Angela Rippon presenting Top Gear

Copyright resides with the original holder, no reproduction without permission

Copyright resides with the original holder, no reproduction without permission

 

 

 

 

 

 

 

 

 

Here is a screen grab of Angela Rippon presenting the first ever episode of the motoring magazine show, Top Gear, stood outside BBC Pebble Mill, from 1977. An excerpt of this episode is included in the following BBC show, Back in Time for the Weekend, episode 3, The 70s: http://www.bbc.co.uk/iplayer/episode/b071c07m/back-in-time-for-the-weekend-3-the-70s

Here is the Radio Times entry for an early episode of Top Gear, from July 1978, courtesy of the BBC Genome project: http://genome.ch.bbc.co.uk/53d7caaca2db42e9af4b102cb6bb061b. You’ll see from the text that the programme was much more consumer and safety conscious than the current iteration of Top Gear:

“Top Gear with Angela Rippon and Barrie Gill
Rippon on the Road
The big holiday rush begins this weekend and many drivers plan to travel through Friday night. How dangerous is this practice? What are the stress factors and what are the signs of fatigue? Angela finds out for herself by night driving to the West Country. Twenty people are killed and over 200 seriously injured each week yet these figures could be cut to one tenth if we used our seat belts. Should we leave it to persuasion or is compulsion the final answer?
Director PHIL FRANKLlN Producer DEREK SMITH BBC Birmingham

D3 and Beta SP machines

P7121397Photo by Ian Collins, no reproduction without permission.

The photo shows a Panasonic D3 machine, and an Ampex Betcam SP machine.

D3 was a 1/2 inch videotape format which lost very little information between generations, and was hailed as a great revolution. It was brought in, in the early 1990s. I remember how excited everyone in post production got about D3, because you didn’t lose picture quality in going down a generation – although some thought that it would make production staff even more lax in their editing, because it didn’t matter if you had to go round again! Ironically, the tapes did not stand the test of time well, meaning that much of the BBC archive had to be digitised. D3 tended to be an editing and delivery format, rather than a shooting format.

Beta SP was also a 1/2 inch videotape format, and was the standard tape used in the late 1980s, and early 1990s for recording portable single camera location pieces.

These machines were in post production – probably in the machine room between VTC and VTE.

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

Paul Vanezis: ‘We had three D3’s in VTE but 2 machines everywhere else. We did totally mad pre-read edits on Top Gear and The Clothes Show. But the maddest was a Motor Show Special. It was 10 minutes before TX on a Sunday afternoon in 1992. Steve Neilson was editing and dropped out of record in the middle of a pre-read edit. The look of horror on his face was something to behold. I got him to redo the edit as audio only and pick the vision up later! We did make it on air and there were plenty of examples of that going on.’

Alan Miller: ‘I believe the D3 saga has an interesting ending in that the BBC has thousands of tapes to archive but there are not enough D3 head assemblies in the world to copy them to another format!’

Adam Trotman: ‘And you had to line them up properly or you would get a hop in the picture. …’

Russell Parker: ‘They retired there, but I think this photo is either VTE or Edit 17’s machine room.’

 

Videotape in the ’70s (part 4) Ray Lee

 

 

 

 

 

 

 

 

 

 

 

Still from Ian Collins, no reproduction without permission.

Peter Wood-Fisher’s electronic clock. Grab from Keith Brook

 

 

 

 

 

 

 

 

 

 

 

 

VT Clock

The countdown clock was initially a mechanical clock on a kind of blackboard in the studio, and was recorded at the beginning of each section of recording. It had sections for the programme title, tape number, take number, sequence title and other important identifying information. This was written on by the floor manager, (or assistant FM) prior to the recording. One of the difficulties was that when a tape was edited, the clock information could not be updated in VT to indicate this was an edited master, unless a separate clock had been recorded previously. The clock was generally started at around 30 seconds and allowed to count past 0, although in shows recorded as live the vision mixer would cut to black at 3. Where a series of clocks for editing purposes were recorded, the cut to black would be done in the edit by VT.

