘ideal’ lighting conditions, basically the more light the better. If you are recording during the daytime then it’s best to open any curtains and raise any blinds. Natural sunlight is always the best light. This however, is not always the most reliable, a passing cloud can dramatically lower the light levels. Often it is easier to just use the lighting within the room, although this will often look flat and cold, especially when using florescents. But, depending on what the intended use of your video this may not be a problem.

Positioning – Once you have decided on the lighting you need to decide where to position the camera. When borrowing the camera make sure you borrow a tripod too. Because the zoom function is digital I would suggest ignoring it. Set the zoom to 1.00, then based on what you see on its screen position it to your liking. For an audition this would be face on, to the side, or at a slight angle. The main thing is that your hands and face are visible, sometimes this may need to be the entire body (read the audition instructions carefully). Of course if you’ve positioned the camera and discovered that the lighting isn’t right (for example there’s a large shadow on your hands or face) it is important to change this before you make the recording.

Below is good example of a well made audition video –

Volume – I would always recommend checking the volume levels. Ideally you would have someone else watching the camera, you would then play the loudest part of what you are recording, the other person would then adjust the gain accordingly. The volume should peak at approx. 2/3rds or -12 on the volumeter. 

Recording – Once the camera is setup, it is simply a case of recording your video. If it’s a short piece I would recommend just pressing record and playing. Try to ignore the camera, play through the piece a few times and then stop. If it is not going well, just stop and take a moment, or three. It rarely goes well just trying to push through, although we are all different.

Method 2. Canon Camera and audio recorder – difficulty, MEDIUM

Equipment needed for this method – 

Canon Legria HFG25 video camera

Zoom H6 audio recorder 

Stereo Bar

Manfrotto Tripod

SD Card

Pair of Headphones

Short aux lead

The idea behind this method is that with more effort you can achieve good audio and better video quality. The requires using one of our other cameras, the Canon Legria HFG25. This has much better picture quality than the Zoom Q8’s, it also has an optical zoom lens, giving more flexibility for placement. The main disadvantage with this camera is that it’s built in microphones and audio recording functions are not as good at the Zoom Camera Q8. To compensate for this, we will use an external audio recorder in place of the built-in microphones, I’ll go into that later on. 

A video on the basics of using this camera can be found here –

Lighting – The same principles apply to this camera as for the Zoom Camera (and to be honest most cameras). The better the lighting conditions the better the resulting video.

Audio – The biggest difference with this setup is that you will be using a separate audio recorder as a microphone. For this guide we will be using a Zoom H6 audio recorder. This is a highly versatile device, we won’t go into all of what it can do but lots of information can be found here – https://zoomcorp.com/en/gb/handheld-recorders/handheld-recorders/h6-audio-recorder/

A video on the basics of using the Zoom H6 can be found here –

We will be using the X-Y configured module that comes with the recorder. The first thing is to fix the stereo bar to the mounting plate of the tripod, this will need to be separated from the rest of the tripod (ask a technician to demo how to do this) then attach the camera and audio recorder to the stereo bar. I’d strongly advise attaching the equipment in this order, stereo bar to tripod then camera and audio recorder to stereo bar, this should minimise the chance of anything getting broken. When both devices are in position it is simply a case of connecting the Zoom H6 to the Canon camera using the short aux cable. One end will go into the ‘line out’ plug on the H6, the other goes into the ‘mic input’ port (this is located near the front of the camera, on the right, just behind the lens). The camera should automatically switch to using the external mic. To test that this is working plug in the headphones and have a listen, clicking your fingers in front of the H6 should be louder than in front of the camera.

Here is a brief video on how to set this up –

Here are some photos of how this should look –

Positioning – Again, the principle is very similar to the above instructions. The main advantage with this camera is that is has an optical zoom. This means that when you zoom in there is no loss of quality. 

But, as always this depends on the situation. If you’re recording a concert with an audience then you can’t, usually, have the equipment ‘plonked’ in the middle of the audience. If there is no audience, then the best placement depends on what you’re recording.

Once the positioning is set it’s always best to do a volume test, the same guidance as above implies. The maximum you want the volume to be is at 2/3rds or -12 on the volumeter.

