CMCR6 – Birmingham’s first colour scanner

Gosta Green Studios – cutting c/o Gail Herbert

 

 

 

 

 

 

 

 

 

 

 

 

The first colour scanner (CMCR) in Birmingham was CMCR 6 which was based at the OB base which was then at Carpenter Road, Edgbaston.

It was equipped with 5 EMI 2001 colour cameras which had the lens within the body of the camera. 4 of the cameras were used normally and the other was used as a spare and for parts to repair the others.

BBC Birmingham did not have a Colour TV studio before Pebble Mill opened in 1971.  The BBC had a studio at the Cinema in Gosta Green in Aston.  It was fitted out in the days of black & white and during the late 60s until Pebble Mill opened CMCR6 would be used part of the week to produce Dramas or Drama series in colour.

I think that CMCR6 was at Gosta Green on a Wednesday & Thursday each week and would then go and do a Match of the Day or other OBs returning on Tuesday for the rig for the drive in.

CMCR 6 was moved to Kendal Avenue in the 1970s and replaced in Birmingham with CMCR 9 which had Philips PC80 Cameras. This meant that the cameras in the Studios at Pebble Mill and the ones on the OB unit were different which caused problems with maintenance, spares etc.

John Duckmanton

Paul Richards – TK Operator

 

 

 

 

 

 

 

 

 

 

 

Photograph by Paul Scholes, no reproduction without permission.

The photo is of Paul Richards, TK operator (now deceased). It was probably taken in TK A.

TK, stood for Telecine, it was the area in post production that allowed for footage shot on film to be viewed on video equipment.

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

Stuart Gandy: ‘TK was the second department I rotated into as a TA back in 1980. I was at first astonished at the sheer speed that Paul Taylor and Jim Gregory could lace up the machine. But they had to be able to. When TK was used for Midlands Today, it was quite common for the news film to arrive sometimes only seconds before on air time. Many times I can remember Milton Hainsworth rushing around to TK with the reel ready for lacing. In those days the filmed stories were edited into a continuous piece of film.’

Pete Simpkin: ‘One of the great tragedies of the use of film on regional news,especially in the 50s and 60s is that the original negative film was processed,edited and transmitted from TK which means that after only a few showings there was no way of getting a good quality archive copy which is why news clips from that era are of such poor quality. Shame after all the frantic and skilled work which was expended on getting newsfilm ‘on air’.’

Peter Greenhalgh: ‘I spent a few months in TK with Paul, Jim, Gregory, Dave Scholden, and John Duckmanton when I was a trainee about the same time as Stuart (1981). I remember it being a close, friendly team, and Paul gave me lots of good advice. I wasn’t allowed vinegar on my chips in the canteen though… I too remember how fast those guys were. The Sondor bay got me every time. If you forgot to move the top arm out of the way, when you got halfway though lacing it, it would rip the sepmag out of your hand and spool it back onto the reel!’

Peter Poole: ‘I didn’t know negative film was used for news. How was audio recorded? I remember reversal film being used in the 1970s. The quality of commag audio was poor. The TV farming programme was also shoot on reversal film due to its topical content. I often worked on the live TX from Studio B on Sunday mornings. Back then TK and VT needed a 10 second run up. The directors and PAs needed to run TK and VTs on time. If not the presenter would have to ad-lib to fill the gap. No wonder programmes from that time look rather slow.’

Pete Simpkin: ‘The negative film was used in the black and white period of the 50s, when regional TV news was started, and into the 60s up to the point when colour was introduced using as you say reversal film system. Black and white film used commag stock for sound, recorded in the camera and, this was often cut under pressure and any voice over links added usually live. Later there was a system called SEPMAG which, when the original camera audio had been copied across to the separate reel of film, enabled independent editing of pictures and sound and hence the introduction of dubbing suites. Unfortunately for news purposes it wasn’t always possible to re-unite the audio and picture onto commag so the separate reel had to be ‘locked’ or synchronised with the picture projector….a very hazardous and hair raising experience not only for the operators in TK but the studio director who would be often waiting for the ‘all clear’ that the locking up had worked !!’

Pebble Mill Club – final days

Photos by Tim Savage, no reproduction without permission.

Tim took these photos on 23 Nov, 2004, one of the final days at Pebble Mill.

The photos include post production staff including: John Burkill, Jim Gregory, Amrik Manku, Brian Watkiss, Ivor Williams, John Duckmanton, Tony Rayner, Martin Dowell, Mike Bloore, Pete Shannon, John Macavoy, Dave Pick, Frank Stevens.

Please add a comment if you can identify others.

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

Stuart Gandy: ‘In image 1016 the guy in the blue shirt holding a pint is John Macavoy, Engineer, and in image 1017 I see Dave Pick in the check shirt and next to him is Frank Stevens, former engineering services manager.’

Keith Brook: ‘If I may take friendly issue with Stuart Gandy about John Macavoy. He wasn’t just an engineer, he was a god. He was able to invent magical cures for any crazy idea that production could conjure up. Even worse, he would undertand their mumblings and give them more than they ever dreamed of. I hate him. The best days were, of course, when the bar was on the second floor. Very few managers realised all the post recording toxic, adrenaline, hyper-excitement that could corrode a great day’s work was diffused with a few beers upstairs. Incidentally, a truly ‘involving’, ‘participating’ and ‘egalitarian’ system, as we had at The Mill, works in any organisation. British industry, banking and the NHS would be major successes if they applied the same rules.’

John Duckmanton – photo by Paul Scholes

Photo by Paul Scholes, no reproduction without permission.

This photo probably dates from the late 1970s.  It features a very young John Duckmanton (Pebble Mill VT engineer & editor).

 

Pebble Mill Skiing Photos by Ian Collins

Photos by Ian Collins, no reproduction without permission.

These photos date from April 1974.  They may have been taken during a skiing holiday organised by some of the VT engineers. The photos include John Duckmanton (brown coat and with camera), Mike Day (in brown sweater) and Tony Newbury (just peeping out from behind John). Please add a comment if you can add information about the trip and location.