In the late 70’s Peter Wood-Fisher, a keen engineer built an electronic VT Countdown clock using a large quantity of integrated circuits, and housed it in a home made plywood box. It was around 18inch square with a full size keyboard at the front, then an up-stand housing the rest of the electronics, on which there was just room for a pair of 9inch monitors. This allowed VT to add clocks to edited items and recorded inserts without tying up studio time. This was the forerunner of using the BBC Micro as a VT Clock, which only became possible in the mid 80’s. (the BBC Model A was first produced in 1984). In those early days studio recordings often still recorded the clock from the studio, but the VT clock was used for subsequent edits. As there was only one VT Clock, various routing arrangements were made in order to make it available to the other VT areas. It sat on the back shelf in VTA cubicle.

Ray Lee

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

Peter Poole: “BBC Norwich still used these VT clocks long after Pebble Mill changed to electronic. I went on attachment as a Tech Op. The studio looked like a museum of broadcast equipment!”

Eurwyn Jones: “Just read the article on the Pebble Mill site. I remember the clock well – on live shows like ‘Farming Today’ on Sunday mornings,the clock was used at the end of the show as well. It faced the presenter in the studio and on cue from the PA counting down to the end on the show we would start the clock and they would see how long they had left. Some would ignore it though!!”

Peter Poole: “Pebble Mill engineers had a great talent for building ingenious electronics.”

Ned Abell: “Its ironic this surfaced the day after Ceefax closed…now wheres my BBC B from September 1982?”

Marvin’s Credits

Photo by Tim Savage. Marvin is on the far right!

 

 

 

 

 

 

 

 

 

 

 

 

Marvin’s credit on Track One. Grab from Keith Brook.

 

 

 

 

 

 

 

 

 

 

 

 

VT editors are a singular breed, and sometimes curiously attached to inanimate objects! The VPR2 machine in VTC was affectionately known as ‘Marvin’. Presumably after ‘Marvin the paranoid android’ in ‘Hitchhiker’s Guide to the Galaxy’. Not only was ‘Marvin’ the machine, named, but he was also credited – on at least one, and possibly on more programmes, for his creative efforts.  ‘Marvin’ is the machine on the extreme right of top photo – not a very good shot of him!

‘Marvin’s’ credit was on ‘Track One’ a regional programme for the discerning younger audience. The credits for VT read: ‘Marvin – Mike Bloore – Ivor the Engine’ in that order. So Marvin got top billing as well!!  Keith was the director of that episode, produced by Keith Haley, with executive producer, Mike Fitzgerald. (Thanks to Keith Brook for this information, and the grab!).

‘Marvin’ may also have enjoyed other credits – possibly on ‘Look! Hear!’

Videotape in the 70s (part 3) – Ray Lee


Photo by Tim Savage, no reproduction without permission

VT Expansion

Around 1975/6 VTC was created. A pair of AmpexVR1200 were installed into the new area, but because there were only sufficient lines on the Comms router at that time for one more VT they shared a single source and destination route, and one control line. When working with a studio or outside destination, they only saw whichever machine was switched to line, which meant that for programmes like Midlands Today, one machine could be cuing the next item, while one was playing, but normally it would need a brief return to another source so that the machine to line could be switched prior to playing the next item. I had a fairly extended period working in VT after VTC was created, and even did some training of others including Tim Savage. At that time Angela Ripon was the main presenter on “Top Gear” which was frequently edited in VTC.

Soon after that the IVC 9000 Slant track machine was installed in the former Telecine viewing room. More and more programmes were using VT and so any viewing of film material took place either in the viewing theatre run by Stan Treasurer, or in the Telecine cubicles themselves. The IVC 9000 used 2inch wide tape like the Quad machines, but recorded the tracks diagonally across the tape. The tape also ran at half the speed that the Quad machines used, so could accommodate longer continuous recordings.

It was slightly less noisy than the Quad machines and had a much quicker start up mode. (I believe it could be synchronous in 3 seconds instead of 10). This machine was used extensively by Pebble Mill at One, but because there was only ever one machine, it still required a Quad machine to do edits, and also any material that was on slant track format tapes, could only be played on that machine, which rather limited its usefulness. The idea of obtaining a second machine for an edit pair never materialised, as by this stage the Ampex VPR2 machines were starting to be installed in London, and subsequently at Pebble Mill, and these had the advantage of seeing pictures in still frame and shuttle mode, which enormously improved the location of edit points.

Ray Lee

Ray added this additional information on the Pebble Mill Facebook page: ‘VTC was equiped with VR1200s which Paul (Vanezis) is quite correct were older machines (than the VR2000s). Pebble Mill had them 2nd Hand I think ex London when they were just starting to install VPR2’s at TVC as far as I recall.’

© What Was Pebble Mill?