Three Degrees on Pebble Mill at One

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

Here is a still of the American female vocal group, The Three Degrees performing on ‘Pebble Mill at One’ in the Foyer (Studio C).  The line up of The Three Degrees changed over the years; they originally formed in 1963.

It probably dates from the early 1980s.

The following comments were left on the Pebble Mill Facebook:

Tracy Crump:’ yep got the signed scripts from that one’.

Keith Brook: ‘I vision mixed that item. We pre-recorded three tunes and I still have the video!! John Couzens and Jim Gray were two of the cameramen. BTW, it wasn’t called Studio C at that point.

It wasn’t until it got it’s own gallery was it called Studio C. Before that we used Studio B cameras and gallery Monday, Wednesday and Thursday. Studio A cameras/gallery were used Tuesday and Friday. This was because Wednesday and Thursday were drama days in A, and Friday had the Asian programme in B.’

Seed – photo from John Greening

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

‘Seed’ was a single drama which went out in 1996, it was part of a new writers’ competition, the script was written by Cole Bradley.  The BFI database includes the following synopsis for it:

“Rites-of-passage drama set in Birmingham. Les is just out of prison and wants to see his baby but the mother Julie and her family are against the idea. Together with his friend Ben, Les decides to plant a field of wheat on a piece of waste ground for the baby. Ben has to decide whether to go to Jamaica or not and his decision depends on his girlfriend Hashi. She plans that they will make love three times in extraordinary places in order to make their decision.”

The drama starred Jim Pyke as Les, Terence Maynard as Ben, Nicola Arumugam as Hashi, Ram John Holder as Ben’s grandad, and Sudha Bhuchar as Aunt Minah.

Photo includes: John Greening – director, Kevin Lakin – location manager, Peter Lloyd – script editor, Amanda Neal – 1st AD, Barbara Mackie – Producer, Midge Ferguson – AD, Janice Rider – Costume Designer, Bev Dartnall – Associate Producer, Leigh Ashurst – design,  Jim Gray – camera, Andy Morton – sound, Jo Mainwaring – PA, Vivienne Oldham – make-up designer. Dave Bushell, was the lighting director, although I can’t see him pictured.


Good Morning with Anne and Nick – photos by Laura McNeill

Photos by Laura McNeill, no reproduction without permission.

These photos were taken during a ‘Good Morning with Anne and Nick’ trip to Guernsey, for a live outside broadcast edition of the show.

Nick obviously missed his vocation – and should have been a bus driver!

The third photo shows some of the crew in Guernsey, including, left to right, cameraman Bob Meikle, sound supervisor Peter Knowles, cameraman Jim Gray, vision mixer Sarah Jayne Phillips and floor manager Marco.

Morte D’Arthur – David Short (cameraman)

Here is a crew photo from Morte D’Arthur and a shot of me operating an EMI 2001 camera with Gillian Lynne looking on. Morte D’Arthur was the first time that I had a chance to operate a camera on a major drama production. I had a lot of encouragement from fellow cameraman, Jim Gray, who encouraged me greatly. Drama became my favoured type of production to work on.

David Short  – Cameraman at Pebble Mill from Sept. 1981 until May 1985 (when I transferred to TV Centre)

In the first photo l to r: Toby Horwood, Phil Thickett, Gillian Lynne (seated centrally), Bob Meikle (back right)

Crew of Nike

David Short on the EMI 2001 with Gillian Lynne























(Photo copyright resides with the original holder, no reproduction without permission)

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

Steve Dellow: ‘I’m sure that the last EMI2001’s were in Studio B during autumn ’83….? Then it was Link 125’s all round….and of course the old EMI in Pres?

Dave Bushell: ‘Looks like a 2001 – nasty things!’

Steve Dellow: ‘When I arrived in Sept ’83, Studio A was being refurbished and I was assigned to Colin Speirs to do acceptance testing. So maybe the recordings were done earlier in the year before it was stripped out?

Nasty things? From what I heard,once they were lined up they stayed lined up, not like the Links that needed realigning twice a day! However, they didn’t like being left pointing at a line up chart for an excessive period – like Doug (Services) did when he left it while he went for his dinner! New tube please!’

Dave Bushell: ‘Just stirring it, Steve! I never liked the tinted-monochrome feel of the EMIs but I was a voice crying in the wilderness when I arrived at Pebble Mill in 1984. Criricising the EMI 2001 was not a move guaranteed to endear me as the new boy.’

Steve Dellow: ‘No worries – I was coming from an engineer’s direction! ;-)’

Dave Short: ‘Ask any cameraman who worked during the 70’s or 80’s what was the best camera to operate, and the EMI 2001 would come out tops.’