Focus - Institute of Videography

Transcription

also this
month
The monthly publication of the Institute of Videography
Leading star
of ‘The Bill’
to present
IOV Awards
By Kevin Cook
Game
Changer introducing
our new DSLR
expert
By Peter Rear
Issue 187 - August 2010 - £3.50
Video
Business
Start Up Branding
By Kevin Cook
INSTITUTE OF
VIDEOGRAPHY
Foreword
Get it together
INSTITUTE OF
VIDEOGRAPHY
Contacts
Administration
& Membership Enquiries
PO Box 625, Loughton,
Essex IG10 3GZ United Kingdom
e: [email protected]
t: 0845 741 3626 (UK)
t: +44 (0) 20 8502 3817 (Int.)
Executive Administrator
Kevin Cook F.Inst.V.
t: 020 8502 3817
Membership Administrator
Ariane Nombro
t: 020 8502 3817
Executive Chairman
Ron Lee F.Inst.V.
13 Coleridge Avenue, Dentons Green, St
Helens, Lancashire WA10 6RN
t: 01744 29976
Treasurer
Steven Abrams F.Inst.V.
2 Ingledene Road,
Liverpool L18 3HJ
t: 0151 722 6692
Arbitration Officer
Ron Lee F.Inst.V.
13 Coleridge Avenue, Dentons Green, St
Helens, Lancashire WA10 6RN
Assessment Administrator
Chris Waterlow F.Inst.V.
59 Sissinghurst Close,
Pound Hill, Crawley
West Sussex RH10 7FY
t: 01293 886484
Institute of Videography Ltd
Executive Committee
Ron Lee F.Inst.V.
Mark Quinn
Janet Fenton
Phil Janvier M.M.Inst.V.
Published By:
IOV FOCUS Ltd
174 Roding Road, Loughton,
Essex IG10 3BS United Kingdom
t: +44 (0)20 8502 3817
Editor: Kevin Cook F.Inst.V.
FOCUS magazine contents, and its logo,
and the Institute Logo, are copyright of
the Institute of Videography Ltd.
While we make every effort to ensure
accuracy, we cannot take responsibility
for losses resulting from publishing errors
of any kind, howsoever caused.
ProVideo 2010, ProVideo 2011,
ProVideo 2012 and ProVideo 2013
are trading names for
IOV Focus Ltd
The registration for ProVideo
2010 is now open - and I have to
admit I’m pretty chuffed with the
way the registrations have
started coming in. For those that
missed the announcement you
can register for free at
www.iov.com/provideo. So,
apart from the name change,
what’s going to be different
about this year’s event?
The first important change is
that IOV members need to
register this year - as well as
registering any guests that they
will be bringing with them. In
previous years we have
automatically registered
members and sent them their
delegates badges in the post regardless of whether they were
intending to come to the show or
not. We thought this was a nice
gesture, saved them the slight
aggravation of typing out a
registration form - and also made
our pre-registrations look
healthy. However, this wasn’t
very nice for the trees that had
to be cut down to make up the
tickets. Nor was it nice for the
poor old postman who had to
carry those tickets in their sacks
- and neither for the recycle
team who had to pulp the
unwanted tickets. The only
downside is that members will
have to spend a few moments
bashing in their details on the
website.
If that wasn’t making me feel
all environmentally-friendly
enough, we have also dropped
the courtesy coach that ran from
Coventry Station to the Ricoh.
Whilst some visitors have found
this to be very convenient, for
the past couple of years to say
the coach has been underused
would have been an
understatement. More often
than not it was running back and
forth without any people on
board. Now that’s not exactly
being kind to the planet either and neither did it make financial
sense. We are sorry to the few
who liked to travel that way but
its a very short cab ride from the
station to the venue.
Keeping on the positives, the
show itself has shaped up very
nicely indeed and its already
looking like the being the biggest
and best show we have put on to
date. Despite the difficult trading
conditions manufacturers and
dealers have spotted the
continual expansion of the provideo industry and will be there
to show you their wares.
We’ve also made it easier for
them by reducing our stand
space down to the absolute
minimum. If you thinking of
exhibiting and are going to hang
out to the last minute, think
again! At the time of writing this
piece there were about half a
dozen spaces not spoken for and a raft of companies who
were in the final stages of
planning their attendance.
Believe me, we have done
everything we can to keep the
costs down so there’s not going
to be any last-minute bargains to
be had - that’s if we have any
space left at all!