Recording – when you’re ready and confident that everything is working then it’s simply just a case of pressing record on the camera. The resulting video can be copied onto a computer from the SD card 

Method 3. Mobile phone and audio recorder – difficulty, MEDIUM

Equipment needed for this method – 

Canon Legria HFG25 video camera

Zoom H6 audio recorder 

Stereo Bar

Manfrotto Tripod

Mobile phone tripod bracket

Pair of Headphones

USB to Lighting or USB-C adaptor (dependant on your mobile phone)

Another viable option would be to use Method 2 but in place of the Canon camera using your own mobile phone. Mobile cameras are often very good these days. This coupled with the familiarity of your own device, makes this an easy option. It’s important to make sure you have enough free space on your phone and that the battery has sufficient charge. 

Setup the Zoom H6 and mobile phone in the same way you did the Canon and H6 in Method 2. Instead of using an aux cable to connect the two devices you be using a USB lead (included with the H6) and an adaptor to plug it into your phone (Lighting or USB-C). Whilst setting this equipment up make sure that the H6 is turned off. When it’s turned on again it should give you the option to use it as an audio interface, select this, then ‘ipad with battery’, then select ‘stereo mix’. This will then be the default source when you record.  

A brief video on this setup can be found here –

Then simply position the mic stand (with phone and H6 attached) open your camera and record a video as normal. To listen to the video you can plug the headphones into the H6, any audio played on the phone will come out through headphones via the H6. 

Extras – 

Lighting – visually the biggest upgrade that can be made to any video will be the lighting. 

Three Point Setup – 

What’s often described as the ‘swiss-army-knife of lighting setups’ is the three point setup. This comprises three lights: a Key Light, a Fill Light and a Back Light or hair light. 

The Key Light is positioned in front of the subject at a 45 degree angle to the camera, just above eye level. This can be either side of the camera and is usually the brightest. The Fill Light is positioned on the opposite side of the camera, at just above eye-level, and will be less bright. This is to ‘bring up’ the shadow created by the Key Light. Finally, the Backlight is to separate the subject from the background. This will add depth to your video and so will look more interesting. A good alternative to the Fill Light or Key Light can be sunlight. If you have a window available then just reposition everything accordingly, although this may not be practical with some instruments. This is also useful if you happen to only have two lights available.

Top Light Setup – 

Another good setup is the Top Light setup, this will add dramatic facial shadows and will add a more ‘ominous’ tone (this may be too dramatic for an audition video though). For this setup you will position the light directly above yourself and point it straight down. If you want a bit more face to be lit then move the light forward slightly. 

There are many other lighting techniques that can be used for various effects, but these two are a good starting point. What’s most important to remember is that no matter what it looks like to your eyes it only really matters what it looks like in camera. This will probably mean that you have to make the lights brighter than you’d think, trust what you see on the screen. 

Glossary of terms – 

The gain is the amount of amplification applied to the signal coming from the microphones. The higher the gain the ‘louder’ the microphone will be. 

X-Y configuration is where two matching microphones are positioned at approximately 90 degrees to each other. This is one way of capturing a stereo recording.

A Volumeter is a visual representation of the amount of audio going into or out of a device.

Digital Zoom is where the camera crops the digital video then zooms in. This gives the illusion of a zoom at the expense of the resolution of the video. A lot of smaller cameras and older mobile phones use this.

Optical Zoom is when the lens assemble within the camera has multiple lens that can move back and forth. This allows you to zoom into an object without sacrificing resolution.

An Audio Interface is a device that is used to convert an analogue signal into a digital signal, or vice versa, for use within a computer or mobile device. You would generally use one if you wanted to make a recording using software like Logic Pro or Garage Band. Most computers and mobile phones have a basic one built in, this is often used for headphones or a microphone. For better quality it is best to invest in, or borrow from the AV office, a stand alone one. This will usually have better components and so will give a better sound to your recording.

