Films and Plays from Pebble Mill

Copyright resides with the original holder, no reproduction without permission.

This booklet was published in 1980 by West Midlands Arts, to celebrate ten years of regional television drama.

The dramas mentioned include Gangsters, Black Christmas, Empire Road, Licking Hitler, Dreams of Leaving, Girls, Jack Flea’s Birthday Celebration, Only Connect.

IMG

The Rise and Fall of Regional Drama – David Rose

Prospero David Rose

Copyright resides with the original holders, no reproduction without permission.

This article by David Rose, BBC Pebble Mill’s first Head of the English Regions Drama Department, was published in the BBC retiree’s magazine: Prospero, in April 2013.

Thanks to Peter Poole for finding and sharing this article.

Signature tunes: Look Hear, Second City Firsts, Gangsters

Copyright resides with the original holder, no reproduction without permission.

These Pebble Mill signature tunes are for:
1) Look Hear – Regional studio based entertainment show, presented by Toyah Willcox.
2) Second City Firsts – 30 minute studio A drama series, featuring new writers to television.
3) Gangsters – 1976 Play for Today, and later series.

Thank to Peter Poole for sharing the signature tunes.

Look Hear

Look Hear

Gangsters 1976

Gangsters 1976

 

 

 

 

 

 

The following comment was left on the Pebble Mill Facebook group:
Stuart Gandy:’I certainly remember all these, and Look Hear was one of this first programmes I worked on as a TA in Studio Ops back in 1980.’

Videotape in the ’70s (part 2) – Ray Lee

 

Photo by Tim Savage, no reproduction without permission

 

 

 

 

 

 

 

 

 

 

 

Photo of Jim Hiscox in VTB

Editing with Quad

As mentioned earlier cut editing was not feasible for videotape, so all editing was performed using “Dub” edits, and in sequence. The editor would decide which piece he wanted from the play in tape, and a cue point would be marked 10 seconds prior to that on the back of the tape with a china-graph pencil. The electronic editor on the record / edit machine recorded a cue pulse on the edit tape to initiate the electronic editor. This performed the switching sequence to switch the record machine from playback to record at the edit point, and involved careful timing of record and erase circuits, in order to create a seamless join. The Edit machine could work in Assemble or Insert edit mode. Assemble meant joining a new recording to the end of a previous one, and the new recording would then continue until the stop button was pressed. Insert recording was used to add a new section of pictures ( or sound) to an already existing section of recording which had to be continuous. The control signal that is recorded during a standard recording, or Assemble edit, was not re-recorded in insert mode, and as this was the equivalent of film sprocket holes, had to be continuous for a stable playback. This meant that insert edits could not alter the overall duration of a recording, and that the section being inserted had to be the same duration as the one being removed.

Most programmes were assemble edited, starting with the line-up, and VT Clock (in those days a mechanical clock in the studio). Then the opening title sequence, which would often have come from film. VTA was the play machine, which could be used to do simple “on the fly” edits, whereas VTB had the Editec controller which allowed for some adjustment of edit points. The procedure was, locate the in point on the playback machine and wind back 10 sec, marking the tape (physically), locate the in point on the record machine, marked with a pulse, wind back 10 sec and mark the tape physically. Remote the play machine, switch on the editec and then run both from the record machine. If the in point was at a shot change from the player, it was quite important to check the edit point for flash frames. The nature of the colour TV signal meant that editable points were always 2 frames apart, and for a given sync point on the recorder, it was possible that if the in point on the player was on the non editable frame, the machines might sync on the wrong frame giving a flash frame. This was adjusted by physically moving the tape either forward or back from the china-graph mark when re-cuing.

In respect of Quad editing, John Lannin was a master of the craft. I remember him, and I think Steve Critchlow working for several days of edit sessions putting together a title sequence (Might have been for “Gangsters”) which comprised a long series of flash frames, probably no more than 4 frames of any clip. The effect was truly stunning.  There must have been 300 or more edits, and each one needed a 10 second run up, both to locate the shot and to edit it into the sequence, and finally to review it. No wonder it took a long time.

With every edit the recording went to another generation, due to the fact editing was a playback and re-record process. Also because the sequences all had to be laid down on the tape in order, it meant that to re-arrange the order meant another edit, and hence another generation. Ideally the best that could be achieved was 2nd generation, where the final edit was the first edit. For a lot of programmes a first edit was fine tuned by a second edit, leading to 3rd generation. However for programmes like ‘Pebble Mill at One’, inserts would often come from previously edited programmes or shows, so by the time they appeared in a ‘Pebble Mill ‘Highlights programme would be 5th or 6th generation, by which time the recording deficiencies start to become obvious. This has been something of a problem for archives, as often the original early generations have often been wiped, or the original source lost in the trail of hand written records. No wonder everyone welcomed digital recording with the infinite generation promise of fidelity, but that did not come for nearly another 20 years.

Ray Lee

Film Editor, Henry Fowler – photo by Ian Collins

Photograph by Ian Collins, no reproduction without permission.

The photo shows film editor Henry Fowler at his Steenbeck, editing.  Henry Fowler edited a variety of dramas and documentaries at BBC Pebble Mill including:

‘Death of a Miner’ 1968, ‘Before the Mast’ 1971, ‘That Quiet Earth’ 1972 (30 Min Theatre),’The Shoals of Herring’ 1972, ‘Land of Green Ginger’ 1973 (Play for Today), ‘Steps Back’ 1973 (Play for Today), ‘Penda’s Fen’ 1974 (Play for Today), ‘Gangsters’ 1975 (Play for Today), ‘Breath’ 1975 (Play for Today), ‘The Other Woman’ 1976 (Play for Today),’ The Muscle Market’ 1981 (Play for Today).