Editing using a Steenbeck: Edge Numbers and Rubber Numbers

Copyright, Royal Holloway, University of London, no reproduction without permission.

The video features Dawn Mears (now Trotman) – BBC Pebble Mill film assistant editor (now freelance Avid editor), demonstrating how edge numbers and rubber numbers were used in film editing.

This video is part of Royal Holloway, University of London’s, Adapt Project, led by Prof. John Ellis, which documents now defunct analogue television production processes. It was filmed at the London Film School, then in Soho, who had the best working examples of a Steenbeck and Pic-Sync we could find.

Dawn Meers demos edge numbers and rubber numbers

Dawn Mears demos edge numbers and rubber numbers

 

 

 

 

 

 

 

 

 

The following comment was left on the Pebble Mill Facebook page:

Mark Heslop: ‘It’s a good job we sent it out to Bob for numbering or there would be a generation of assistant editors with no fingertips, bloody dangerous machine’

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Timesheet – Reaching for the Skies

Charles White's timesheet

Charles White’s timesheet

 

 

 

 

 

 

 

 

 

 

 

 

 

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

This timesheet is from Charles White, who was involved in the post-production of the documentary series: Reaching for the Skies, a history of flight. The twelve part series was transmitted in Sept-Nov 1988. It was a co-production with John Gau Productions, the series producer was Ivan Rendall, with different episodes being produced and directed by different people, including Tony Salmon and Dennis Adams. The editors included Greg Miller and Mike Duxbury.

The timesheet shows an over 80 hour week for Charles, meaning that he would have accrued an awful lot of overtime payments, or time off in lieu!

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

Jane Green: ‘I have my Clothes Show and Howards’ Way timesheets. 20 hours days filming – no joke!’

Ruth Barretto: ‘I can remember the days when I used to process all of productions timesheets and Expenses. 4 consecutive days in excess of 12 hours and on the 5th day 4 hours then you earn a day off in lieu…. Oh so sad that i still remember that!!!’

Lynn Cullimore: ‘I can imagine the hours as it was a big production. I worked on it for a few days filming at RAF Coningsby on tornadoes. It was fantastic.’

Victoria Trow: ‘Long hours? Over 100 one week on the dreaded Witchcraft. But nobody ever minded over time – time and a half + less than 10hr break….. Those were the days. My first job at Pebble Mill – in a portakabin with Fiona Haigh syncing up the rushes.’

Mark Heslop: ‘108 hrs on same series, unfortunately no proof, but everybody worked stupid hours on that programme.’

Rosalind Gower: ‘I’m still rather horrified he was scheduled a 60 hour week! I know we all worked crazy hours when we had to but it does seem very wrong that he was officially down to work for five consecutive days of 12 hours per day, big production or not.’

Post Production Christmas Party

Mark Heslop, Ingrid Wagner, Stan Treasurer, Greg Miller

Mark Heslop, Ingrid Wagner, Stan Treasurer, Greg Miller

Jonathan Birkett, Victoria Trow, Roger Mulliner, Ian Bellion

Jonathan Birkett, Victoria Trow, Roger Mulliner, Ian Bellion

Ian Bellion, Peter Gower, Charles White, John Rosser, Mike Duxbury

Ian Bellion, Peter Gower, Charles White, John Rosser, Mike Duxbury

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Photos by Shirley O’Mara, no reproduction without permission.

Each year the Pebble Mill Post Production department held its own Christmas party. These photos date from the late 1980s, when the department descended on the Forbidden City Chinese Restaurant for its festive treat!

Please add a comment if you can identify any of the missing names.

Dave Baumber in Dubbing Theatre

Dave Baumber 1 PP

Dave Baumber in Dubbing Theatre PP

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Photos by Peter Poole, no reproduction without permission.

These photos of are dubbing mixer, Dave Baumber, taken around 1976. The top photo was taken in the room next to the mixer area, which housed the sepmag bays. The bottom photo was taken in the dubbing theatre. Dave mixed a myriad of programmes at Pebble Mill, both dramas and factual programmes. He was certainly one of Pebble Mill’s best dubbing mixers, and was frequently requested by producers and directors.

Dave moved up to Birmingham, from working at the BBC in London in the 1970s in the early days of Pebble Mill. He worked on many of the English Regions Drama department productions.

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

Victoria Trow: ‘Dave Baumber taught me to tracklay, which stood me in very good stead when I went to London. Thank you Dave.’

Peter Poole: ‘Film unit was a great place to work. Such lovely and fun people.’

Mark Heslop: ‘Many a night and long day sat in those rooms, especially during “Trainer”‘