Trouble Shooting Tips – 

Help! The video is really dark! – It’s likely that for these methods you will be using the cameras built-in automatic settings. These should give you good results, depending on the lighting conditions. But if it’s still too dark and you’ve noticed this during the recording session it could just be a case of adding more light by turning up the lights in the room. If you’ve only noticed this once the video has been recorded your options are more limited. You could try adding brightness afterwards, depending on how dark it is this will may work or could potentially show a lot of ‘noise’. For this you would use some video editing software (or within your phone, if you used Method 3). Remember, no matter what it looks like to your eyes it only matters what it looks like in-camera.

Help, the audio recording is too loud/soft! – unfortunately there’s not a massive amount that can be done. It is always better to get it right during the recording. If you’d like to pop into the av office we can try a few things. If the volume is too low we can turn it up, if it is too loud then you will get distortion, it will never be as clean as a good recording. Remember to use the headphones and double check the volumeter BEFORE you start recording.

The Red 8Pre is a professional audio interface featuring a total of 64 inputs and 64 outputs (including 16 analogue inputs and 18 analogue outputs), 2x Thunderbolt™ ports for round-trip latency as low as 1.67ms, and the ability to connect up to 32 additional inputs and outputs via Dante™ Ethernet-based audio networking.

Available at KCC in rooms 303 – 304 – 305 – 306 – G15 and The Recording Studio

More information on the Red 8Pre can be found here – https://downloads.focusrite.com/focusrite/red/red-8pre

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How to install the Red8 Thunderbolt drivers

Please note that the below steps are only required on Apple silicon systems (M1-M2-M3), they’re not necessary on Intel-based Mac systems.

Apple silicon computers come with increased security which prevents users from installing non-Apple drivers by default. To install the Focusrite Thunderbolt driver, you must follow these steps before you run the installer:

1. Switch off your computer.

2. Hold the power button to switch the computer on in Recovery mode, keeping the button pressed until the Startup Options dialogue appears on the screen.

3. Click Options, then click your language.

4. At the top of the screen, you’ll see the taskbar with the Apple logo in it. Click Utilities, then select Startup Security Utility.

5. Select your boot drive (generally named “Macintosh HD”).

6. Go to the Security Policy section, click Reduced Security and then Allow user management of kernel extensions from

identified developers.

7. Click the Apple logo in the top left corner and then select Restart to restart your computer. Once your computer boots up again as normal, run the appropriate installer that can be downloaded at the link below:

https://downloads.focusrite.com/focusrite/red/red-8pre

Midway through the installer, you may see the below error messages after installing Focusrite software or drivers.

Go to: Apple > System Settings > Privacy & Security

Under the Security section, click on Details…

After you click the Allow button, you might be presented with a list of software/drivers that have been blocked. Tick the box next to anything with ‘Focusrite’ or ‘TC Technologies’ in the name. Click OK and select the option to restart the computer.

If preferred a PDF version of this article can be downloaded here –

The Peacock Room is the main performance space within King Charles Court, because of this it has a lighting rig installed. The rig includes a variety of lights covering spotlights to colours. 

There are three different ways of controlling the lights, this guide will cover the most basic method. There are eight pre-programmed scenes or presets. These should be enough for the vast majority of use cases. 

There are two control panels, next to each entrance to the room. Next to the main entrance (entrance leading from the Logia) there is a panel with eight buttons. Next to the other entrance there is a touch screen panel, also with eight buttons. To choose the appropriate scene simply press the appropriate button. The touch panel is the only one that has the name of each scene, although each panel’s button’s correspond to each other. 

Below is the list of the scenes, what they are including photos.

List of Scenes – 

Whole Room Bright – All of the lights are turned on and set to white, with a hint of ‘daylight’ blue. This preset is good for general use and for when the audience are entering and exiting.

Performance Small Enseble (Ensemble) – Most lights are on, the main focus is on the front of the room where the performers generally are. The 3 chandelier rings are on so the audience are illuminated.

Whole Room Orchestra – Just the 3 chandelier rings , evenly lit across whole room. Possibly only useful for orchestral rehearsals. 

Performance Large Ensemble – Only lights at the front of the room are on, the audience are not illuminated. Good for general performances.

