Royal Holloway – What Was Pebble Mill?

Lining up cameras

This video demonstrates how the line-up for studio and outside broadcast cameras worked. It was produced as part of Royal Holloway, University of London’s, ADAPT project, using the restored outside broadcast truck CMCR9, Pebble Mill’s original CM1. The ADAPT project recreates how now defunct television production processes worked, and is run by Professor John Ellis. The video is protected under a creative commons licence.

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

John Greening: ‘Still have a line up before every studio day on EastEnders’

Carolyn Davies: ‘Still done in many studios…certainly not a ‘was’ process!’

Editing using a Steenbeck: Edge Numbers and Rubber Numbers

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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Syncing film rushes with Dawn Trotman and Oliver White

This video was recorded in August 2015 as part of Royal Holloway’s ADAPT project. The aim of the project is to recreate how television programmes used to be made, before digital technology. The project reunited Pebble Mill film editor, Oliver White, with former film assistant editor, Dawn Trotman. Oliver had a long and illustrious editing pedigree, cutting dramas like Nuts in May, The Red Shift, A Touch of Eastern Promise amongst many others. He retired as Avid editing came in. Dawn is now a freelance Avid editor, cutting programmes like Countryfile for many years. The ADAPT team asked Dawn and Oliver to demonstrate how film and sep-mag audio were synched up using a Picsync and Steenbeck. This film cutting room was in the London Film School.

Dawn Trotman with Oliver White in the London Film School cutting room

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

Roy Thompson: ‘Remember teaching all of these film techniques, sound transfer, syncing up, track laying and dubbing to the ITO course (Introduction to Technical Operations) at Wood Norton after being taught by Henry Fowler formerly of Pebble Mill. A great exercise in logic, and creativity, for the students who, in a group of 3 or 4, were given 200 foot of 16mm reversal to make a short film. Great learning even though by then single electronic cameras were making inroads into production and news gathering. Great memories.’

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North 3 Outside Broadcast – press release

Photo by Steve Harris, no reproduction without permission

(Here is a press release about the reconstruction of a recording by the OB truck North 3, which was Pebble Mill’s original CM1)

“NORTH 3” TEAM TO TAKE TELEVISION BACK IN TIME

A team of television historians will travel back in time as they bring a vintage BBC outside broadcast truck back to life in North Wales.

Working with Flintshire-based broadcasting history enthusiast Steve Harris, the team from Royal Holloway University of London will reunite veteran cameramen, directors and engineers with North 3, a restored colour mobile control room.

North 3 travelled the length and breadth of the country during the 1970s, relaying live footage of Royal Ascot, The Open from St Andrews and the Royal Variety Performance from the London Palladium.

It ended its life with the BBC in the early 1980s, and spent several decades decaying at an airfield in Devon, before being rescued and restored by Hawarden-based television historian Steve Harris.

Now researchers from Royal Holloway are about to embark on a hugely ambitious “hands on” history event during which a full outside broadcast crew will be re-united with the restored vehicle to recreate a 1970s sports television production.

The experiment, which will take place next week (May 17, 18, 19) will be the first time that anyone has attempted to see the restored North 3 operational and staffed by its original crew. The vehicle, an analogue ancestor of today’s digital satellite outside broadcast trucks, is the only survivor of its type in working order.

Working with Steve Harris, the team from Royal Holloway have located a full team of former outside broadcast camera operators and engineers. For first time in several decades, they will be reunited with North 3 and re-live the experiences of their earlier careers.

Using restored 1970s television technology, the team will record a darts match and conduct interviews with former television production personnel. The exercise will help the Royal Holloway team, led by Prof John Ellis of the college’s Media Arts department, to learn more about how television was made in the 1970s and 1980s.

Prof Ellis said: “Television has seen vast technological changes since the 1960s, and some of the greatest changes have taken place in outside broadcasts. Our work with North 3 will help to document technologies and ways of working from the heroic age of television, which are now at risk of being forgotten.”

Digital producer Amanda Murphy, who is organising and directing the event, said: “When we met with Steve Harris last November and decided to take on the challenge of getting North 3 operational with as full a crew as possible, neither of us could have quite imagined quite the enormity of the task. The phone rings daily with old technicians asking: ‘Are we serious? Are we mad?’”

The complexity of the event means that it will not be open to the public, but footage and interviews from the event will be uploaded to YouTube during the week.

Prof John Ellis

Here is the link to a blog about the project, from producer Amanda Murphy: http://www.adapttvhistory.org.uk/north-3-outside-broadcast/

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

Nigel Sizer: ‘One interesting fact about OB trucks of this vintage is that many carried a steel tray about 4ft square on runners at the rear. Once parked up, the tray was slid out and put underneath the engine..to catch any oil drips! …’

Malcolm Elliott: ‘It would be nice to get my hands on a PC80 again after so many years… sadly am the other side of the world so would need a very long panning handle! Good luck with the event and would be interested to see who’s on the camera crew.’

Telecine Reconstruction with Jim Gregory

Tim Emblem-English with Jim Gregory. Copyright resides with the original holder, no reproduction without permission

Rank Cintel Mark 3, with Jim and Tim. Copyright resides with the original holder, no reproduction without permission

Last Friday I was part of the team reconstructing how telecine operated in the 1960-80s. The shoot was organised by the Royal Holloway, University of London, ADAPT project, which aims to reconstruct now defunct television production techniques, and record them for posterity. The idea was to reunite the hugely experienced telecine operator, Jim Gregory, with a Rank Cintel Mark 3 machine dating from the late 1980s: a machine he hadn’t used for many years. We also wanted Pebble Mill’s Jim Gregory, to discuss telecine practices with his Television Centre conterpart, Tim Emblem-English – who still operates the Mark 3 on a daily basis.

We had hoped to find a working example of the Rank Cintel Mark 2, but unfortunately one does not seem to still exist. The Mark 3 is at the BBC Post Production centre in Ruislip, and is involved in film restoration work for the BBC and external clients. It is linked up to a control desk, monitors and a bank of different format recorders. Unfortunately the Post Production centre at Ruislip is due to close down next year, and it is unclear yet what is going to happen to all the equipment, although it is likely to be sold off, so it was important to get the filming completed.

The Rank Cintel Mark 2 was more important certainly in the televisual history of Pebble Mill, than the Mark 3, and was used to play film inserts into live television shows, and studio dramas. Jim worked on the Mark 2 machines for many years, but only used the Mark 3 briefly in the 1990s.

Jim had brought an old can of film down with him: black and white footage from the mid 1960s. The film shows the newsroom at the BBC Broad Street studio, as well as behind the scenes in the Gosta Green drama studio, and even drinking in the Gosta Green Club! It also shows street shots around Birmingham. The footage provides a fascinating social history of the time. The joints kept breaking – but then the tape holding them together was 50 years old! Jim was able to grade the pictures through the desk without any trouble. When he was asked what it felt like to be reunited with the Mark 3, he replied that it just felt totally normal, like riding a bike, and that you had to rely on your muscle memory rather than thinking about what you were doing. Tim and Jim could have swapped stories of close shaves in telecine during live transmissions for many hours: of occasions when rolls of film rolled away across the floor, of the challenges of trying to fix a problem whilst having Pres shouting down the phone to you, and of grading shots live as they went out.

Although Jim no longer operates telecine machines, he is still employed as a regular freelance grader at the BBC Drama Village in Birmingham, working on a Da Vinci, or Avid Symphony, on shows like Father Brown.

Vanessa Jackson