So, more exhibitors, a
greener event, more attendees is there anything else that’s
going to make ProVideo 2010 a
The Cook
Retort
winner? As I’ve
already mentioned,
the registrations are
coming in nicely, and part of this
is due to the continual merging
of the worlds of photography and
videography. Like it or not, the
two industries are blending - and
we’ve recognised this through
the range of presentations in the
main theatres being held in the
Jaguar lounge. If you want to
see what all the fuss is about
come and spend some time
listening to the leading lights in
DSLR video production and you
will get the picture (if you’ll
pardon the pun). This is not to
mention the presentations and
demonstrations taking place in
the theatres in the main hall and
on the exhibitors’ stands.
There’s already been chatter
on external forums about visitors
organising meetings at the event
- and we positively encourage
this. In fact its one of the
biggest lessons we’ve learnt in
previous years. Whilst this is still
going to be a buying event - with
the usual raft of one-off show
deals and incentives - one of the
reasons visitors come back year
after year is to meet new and old
colleagues. Despite us now
living an online world, with much
of the networking being carried
out on forums and social
networking sites, events such as
this are where you’ll get to meet
real-people and exchange reallife experiences in a comfortable
and convivial environment. In
fact, we’ve set aside the
centrepiece of the show just for
that purpose.
With a little over 2-months
until the doors open on ProVideo
2010 - we look forward to seeing
you there - 13th & 14th October,
Ricoh Arena, Coventry.
Kevin Cook
This Month
FEATURES
14
Video Business Start-up
18
Brace Yourself
Part 8 - Branding
Ben Bruges weighs up a range on shoulder brace systems
22
Game Changer
Introducing Focus Magazine’s DSLR expert - Peter Rear
REGULAR ITEMS
5
10
11
24
25
26
IOV News
Area News
Trade Directory
The List
And Another Thing
Classified Ads
www.iov.com
IOV and Industry News
A round-up of local IOV Meetings
Subscribing Manufacturers & Suppliers
The Register of Qualified Members
Stuart Little’s satirical column
Sales & Wants / Products & Services
Focus Magazine
August 2010
3
Industry News
will remain
the same with a formal
sit-down
banquet
Industry, Technology & Regional News
followed by
the awards
presentations
and live music
entertainment
to follow
within our own private function
area. Once the formalities and
celebrations have finished, those
that enjoy a really late night can
then move on to the casino
located on the lower floor of the
Ricoh which stays open until 5am!
Tickets for the awards
The IOV is proud to announce
categories of Best Corporate
ceremony are now available
that Andrew Lancel will be
Video, Best Wedding Day Film,
from the IOV website
presenting the 2010 IOV Awards Best Documentary, Best Film,
(www.iov.com/awards) at
on 13th October at the Ricoh
Best Music Video and Best Open.
£49.95 each. This includes the
Arena, Coventry.
The short-listed entries for this
gala dinner and table wine.
Andrew is currently starring
year will be announced on the
There is a range of hotel
as DI Neil Manson in the ITV1
IOV website after 11th August,
accommodation nearby - which
police drama ‘The Bill’ - a role
with the final running order
you will find listed on the
he has played since 2003. An
announced at the awards
ProVideo section of the website
established TV and theatre
ceremony itself.
- www.iov.com/provideo.
actor, Andrew came to
Following on from the
Kevin Cook
prominence with the role of Dr
success of the 2009 awards, the
IOV
Executive
Administrator
Andrew Collin in the
format for the awards ceremony
[email protected]
groundbreaking and
controversial BBC series ‘Cardiac
Arrest.’
He followed this with roles in
a number of TV dramas and
more controversy in 'Soldier,
Soldier,' 'Go Back Out,' and
'Queer as Folk.' He also starred
in the feature film ‘Wide-Eyed
and Legless’ alongside Julie
Walters and Jim Broadbent as
well as numerous theatre
productions including national
tours of ‘Antony and Cleopatra,’
and ‘Conduct Unbecoming,’
‘Certain Young Men’ at the
Almeida and ‘The Recruiting
Officer’ at the Chichester
Festival.
The IOV Awards are open
each year to IOV members with
entries in the six production
IOV News
ProVideo 2010
Registration
NOW OPEN
The IOV is pleased to announce
that the registration for ProVideo
2010 is now open.
