Vanity Fair – Vauxhall Gardens

Photo by Chris Glover, no reproduction without permission

 

 

 

 

 

 

 

 

 

 

 

 

Night shoot for the 1987 serial Vanity Fair, Vauxhall Gardens scenes.

Thanks to Chris Glover for sharing the photo.

The following comment was left on the Pebble Mill Facebook page:

Diane Lester: “We filmed the Vauxhall garden scenes over a few night shots at Bickling Hall, Norfolk. The cameraman in the picture is Paul, (sorry, can’t remember his surname). Dave Bushell is also in shot, well his back is.”

Vanity Fair location, Sidmouth

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Photos by Chris Glover, no reproduction without permission. These photos are from the 1987 drama serial, Vanity Fair. They were taken in Sidmouth, which was standing in for Brighton. In the second photo is ‘Amelia’ (Rebecca Saire) (L) talking to ‘Dobbin’ (Simon Dormandy). Chris’s wife Wendy Bradfield made this and other costumes for Rebecca.

The following comment was left on the Pebble Mill Facebook page:

Dave Bushell: ‘On the recce the director and EM (John Abbott) had identified a stretch of concrete hard standing where the beach met the promenade on which to lay a camera track. When we arrived the day before the shoot it had disappeared under heavy shingle. John then organised a caterpillar tracked bulldozer to travel overnight along the road from Exeter. The noise as it came along the prom in the early hours of the morning woke the whole seafront.’

Studio A Lighting Grid

Photo by Malcolm Hickman, no reproduction without permission

 

 

 

 

 

 

 

 

 

 

 

This photo shows the lighting grid for Studio A at Pebble Mill. It probably dates from the 1970s.

Thanks to Malcolm Hickman for sharing the photo.

The following comments were left on the Pebble Mill Facebook page:

Andy Frizzell: ‘The Lighting ‘barrels’ were on hoists that lowered to the studio floor, there were generally 2 ‘twisters’ per bar. Twisters were dual source lights ‘hard’ fresnel at one end soft ‘fill’ at the other. There were three 5Kw channels on each bar. 10Kw channels were available from the grid above.
On the barrels each lamp had additional ‘pantographs’ to fine tune the height above sets etc.
Towards the end we added DMX moving light connectivity. If memory serves, this was considered a ‘saturation’ rig studio as opposed to the monopole system preferred by the itv companies. No doubt Dave Bushell can elaborate/correct me on the details as he was my NVQ tutor/examiner.’

Dave Bushell: ‘You have given a very succinct description. I worked with monopole systems after leaving the Mill and I can’t say I liked the lack of flexibility they gave. I suppose it’s what you got used to.’

Front Room mug

Copyright resides with the original holders, no reproduction without permission

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Thanks to Jonathan Relf for sharing this mug from the series Front Room, which was presented by Jason Bradbury, who has gone on to find fame with the Gadget Show. It went out in 1999 on BBC Knowledge, which was one of the BBC’s first digital channels.

The series was recorded in Studio 1 (built as a radio studio). Studio C’s gallery was cross-wired to cover Studio 1.

Jonathan recalls that the show included, “the cutting edge of “new media” content. I can remember a segment involving the “Take Hart” gallery music too, but was internet related.” The show involved viewers sharing ideas via webcams, video diaries, online chat and email.

Jonathan thinks he was training as a lighting operator on the show, probably under the tutorship of  Dave Bushell.

I seem to remember that Tony Steyger was the Exec and Caroline Jones the Series Producer, with Bob Davies as Studio Director.

 

 

 

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Going for a Song cast and crew

Copyright resides with the original holder, no reproduction without permission

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Thanks to Gill Thompson for sharing this photo of the cast and crew of Going for a Song,  the antiques panel game show.

Included are: Michael Aspel (presenter), Eric Knowles (antiques expert), Claire Hobbs (producer, front, black jacket), Helena Taylor (series producer, sat on the camera), Dave Wilkins (camera), Toby Horwood (camera), Mark Scott (director), Gill Thompson (audience organiser, pink top behind camera), Adam Schoon (antiques consultant), Dave Bushell (lighting director), Keith Knowles (engineer) in orange top next to Dave Bushell, Pete Eggleston (with beard, engineer), Dave Ballantyne and Keith Salmon (cameras) on the right, Sue Russell (production secretary and hospitality, left-handside, beige patterned top), Dave Brazier (blue shirt and tie, floor manager), Ron Poston from the BBC Club is next to Dave. Back row, top left in pink is Chris Reely (sound), Jim Gray (camera, back row, black jumper, moustache), James French (camera, black top, centre back), at the back on the left is Dave Savage (black top with white stripes) and Chris Reeley in the red t-shirt is at the top left – both Senior Audio Supervisors

Thanks to the following for their help in identifying people: Shareen Worthington, Dave Bushell, Jane Mclean, Jan Poston, Steve Admans,

 

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