Whole Room Colours – This is the same as Whole Room Bright but with added colours highlighting the walls and statues. If the button is pressed repeatedly the colours cycle through several colours. Good for general use and audience entering and exiting.

Performance Plus Aud (Audience) – The same as Performance Large Ensemble but with additional 2 chandelier ring over the audience. Audience rings are at a lower level.

Performance Pus (Plus) Colour – Same as Performance Plus Audience but with additional purple lighting illuminating the statues and side walls. Good for performances that need a bit colour. 

All Off – All lights are off and the room is dark.

The Creative Technology Services team support all the studios within the Laban Building.

Location

Studio 1 is located on the ground floor of the Laban building.

Dimensions

Length: 10.8m
Width: 12.7m
Area: 137.16m²
Mirrored wall: No

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Location

Studio 2 is located on the ground floor of the Laban building.

Dimensions

Length: 18.9m
Width: 9.5m
Area: 179.55m²
Min/Max height: 4m/6.3m
Mirrored wall: Yes

Permanent AV facilities

1 x sound system attached to wall-mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI input (with cable provided).

Using The Bluetooth Receiver

Ensure the Amplifier and the Bluetooth Rack Unit Receiver are turned on.

Hold down the pair button on the receiver until the light starts to blink

Go into your device’s bluetooth menu, select pair new device and select DN-300BR

On the Amplifier switch the input selector to bluetooth.

On the receiver and the amplifier turn up the volume knobs and start playing your music

Studio 3 is located on the 2nd floor of the Laban building.

Dimensions

Length: 15.6m
Width: 9m
Area: 140.4m²
Min/Max height: –
Mirrored wall: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 4 is located on the 2nd floor of the Laban building.

Dimensions

Length: 18.9m
Width: 9.5m
Area: 179.55m²
Min/Max height: 4.13m/6.18m
Mirrored wall: No.

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 5 is located on the 2nd floor of the Laban building.

Dimensions

Length: 15m
Width: 7.1m
Area: 106.5m²
Min/Max height: –
Mirrored wall: No.

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 6 is located on the 2nd floor of the Laban building.

Dimensions

Length: 11.2m
Width: 6.4m
Area: 71.68m²
Min/Max height: –
Mirrored wall: No

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 7 is located on the 2nd floor of the Laban building.

Dimensions

Length: 12.9m
Width: 8m
Area: 103.2m²
Min/Max height: –
Mirrored wall: Yes

Permanent AV facilities

1 x sound system attached to wall-mounted speakers with CD player and iPod/laptop input (3.5mm) cable.

1 x TV on wheeled mount with attached HDMI cable.

Studio 8 is located on the 2nd floor of the Laban building.

Dimensions

Length: 18.5m
Width: 8.4m
Area: 155.4m²
Min/Max height: –
Mirrored wall: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 9 is located on the 2nd floor of the Laban building.

Dimensions

Length: 11.4m
Width: 13.6m
Area: 155.04m²
Min/Max height: –
Mirrored wall: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 10 is located on the 2nd floor of the Laban building.

Dimensions

Length: 19.2m
Width: 11m
Area: 211.2m²
Min/Max height: –
Mirrored wall: No

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 11 is located on the 2nd floor of the Laban building.

Dimensions

Length: 12.5m
Width: 13.5m
Area: 168.75m²
Min/Max height: –
Mirrored wall: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player, Bluetooth Rack Unit Receiver and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Studio 12 is located on the 2nd floor of the Laban building.

Dimensions

Length: 8m
Width: 13m
Area: 104m²
Min/Max height: –
Mirrored wall: Yes

Permanent AV facilities

1 x sound system attached to wall mounted speakers with CD player and iPod/laptop input cable.

1 x TV on wheeled mount with attached DVD/BluRay player, and optional HDMI/VGA inputs (cables not provided)

Location

Seminar Room A is located on the 1st floor of the Laban building.

Dimensions

Length: –
Width: –
Area: –
Min/Max height: –
Mirrored wall: No

Permanent AV facilities

1 x built in Windows PC with DVD drive.

1 x VHS player

1 x Projector with options for connection to built PC or laptop with VGA or HDMI connection, and connected audio speakers.