Leading star of ‘The Bill’
to present IOV Awards
What do you
want to know
about video
production?
for video professionals,
Sony would like to hear
what you believe is the
single most important issue for
videographers.
This schedule of
presentations will be running
throughout ProVideo 2010 (13th
& 14th October - Jaguar Hall 2,
Sony are developing a range of
Ricoh Arena) and will be given by
presentations for ProVideo 2010
leading industry professionals
and would like to know what you who will concentrate on the
think is "the" most important skill technical and creative challenges
or technique for today's
you face in your video production
professional videographer.
work. Whether its effective solid
As part of their commitment
state workflows, best practice in
to delivering relevant and
delivering HD content or simply
meaningful educational content
how to get the best possible
pictures from your camera, Sony
want to be able to give you the
right information in an easy to
understand format.
To submit a suggestion
simply email
[email protected]. All
suggestions will be treated in the
strictest confidence, and Sony
will use their best endeavours to
cater for the widest audience
requirements as possible.
www.iov.com
Do I need to register?
Simple answer - yes! This year
we would like all visitors,
including IOV members, to
register for the event. This will
save us sending tickets to those
who are unable to attend.
Please visit the ProVideo
section for the website now.
www.iov.com/provideo
Further information
The ProVideo section of the
website is also now live, which
includes details on travel, local
hotel accommodation and the
IOV Awards - along with a
preliminary list of seminars and
presentations. Further
presentations will be confirmed in
the coming months, along with
schedules of presentations being
made by exhibitors on their
stands.
If you have any questions
about ProVideo 2010, including
details on exhibiting at the event
- please feel free to contact me
directly.
Kevin Cook
Executive Administrator
[email protected]
Focus Magazine
August 2010
5
Industry News
Vinten’s innovation rewarded
Save Our Sound UK Meet With Treasury
Vinten is delighted to announce
that it has received the Queen’s
Award for Enterprise in the
Innovation category.
The Queen’s Awards for
Enterprise are the UK’s most
prestigious awards for business
performance. The innovation
Award in particular recognises
those organisations
demonstrating
substantial and
sustained
improvement in
business
performance and
commercial success as a result of
outstanding innovation in
products or services.
Vinten has been recognised for
its continuous innovation and
development with its Perfect
Balance technology – a unique
and innovative engineering
solution for professional
television camera support.
“This outstanding recognition is a
fitting tribute to the continuing
success of the Vinten brand and
its employees as it celebrates its
100th anniversary, an
unprecedented achievement in
its own right in the film and
television industry” said Roger
Wilson, Managing Director.
Since its foundation in 1910,
Vinten has been a world-leading
developer and manufacturer of
camera supports including pan
and tilt heads, tripods and
pedestals. The introduction of
Perfect Balance in the 1980s,
which is unique to Vinten heads
and pedestals, allowed the brand
Once again the plight of the
PMSE sector was laid before
Government officials. During the
meeting it was stated that
Treasury and BIS (Department
for Business Innovation and
Skills) are trying to find a
compensation scheme that is the
right one.
However, industry
representatives are fearful that
any scheme, when and if
equipment.
The previous Government’s
position was to ensure that any
compensation package should
leave the PMSE sector ‘no better,
no worse off’ as a result of the
changes to spectrum access. The
new coalition administration has
yet to commit to this and Save
Our Sound UK is extremely
concerned that it may not.
Final decisions have yet to be
finalised, could eventually prove
to be no more generous than the
terms originally proposed by
Ofcom – the reason for launching
the Save Our Sound UK
campaign in the first place.
On current evidence
Government would still appear to
be sticking to the line that only
Channel 69 capable equipment
will qualify and that
compensation levels will be
based on residual value of
equipment. The effect of this will
be to exclude owners of
equipment that does not tune to
Channel 69 but will still be
rendered redundant as a result of
PMSE’s eviction from Channels
31-37 and 61-68. Additionally,
owners of Channel 69 equipment
would end up receiving a small
fraction of the true value of their
made on the structure and scope
of any compensation package but
it is possible that things will be
finalised by the end of July 2010,
before Parliament rises for
summer recess.
Consequently, Save Our Sound
UK urges supporters to contact
their recently elected MPs as a
matter of urgency to highlight
the issues and ask them to
pursue a satisfactory outcome for
the PMSE sector.
