Oliver White – Page 2 – What Was Pebble Mill?

Nanny – track laying sheets

These kind of sheets were prepared by the person track-laying a piece of film, to inform the dubbing mixer about what was intended for the audio mix. In this case, film editor, Oliver White, was also the track-layer. The sheets are from episode 6 of the 1981 drama series, Nanny. Wendy Craig played the title role.

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

Roger Slater: ‘The numbers are film footage from zero at first frame and were on a large display beneath the screen in the dubbing theatre. The yellow blocks represent where the sound is in the tracks and were hard cuts or mixes as decided in the mixing. The arrows are just an indication of where to go. This is a very simple chart with a few tracks, You could be mixing 8 -10 or up to 40 tracks on a big drama or film.’

Nanny, S2, Ep4, Slate and Take information

This paperwork is from the drama series: Nanny, starring Wendy Craig. The script is from series 2, episode 4. What is interesting is that the script includes the hand written Slate and Take information, with alternative possible shots listed. This copy of the script belonged to film editor, Oliver White, and would have been used in the editing process.

The abbreviations included stand for the following:

O/s – over the shoulder

a.b. – as before

f/g – foreground

b/g – background

LS – long shot

MCU – medium close up

MS – medium shot

Thanks to Oliver for sharing the script, and for keeping it safe since 1981!

Kinsey – rubber numbers

This sheet shows the ‘rubber numbers’ for some of the 16mm film rushes for the 1991, Pebble Mill six part drama series, Kinsey. The ‘rubber numbers’ were added to the transferred sound, so that it could be synched up with the frames of film. This log shows how the ‘rubber numbers’ corresponded with the ‘key numbers’ on the film itself. Also included are the slate number, the episode and the scene, and a description of the shot.

Thanks to film editor of Kinsey, Oliver White, for sharing this sheet.

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

Adam Trotman: ‘Omg my bad hand writing. Seems I was very lazy with my shot descriptions. Bob Mitchell used to do the rubber numbering. The rubber numbers where added to both the film rushes and the sound after we had synched it up with the clapper boards….. The key numbers were noted down as a double check if we ever need to get new rushes printed for what ever reason. And finally I see a take 11. …. never seem to go beyond 4 these days….’

Dawn Trotman: ‘Is it your writing Adam? Great times at Elliot road.. and don’t forget the black spacing!’

Victoria Trow: ‘Blimey, rubber numbers – Adam, was that you? Oh Bob Mitchell…. And Oh Oliver White and Carol Parks who saved me….. I will never forget Oliver re-cutting a scene on that show that had seemed fairly routine and uninteresting. A master class, A few frames off here, a few added on there…. Memorable.’

Terry Powell: ‘I loved working on this show, looked after Lee Lawson who still to this day, and his wife Twiggy, I see.’

Pete Simpkin: ‘Could someone explain to an essentially radio bloke what on earth you are talking about??’

Adam Trotman: ‘Pete – this is a shot log used in the old film cutting rooms. It was to help assistants and editors keep tabs on what rushes they had and where they were. … rubber numbering was used to help keep the film in sync with the sound.’

Shakespeare or Bust end credits

This grab is taken from the end credits of Shakespeare or Bust, by Peter Terson.

The 1973 Play for Today featured the three characters who’d appeared previously in The Fishing Party. The drama followed the miners, Art, Ern and Abe, on a canal narrowboat trip down to Stratford Upon Avon. Art was played by Brian Glover, Ern, Ray Mort and Abe by Douglas Livingstone.

The story is of how the three men travelled on a canal boat to see some Sharkespeare at the RSC in Stratford Upon Avon, but when they arrived they couldn’t get in to the theatre. However, at the end of the play they meet Richard Johnson and Janet Suzman, as themselves, outside the theatre, where they were playing the title roles of Anthony and Cleopatra. I think the grab is of Janet Suzman going for a swim in the river at the end of the film.

The producer was David Rose, Brian Parker the director, with Barry Hanson as script editor, assisted by Tara Prem. Oliver White, as you can see from the grab was the film editor, with sound by Peter Caselberg.

Thanks to Ian Collins for sharing the grab.

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

Susan Cawson: ‘Peter Terson lived on [the canal boat] Ben when it had a cabin. We had an interesting trip when he towed Christopher James for us, he is the only person I know who can steer a 70′ boat through a bridge sideways and get away with it. An interesting weekend!’

Nanny – script front page

This is the rehearsal script front page for series 2, episode 4 of the 1981 drama series: Nanny. The series starred Wendy Craig as the nanny. The producer of the drama was Guy Slater and the director, David Tucker.

You’ll notice that the crew would be filming the winter sequences of this script on New Year’s Eve 1981 – that’s dedication!

Thanks to film editor, Oliver White, for keeping the script safe all these years.

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

Helen Wheatley: ‘I loved this programme with all my heart and told my parents I wanted to change my name to Artemis as a result of watching…’

Lynne Cullimore: ‘Loved it. I remember talking to Wendy Craig in the canteen and she was worried about which salads contained onion, as she was recording in the afternoon and did not want to breath onion over her fellow actors. I thought that was so nice of her. Loved Butterflies too but we did not do that one.’

Belinda Essex: ‘I remember temping while I was still at college for the Beeb early 80s and Wendy Craig was the first celeb I ever saw there, in the lift up to the canteen – I was very impressed.’

Roy Thompson: ‘Remember showing Wendy how to operate the tea machine, wonderful times.’