Category: Regional

Kay Alexander leaves BBC Birmingham

copyright resides with the original holder, no reproduction without permission

 

 

 

 

 

 

 

 

 

 

 

 

 

‘Midlands Today’ presenter, Kay Alexander, retires today from BBC Birmingham after nearly 40 years.  She began working for the BBC in 1974, and yesterday she presented her last bulletin, at lunch time.  Besides from ‘Midlands Today’ she has presented ‘Best in Brass’, ‘Children in Need’ for the Midlands region, ‘Miss Great Britain’, and ‘Life File’.   Although originally from Surrey, she became an adoptive Brummy after studying English at Birmingham University.

The photo dates from 1977, it includes the regional news presenters, left to right:  Guy Thomas, Kay Alexander,Peter Windows, David Stevens, (back row) Michael Hancock,Tom Coyne.  Thanks to Annie Gumbley for making the photo available.

The following comments are just some of those left on the Pebble Mill Facebook Group:

Ruth Kiosses: ‘Ahhhhh end of an era! Such a lovely lady with such a beautiful and distinctive voice.’

Julie Mayer: ‘All good things must come to an end, but they are shoes that will be hard to fill. Lovely lady and great friend.’

Pam Relton: ‘I always think Kay must have a portrait in the attic – she looks so lovely. Really is the end of an era. All the best Kay.’

Ros Gower: ‘A true lady and an enormous pleasure to work with. Happy retirement Kay.’

David Crozier: ‘I remember Kay as a warm, intelligent and immensely professional person. Happy days, Kay!’

Fiona Barton: ‘Happy retirement, Kay. Was so lovely to catch up with her and Brian earlier in the year. What a fab couple, so much fun…they didn’t look a day older than when I left Pebble Mill more than 20 years ago!’

Steve Peacock: ‘Fare well Kay and enjoy the next phase’

Dawn Trotman: ‘Always a joy to work with and a consumate professional. Glad to know I am also leaving the BBC in the same week as such a glamourous lady. Enjoy your retirement Kayx’

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.’

Cutting Reversal Film for News – Paul Freeman

Paul Freeman, Julia Gray, Anne Williams. Newsroom photo by Ivor Williams

 

 

 

 

 

 

 

 

 

 

 

 

During my time in the newsroom all material – except for a few ‘features’ was shot on reversal commag stock. The main problem with commag stock was, of course, the separation of the gate and the recording head, meaning that cutting the picture in the right place was wrong for the sound and vice-versa, hence the need to transfer the sound to sepmag stock (16mm magnetic tape, but it was perforated like 16mm.). If time didn’t allow for the transfer, then the cut mismatch had to be accommodated by either inserting a noddy (or the next actual reporter’s question preceeded by a pontifical (leading) noddy, or any one of a number of other technical fudges!). Or else it needed dubbing in studio 9 where we covered the bumps with suitable audio (commentary, SFX, music etc.) recorded onto sepmag stock in the TK machine, or occasionally dubbing it live if a last-minute network insert run live from London (more adrenaline than on a battle-field!). Not forgetting – as occasionally happened – to gently remind the TK operator to ‘pull it up 3 frames’ before TX.

I don’t believe edited sepmag was ever laid back to the commag – apart from anything else, the resultant audio would have ‘bumped’ over the edits. Why would you bother when the commag track was about a 10th the size of the sepmag? 
Having had the opportunity to see other regional news mags, and how they coped with commag and all its attendant problems (usually live reporter v/o in the studio + live grams) I think studio 9 was an elegant and efficient solution, no matter how much some of the ‘proper’ dubbing mixers looked down their collective noses at us! 
The features, and the opt-outs were usually shot on either reversal (with the commag track not used, or used as either a guide track or occasionally a wild track) with sound on 1/4″ recorded on a Nagra or mute colour neg + 1/4″.
 What a faffy world it was before video/u-matic/Beta/digibeta, but I count dubbing shifts in studio 9 as some of my happiest times in Pebble Mill.

Paul Freeman

Peter Poole, left the following comment on the Pebble Mill Facebook Group: ‘Hi Paul, thanks for an interesting blog. I probably complained about Studio 9. You had limited facilities and time pressure. And looking back on it I think you did a good job. I remember station assistants playing sound effects discs live in Studio B to cover mute film. Norwich still did live commentary even when U-matic tape was in use.’

Children in Need Staff List




 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Copyright resides with the original holder.

The document is a staff list from the 1999 regional opt team for the Children in Need evening show.

Note that the presenters included Michael Ball, alongside Midlands Today presenters: Nick Owen and Nina Nannar.

Thanks to Harvey Pope for making the list available.

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

Matthew Sly: ‘I was Pudsey Bear that year, we did the majority of it from Nat West in the Town Centre.
I was approached to be Pudsey when I worked in the Post room, and obviously was honoured, I remember that night very well indeed.

I remember how torturous the suit was, it had a fan in the head, but you couldn’t use it. I remember meeting a lot of Children while they were Auditioning for a Martine McCutcheon Video and almost passing out near the end.

I also remember H, Pete, Matt Wall and Matt Evans laughing their heads off when I first put the thing on:)’

Marie Phillips: ‘Matthew – whilst I was Co-ordinator we had strictest instructions that the suit should not be worn for more than twenty minutes at a time – a ten minute break with the head off and so on. You were lucky you didn’t suffer any ill effects. My long serving Pudsey was Charlotte Mayberry (spelling?) who did a brilliant job.’

Matthew Sly: ‘Very true Marie, I was also given the same instructions I must admit, I think I was just a bit of a wimp, the ladies that looked after me were absolutely lovely, to my shame I can’t remember their names anymore.

They also sent me a lovely letter after the night and I’ve also lost that, such a shame, it would have been my pride and joy.’

David Ackrill: ‘A friend of mine (Giles Herbert) who was an Engineer at Pebble Mill helped to organize the CiN special event station using the BBC Amateur Radio Club station located in the Pebble Mill building one year and I have a “QSL” card for a CW (Morse code) contact with the station on 144MHz somewhere in my files.’

© What Was Pebble Mill?