There will be a presentation at
ProVideo 2010 that will explain
the impact of these changes to
professional videographers details of which can be found on
www.iov.com/provideo.
to branch out into a new sector
which it had not previously
served: the large and rapidly
growing electronic news
gathering (ENG) market, which
favoured lightweight mountings.
As a result of deploying Perfect
Balance, Vinten was able to
secure a leading position in this
market globally, while at the
same time doubling its sales.
Vinten is now renowned for
Perfect Balance, the unrivalled
ability to support a camera so
that it appears weightless to the
user. This, combined with fluid
drag, ensures that the only
moves the camera makes are
those that the operator wants,
with the camera remaining
perfectly still – in any position –
at the end of the move.
“Our dedicated employees work
side by side with our customers
to develop innovative new
features and research work
continues to develop future
products encompassing the same
goals with even more
sophisticated technologies to
deliver tangible benefits to our
customers” concluded Wilson.
For more details please contact Vinten
direct - see Tripods & Camera
Supports in the Trade Directory on
page 13.
Emap buys out BVE & The Production Show
Emap is delighted to announce
the acquisition of Broadcast
Video Expo and The Production
Show from its joint venture
partner, VCM events.
Event Director Charlotte
Bowskill said: “Broadcast Video
Expo is the leading event for the
content creation industry in the
UK, bringing together the latest
technology and innovation for
broadcast professionals. A
successful working partnership
with VCM has enabled the show
to go from strength to strength,
delivering hundreds of seminars,
increasing exhibitor numbers and
attracting over 12,000 visitors.
We look forward to continuing a
close relationship with our
6
August 2010
customers, associations and the
press to deliver an even stronger
show in 2011.”
Emap’s plans for 2011 are
already in full swing and include
a new 3D Revolution seminar
room, enhanced Audio Room,
larger post production suite and
improved VIP programme.
The 2011 show will be 15%
bigger with more exhibitors and
seminars, further confirming the
important role that this event has
to play in the growing broadcast
and production market. It takes
place on 15-17th February 2011,
Earls Court 2, London.
For further information please
contact Charlotte Bowskill, Event
Director – +44 207 728 5544 or
[email protected]
Focus Magazine
www.iov.com
For more information visit - http://
saveoursound.wordpress.com/
Press release issued by
www.johnstevenpr.com
Newly-accredited Associate Members
The following list of members have passed their
Associate Member exam and are now able to use
the IOV logo in their marketing material. They
have also been set up with a web page which must
be linked to when the IOV logo is placed on their
website. Full details of the benefits of Associate
Membership can be found at www.iov.com/join
Sarah McDougall A.M.Inst.V.
Chiswick, London
Mike Page A.M.Inst.V.
Stonegate, East Sussex
Alex Lynch A.M.Inst.V.
Chiswick, London
Janet Fenton A.M.Inst.V.
Poulton-le-Fylde, Lancashire
Please note: Newly accredited Associate Members are published in Focus each
month and will be accurate at time of publication.
Industry News
Olympic Games - Young People's Film Festival
London 2012 Olympic and
Paralympic Games short film
competition is now open. The
programme, which was launched
by eminent film producer Lord
David Putnam and actor Nicholas
Hoult, invites 13-25 year olds to
create short films that celebrate
the values of the Olympic and
Paralympic Games: respect,
courage, excellence, friendship,
equality, determination and
inspiration.
Submissions were officially
opened on Olympic Day, an
annual event introduced in 1948
to commemorate the birth of the
modern Olympic Games on 23
June 1894 at the Sorbonne in
Paris. Nearly 200 countries
celebrate Olympic Day with
sports, cultural and educational
activities.
Submissions for Film Nation:
Shorts are open until 1 October
2010 and the competition
culminates in a special national
award ceremony each year to
highlight the best new film
making talent, with the first
ceremony in December 2010.
Edinburgh International Film
Festival (EIFF) will be hosting the
first workshops in a nationwide
programme to help new filmmakers, and those looking to
develop their skills further
through expert tuition and
equipment use. The unique
programme of free workshops
will also give young filmmakers
the chance to meet professional
film-makers and acquire new
skills in film-making techniques
using the latest state-of-the-art
Panasonic equipment.
Confirmed workshops for
September and October will be
held in Derby (as part of Fest
Day), Berwick (as part of Berwick
Media and Arts Festival) Hay-onWye (Workshop for 14-16 year
olds as part of Hay Festival of
British Cinema), Cambridge (as
part of the Cambridge Film
Festival), Leicester (at the
Phoenix Leicester), London (as
part of Raindance Film Festival)
and Kent (as part of International
Filmmaker Festival). More
information on forthcoming
workshops and how to register
can be found at
www.filmnation.org.uk.
