Barry Hill – What Was Pebble Mill?

The Long, The Short and The Tall – Andy Woodhouse

As part of my training in 1979, I was attached to the technical team of a couple of productions including a drama, a BBC Schools’ production of The Long, the Short and the Tall recorded over 3 days at Pebble Mill. The producer/director was Ron Smedley. Key acting cast is listed at https://www2.bfi.org.uk/films-tv-people/4ce2b73aef97d. The episodes were subsequently transmitted as a single play. More details at IMDB https://www.imdb.com/title/tt13411812/?ref_=adv_li_tt. I can recall the lighting director was Barry Hill, the technical manger was Ron Irvine, the sound supervisor was Alastair Askham, and the vision mixer was Mark Kershaw.

The production was divided into 3 half-hour transmissions, each episode was allocated one studio day and recorded “live to tape” multiple times. Ron Smedley wanted the uninterrupted action from the stage play to be available in this TV production, enabling the actors to react better to the rapid dialogue segments. The production used a single set that occupied most of the floor area in Studio A, including a jungle setting at the rear of the hut. One shot in the programme needed a wide shot of that jungle and the entrance to the hut, but the camera shot would have included a lot of the lighting rig, so a glass shot was created to hide this unwanted area.

by Andy Woodhouse

Hut interior (right) and jungle (left). Floor at edge of hut is quite crowded with technical kit. Photo by Andy Woodhouse, no reproduction without permission

Multiple sound booms and camera cranes in use. Photo by Andy Woodhouse, no reproduction without permission.

Close positioning of the cameras and sound booms on the floor. Photo by Andy Woodhouse, no reproduction without permission.

Shows size of jungle area, and use of bounced light for the hut interior. Photo by Andy Woodhouse, no reproduction without permission.

Shows the camera at the left side, with the artist, Steve Mitchell, painting onto the glass to add the scenery extensions. The artists monitor showing the composited image is just to the left of centre. Photo by Andy Woodhouse, no reproduction without permission.

Cutout in the scene cloth, the glass in the frame, and the two artists at work. Photo by Andy Woodhouse, no reproduction without permission.

Detail of the painted glass. Photo by Andy Woodhouse, no reproduction without permission.

Lesley Weaver left the following comment on the Pebble Mill Facebook page:

Lovely to see this production pop up. I worked on it, I was assistant to the lovely Make-up Designer Carol Churchill, and I looked after actor Micheal Kitchen who I remember as being really nice.

Pot Black – Barry Hill’s retirement

This clipping is from the March 1984 edition of the Pebble Mill News.

The photo shows TM Barry Hill being presented with a replica version of the Pot Black trophy, from the popular snooker tournament, by Alan Weeks, on the occasion of his retirement. Barry, who had been a BBC employee for 43 years, worked on the series since it began in 1969.

Thanks for Robin Sunderland for making the Pebble Mill News available.

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

Peter Trevena: ‘I did 4 pot blacks with Barry fun times.’

Gordon Astley: ‘I was in sound on the first Pot Black. My first proper job after training!’

Judith Markall: ‘I remember him well – a lovely man.’

Lynn Cullimore: ‘Yes I remember working with Barry. Always professional and nice to work with.’

Philip Donnellan retires

This article from the Pebble Mill News from 1984, lists some ‘comings and goings’ at BBC Pebble Mill.

Included in the ‘goings’ is radio and television producer, Philip Donnellan. Philip joined BBC Birmingham in 1948, and his retirement was beginning with a filming trip in the USA, and the promise of being able ‘to make all the films I wasn’t allowed to in the BBC!’

Other notable ‘goings’ include Stan Smith from Comms, Technical Manager Barry Hill, cleaners Maud Joyce and Gwen Carr.

Amongst the new faces were trainee cameramen, Simon Bennett and John Moorcroft, engineer Steve May, Top Gear researcher Jon Bentley (now of the Gadget Show), and dresser Terry Powell.

Liz Darby, Bob Jacobs are also congratulated on their attachments.

Thanks to Robin Sunderland for sharing the Pebble Mill News.

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

Laura McNeill: ‘That is brilliant! I trained with David Page at Wood Norton, the audio trainee.’

Stuart Gandy: ‘Many names I remember here and some I have worked with over the years.
Dave Bushell seeing your name there reminded me that it’s 35 years last month since I joined the BBC and you were my course lecturer!’

Dave Bushell: ‘Yes, Stuart, you were one of my early victims! Luckily you survived!’

Steve Dellow: ‘Lurking at the extreme bottom right (Anniversaries)…Clive Kendall (Comms) reaching 40 years service!’

Richard Stevenson: ‘Jon Bentley, Researcher Top Gear. Didn’t he do well?!’

Studio Operations (part 2) – Ray Lee

TM’s and EM’s

The studio engineers all worked to the TM’s (Technical Manager). Each studio day had a TM1, who was senior and looked after the studio lighting, and a TM2 who dealt with all the other technical issues, and liaised with the producer and director.

The TM1 was always in the lighting gallery, and the TM2 in the production gallery. Between them they were the final arbiters of technical quality during the production. TM2’s quite often acted as TM1’s and there were quite few movements in the early days, so I cannot be exactly sure who was in post at the time (mid 1970s). Bob Gell and Barry Hill were the main TM1’s, joined soon by Dick Bentley together with TM2’s who I think were Bob Chaplin, Derek Price, John Jevons and later Ron Irvine. They were joined later by George Allen and Barry Chatsfield. (who moved from being a Cameraman to TM fairly early on as I recall).

The two EM’s (Engineering Managers) at that time were Gordon White and John Endall. They were in charge of all technical planning of O.B.’s . Normally only one EM would be allocated to an OB. as there was rarely any major lighting to be done.

Ray Lee

Studio A lighting gallery

Live from Pebble Mill – Cargo Kings

Copyright resides with the original holder, probably Willoughby Gullachsen; no reproduction without permission. Thanks to Janice Rider for making the photographs available.

‘Cargo Kings’ was a live play produced at Pebble Mill in 1983 in Studio A, when Robin Midgley was Head of Drama.

The BFI Database describes the storyline thus:

‘Roger Savage, an anthropologist, visits at remote island, where the natives, Mambu, Baku and Abode learn about an obscure cargo cult from him. Soon they are in London putting Savages ideas into practice.’ http://ftvdb.bfi.org.uk/sift/title/161953

The script was written by Stephen Davies, directed by Donald McWhinnie, Dawn Robertson was the production associate, with Will Hartley the production manager. Roger Gregory was the script editor. Ian Ashurst was the production designer, with Janice Rider the costume designer and Carol Ganniclifft the make up designer. Bob Hubbard was the camera supervisor, lighting was by Barry Hill, and Annette Martin was the vision mixer.

The play starred Jeffrey Kissoon as Baku, Norman Beaton as Mambu, Michael Cochrane as Roger Savage, Christopher Asante as Obode and Ray Smith as Chief Inspector Beltrap.