Charisma Keyboard

Charisma keyboard

 

 

 

 

 

 

 

 

 

 

 

 

Photo by Ian Collins, no reproduction without permission.

VT editor, Ian Collins, took a number of photographs of obsolete kit before the closure of Pebble Mill in 2004; this still of a Charisma keyboard among them. Charisma was a digital video effects machine which was de rigour in the late ’80s, early ’90s.  It enabled complex video effects to be incorporated in programmes like ‘The Clothes Show’.  In fact the style of series like ‘The Clothes Show’ were largely due to Charisma, and the skilled use of it by VT editors like Mike Bloore, who was awarded a craft BAFTA for his editing of the programme. I remember being really excited about using Charisma in VT edits, and thinking the effects looked really great.  If anything it was used too much, and caused a reaction against multi-layered complex edits and effects and back towards straightforward cuts.  Nowadays the effects look pretty dated. I also remember a funny story about an edit assistant, who shall remain nameless, going to a job interview and being asked about what he thought about Charisma.  He replied that charisma was an important quality in a person, and meant that they could be inspirational to others etc.  It was only later he realised that they were talking about the Charisma machine.  I can’t remember if he got the job or not! The following comments were left on the Pebble Mill Facebook Group: Mike Workman: ‘As used by the Six O’Clock News in 1985 for headline transition wipes, what a machine – VizRT is not a patch on Charisma!’ Matthew Skill: ‘we had one in Newcastle BC, there’s a complete set of manuals down in the workshops in the basement of TVC. That’s all the info i have for now….’ Mike Workman: ‘there’s a few dotted around TVC that came out of the then N1/2 news studios when the News Spur opened in 1997’ Mike Skipper: ‘Their successor the Ten X was used up until about a year ago at TV Centre!’ Ian Collins: ‘Without this piece of kit, Clothes Show would not have been the success that it was.’ Jane Green: ‘Ian’s right. I remember racing back from the NEC Clothes Show Live 1992 with the rushes of the live show and using Charisma with VT at Pebble Mill to put the show montages together. The effects were groundbreaking at the time. Took the finished tapes back to Roger at the NEC for TX and everyone crowded round to watch and loved the Charisma transformation.’

Videotape machines in MFA

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Photos by VT Editor, Ian Collins, no reproduction without permission.

Ian took photos of various pieces of kit, for posterity, before Pebble Mill was decommissioned in 2004.

These photos are of different videotape machines, including beta sp, and digibeta.  Betacam sp, was a 1/2 inch analog videotape introduced as a format in the early 1980s and took over from U-matic tapes.

The machines were probably in MFA.

Mike Skipper added the following comment:

‘Just managed to have a closer look – the very top machine is indeed a Panasonic AJ-D350 1/2″ digital D3 recorder.

These machines saw heavy use at TV Centre until the 16:9 aspect ratio was settled upon as the standard recording format, at which point Digital Betacam became the preferred recording format. In very simplistic terms, D3 ‘digitised’ PAL signals before putting them to tape, whereas Digital Betacam processes signals in their component form.’

 

1″ Videotape Machine


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Photos by Ian Collins, no reproduction without permission.

The photos are of a 1″ Videotape machine, in action.

1″ videotape was introduced in the mid 1970s, and was the broadcasting norm in the 1980s.  1″ machines took up much less space than the earlier Quad machines, and required less maintenance.  You could also spool in vision on them, which was a great advantage when trying to locate a particular clip.

The following comments were on the Pebble Mill Facebook group:

Christopher Hall: ‘It is an Ampex VPR-6, 1″ C Format machine. VPR-2 machines were probably more widely used, and Sony BVH- 3100 machines were the last ones bought. ‘

Mark Davies: ‘Looks like VTF/MFA to me’

Alan Miller: ‘It’s funny to think how much we welcomed the arrival of the first “C” format machines. I seem to remember that we all thoughtt that at last VT could compete with film editing?’

Sony Hi8 recorder

Photos by Ian Collins, no reproduction without permission.

VT editor, Ian Collins took photos of obsolete post-production kit before the 2004 auction of equipment when Pebble Mill was cleared prior to being demolished.

These photos are of a Sony Hi8 video recorder.

Hi8 was an 8mm video format, which had better resolution than the earlier Video8, but pre-dated the introduction of Digi8.  It was an analogue format, and the ‘Hi’ stands for high-band, as opposed to low-band.

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

John Duckmanton: ‘This machine is still in the bay at The Mailbox and is still used occasionally.’

Peter Poole:  ‘I think it was sometimes used for ‘Midlands Today’. The reporter may have used it before the crew arrived.’

 

Colin Fearnley – editing with an axe!

Colin Fearnley 1986

Photo by Paul Scholes, no reproduction without permission.

Colin Fearnley worked at Pebble Mill in VT.

There is a story about why he has an axe in the head!  Colin had been working on a youth programme with Janet Street Porter, circa 1986.  Apparently it was a very quick turnaround, and a review of the programme said that it looked as if it had been edited by a mad axeman. This spawned a whole host of axe jokes! Colin was probably VT play in man. [See comment below from Colin Fearnley correcting this detail!]

Thanks to Tim Savage for remembering the story of the axes.

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

Paul Colbert: ‘Could have been Reportage or Rough Guides, both of which I worked on as series Director in Manchester with most of the production team commuting on trains and planes to Manchester. Editor J S Porter, with Rachael Purnell and Sharon Ali. Tough times for the production team, even harder than working with Roger Castles on The Clothes Show! London Luvvies!’

Jane Mclean: ‘Was it Behind the Beat? God I HATED working on that programme.’

Dawn Trotman: ‘Behind the Beat. I remember editing that. Crazy hours and Janet Street Porter constantly screaming down the phone. I think we edited it in mechanical workshop? Lovely directors though but stressed.’

Jane Mclean: ‘The stuff of nightmares Dawn – every single aspect – and I mean every! JSP never once came to Brum (thank god) and in the end I refused to answer the phone!’

Dawn Trotman: ‘It was actually a creative time. I worked with some very adventurous directors who did try to re invent the wheel and suceed. Tough going but good times. Not that JSP was of any value but she did surround herself with the best in the business no fool in that respect just very shouty!’

Ian Collins: ‘The Mad Axman nickname was actually given to Jim Hiscox who was the editor working on “Behind The Beat”. I think Colin was the assistant and the axe was added well after the picture was taken.’

Dawn Trotman: ‘I beg to differ Ian. The Mad axeman was originally given to John Bland for a film he cut in about 1983 or 4 . It was set in a military defence barracks very strange ! Can’t remember the name, I think the producer was a Gareth ? And John ended up with a review which said cut by the mad axeman on acid ! We keep the cutting in his room at the end of the film corridor. But I didnt remember Jim being on Behind the Beat I remember Colin working on it . He used to tut over our inserts.’

Ian Collins: ‘Dare I suggest that there were two mad axe men :-)’

Paul Colbert: ‘Surely John Birt was the Mad Axe Man?’