Location

Seminar Room B is located on the 1st floor of the Laban cottages.

Dimensions

Length: –
Width: –
Area: –
Min/Max height: –
Mirrored wall: No

Permanent AV facilities

1 x built in Windows PC (connected to large TV)

1 x Large TV on wheeled mount with optional HDMI/VGA inputs

Location

Conference Room 1 is located on the ground floor of the Laban building, beside Studio 1

Permanent AV facilities

1 x Mobile flatscreen TV with DVD/Blu Ray Player – includes HDMI cable and adapter for VGA input.

Using the TV in Conference Room 1

Using the DVD Player

1. Using the “input” button on the remote, change the channel to HDMI 1.
2. Press the power button on the DVD player.

Connecting a HDMI Device

1. There should be an HDMI cable already connected to the TV – Connect the other end to your HDMI device.
2. Using the “input” button on the remote, change the channel to HDMI 3.

Connecting a VGA Device

1. There should be a VGA + Audio Cable already plugged into the VGA > HDMI converter on top of the DVD player – connect the free end to your VGA device, and plug the audio jack into the device’s headphone socket.
2. Using the “input” button on the remote, change the channel to HDMI 2.

Location

Conference Room 2 is located on the ground floor of the Laban building, beside Conference Room 1.

Permanent AV facilities

1 x Mobile flatscreen TV with DVD/Blu Ray Player – includes HDMI cable and adapter for VGA input.

Using the TV in Conference Room 1

Using the DVD Player

1. Using the “input” button on the remote, change the channel to HDMI 1.
2. Press the power button on the DVD player.

Connecting a HDMI Device

1. There should be an HDMI cable already connected to the TV – Connect the other end to your HDMI device.
2. Using the “input” button on the remote, change the channel to HDMI 3.

Connecting a VGA Device

1. There should be a VGA + Audio Cable already plugged into the VGA > HDMI converter on top of the DVD player – connect the free end to your VGA device, and plug the audio jack into the device’s headphone socket.
2. Using the “input” button on the remote, change the channel to HDMI 2.

Location

The Cafe Meeting Room is located on the ground floor of the Laban building, beside the entrance to the cafeteria.

Dimensions

Length – 9m
Width – 5.4 – 7.2m
Area – 56.7m²
Height – 2.4m
Mirrored wall No

Permanent AV facilities

1 x Mobile flatscreen TV with DVD/Blu Ray Player – includes HDMI cable and adapter for VGA input.

Using the TV in the Cafe Meeting Room

Using the DVD Player

1. Using the “input” button on the remote, change the channel to HDMI 1.
2. Press the power button on the DVD player.

Connecting a HDMI Device

1. There should be an HDMI cable already connected to the TV – Connect the other end to your HDMI device.
2. Using the “input” button on the remote, change the channel to HDMI 3.

Connecting a VGA Device

1. There should be a VGA + Audio Cable already plugged into the VGA > HDMI converter on top of the DVD player – connect the free end to your VGA device, and plug the audio jack into the device’s headphone socket.
2. Using the “input” button on the remote, change the channel to HDMI 2.

The Lecture theatre is located on the Ground floor of the Laban building.

Dimensions

Length: 11m
Width: 9m
Area: 99m²
Mirrored wall: No

Permanent AV facilities

1 x Windows PC

1 x 4K enhanced Projector with options for connection to the PC or a laptop with VGA or HDMI connection.

1 x sound system and wall-mounted speakers.

Additional Information

You can set which mode to display your image, from your computer.

If using a Windows laptop, push the Windows + P key to choose between Extend and Duplicate.

On a Macbook, click the Apple icon > System Preferences > Displays > Arrangement, and check the box which says “Mirror Display”.

When extended, the projection will act as an additional screen you can drag stuff to, whereas duplicate will mirror what is already on your computer screen.

Location

Conference Room 1 is located on the first floor of the Laban building.

Permanent AV facilities

1 x VHS Player

3 x high-spec iMacs with specialist multimedia software.

Using the iMacs in Laban Library

What software is on the devices?