Copyright resides with the original holder, no reproduction without permission.
Just found the attached picture of some old Pebble Mill colleagues on a lighting training course at Wood Norton in August 1995. In addition to those named are the tutors, Peter Bryenton on the left and myself (Dave Bushell) on the right.
(Thanks to Dave Bushell for making the photo available.)
Photograph by multicamera director Sue Robinson, no reproduction without permission.
The photo is of the Gallery for Studio A, which was Pebble Mill’s largest television studio, used for dramas as well as entertainment shows, like ‘Pebble Mill’, ‘Going for a Song’, and ‘Call My Bluff’ .
Included are (left to right): Keith Knowles (vision engineer); Dave Bushell (lighting director); Pete Eggleston (vision engineer); Pete Hodges (vision supervisor).
Copyright resides with the original holder, no reproduction without permission. Thanks to Jane Mclean for making the photo available.
The photo was taken at Keith Salmon’s get together at the Saracen’s in 2010.
Included are: John Smith, John Endall, Yvonne Ackrill, Keith Ackrill, Jim Dumighan, Roy Ronnie, Margaret & Brian Barton, Gordon White, Keith Salmon, John Kimberley, Dave Ballantyne, Toby Horwood, Bob Jacobs, Wilf Welch, Tony Wolfe, James French, John Couzens, behind Jane Mclean (front with orange juice), Kath Woolston, John Abbott. Simon Evans wearing shades at back and Eric Wise standing in the front between Dave Ballantyne and Bob Jacobs. It might be Keith Bullock behind Margaret Barton, Dave Doogood behind Bob Jacobs and Mark Kershaw between Wilf Welch and Tony Wolfe. Probably Phil Wilson behind Kath Woolston. Simon Albu on left in front of John Smith.
Thanks to Dave Bushell, Jayne Savage, Janet Collins, Yvonne Ackrill and Jane Mclean for identifying everyone.
Photos by Tim Savage, no reproduction without permission.
The photos are of an outside broadcast for ‘Pebble Mill at One’ in the Cotswolds.
The first photo of Engineering Manager, John Endall and the horse was probably taken at David Nicholson’s racing yard at Condicote.
The other photos are of a tractor which was in the way of the scanner and took a long time to start and move!
It is Engineering Manager, John Endall sitting on the tractor, with VT editor, Steve Neilson on the far left of the tractor photos. The man in the light anorak could be rigger/driver from BBC Bristol called Ken Townsend.
Thanks to Jayne and Tim Savage, and Dave Bushell for providing the information.
Photos by Ian Collins, no reproduction without permission.
Video Editor, Ian, took photos of outdated kit which was being disposed of when Pebble Mill was cleared, prior to being demolished in 2005.
These photos are of a 2″ Quad tape editing block, used to make precision edits by cutting the tape with a scalpel and splicing the two ends together to make the edit. It was a complicated and expensive process.
The following comments were left on the Pebble Mill Facebook page:
Ian Collins: ‘It is indeed a 2″ Quad editing block. The magnetic recording was revealed by applying iron fillings onto the tape and then viewed through a microscope to find the correct place to cut and splice the tape to make a synchronous join.’
Pete Simpkin: ‘Re the 2″ editing, my early engineering days were with an ITV company and the cost of the tape and the time to do all that iron filings sprinkling etc led to directors using a ‘rule of three’ sysytem where they would only even think of retakes or editing after three minor fluffs or production faults had passed! you can still see loads of ‘left in’ glitches in repeats fron the 60s and 70s!’
Alan Miller: ‘If I remember correctly the sound edit was at a different point from the video, making the edit not a straight cut.Also in Scotland the editors cut football matches on a single quad machine using this technique. On play out the tape ran continuously even when we cut back to the studio for links which made studio presenting a hazardous activity. The link simply had to fit the gap in the tape.’
Dave Bushell: ‘It’s thanks to the policy of avoiding editing a 2″ tape that so many early programme programmes have been lost – they were recorded over!’
Pete Simpkin: ‘Exactly! I think if they cut the tape it had to be costed in the programme budgets.’
Ian Collins: ‘It was a very crude, by today’s standards, but fast way of editing a football or cricket match down to time, which was why it was widely used by sport. The audio was indeed recorded in a different place relative to the pictures on the tape but because in sport, the audio was mainly effects, it was not too noticeable if the two cut at different times.’