The winners’ work will be
screened at the iconic venues of
the Olympic and Paralympic
Games in London 2012 to an
audience of millions. The best
films will also be showcased on
giant London 2012 Live Site
screens around the country, on
the London 2012 website, and on
a dedicated Film Nation website,
with monthly awards leading up
to an annual award winners
ceremony. The competition will
be run each year until 2012,
showcasing the creative talents
of the next generation of young
film-makers and giving them a
chance to be right at the heart of
the Games.
Ruth Mackenzie, Director,
Cultural Olympiad, said: “This
programme will deliver a
powerful message about our
intentions for the Cultural
Olympiad: young people and
their creative power are
developed and celebrated and,
with the support of our partners
Panasonic and the Olympic
Lottery Distributor, will be
brought right into the heart of
the 2012 Games.”
David Bonney, Panasonic UK Ad
and Sponsorship Manager, said:
“We are delighted to be working
with LOCOG to engage young
people in the craft of film
making. These youngsters will be
able to use the latest Panasonic
consumer and broadcast
camcorders to create a broad
range of films, including Olympic
and Paralympic inspired ones, in
the lead up to the London 2012
Olympic and Paralympic Games.
We are looking forward to
helping to identify new film
making talent and seeing these
short films recognised through
regional and national
competitions.”
Film Nation: Shorts is delivered
in partnership with Panasonic,
Screen West Midlands, First Light
and 104 films with funding from
the National Lottery through the
Olympic Lottery Distributor.
Visit www.filmnation.org.uk for more
details.
Industry News
Web TV in a cube
EZCaster Live Web Broadcasting
System at the touch of a button.
Multi Media Replication is pleased
to announce the EZCaster
encoder for simple plug and play
live web broadcasting.
The EZCaster encoder and
“SMART” on-line management
software makes streaming LIVE
and creating on-demand videos
as simple as turning on a TV. At
8” wide, 7.5” tall, 14” deep and
weighing only 6kg the EZCaster
box is designed to be easily
portable and able to be set up
with a minimal footprint.
The video encoding software
loads automatically after
switching on and presents the
user with four basic buttons on
screen which along with a
camera and broadband
connection are all that is needed
to begin live video streaming of
Master Class Road Shows
your event.
The EZCaster combines the two
major parts to streaming video –
video compression/streaming
and publishing videos on your
website – into one seamless
process. Until now, encoding
systems were typically
complicated and only created
video streams and files. With the
EZCaster, your website is
automatically updated with
a “watch live video” link.
Users can just click the link
and start viewing your live
broadcast.
The on-line
management software
automatically generates
the HTML code to embed
the video in web pages,
providing email
notifications and RSS feeds
to you and your clients.
The EZCaster can run
webinars or live
presentations including
features such as “ask a
question”, custom graphics and
even PowerPoint presentations.
The box is a low cost effective
solution to hit global audiences.
There are a variety of plans to
suit everyone’s needs, from
monthly subscriptions for live
broadcasting and on-demand
streaming, through to bespoke
arrangements for one-off events.
For more details please contact Multi
Media Replication direct - see DVD
Duplication Equipment in the Trade
Directory on page 12.
Roland’s new switch
Roland Systems Group has
unveiled the new MVS-12 MultiViewer/Switcher which groups
and displays up to 12 SD video
signals to a single HD or RGB
monitor. This multi-viewer is the
ideal companion for the popular
line of EDIROL SD video mixers
inputs into one LCD display. In
addition to the Multi-Viewer
function, the MVS-12 has a builtin Matrix Switcher allowing up to
12 video sources to be routed to
up to 4 separate outputs such as
separate rooms, screens, or webstreaming devices for live
broadcasts.
The MVS-12 features:
12 composite video inputs (SD)
HDMI and RGB multi-viewer
outputs
4 Multi-Viewer layouts (Divide
the screen in 4, 9, 10 and 12)
such as the LVS-800 and V-8.
The MVS-12 is ideal for any
applications where you need to
preview multiple video sources at
once such as in worship,
education, corporate, rental and
event applications.
The MVS-12 eliminates the
need for individual preview
monitors, combining 12 SD
8
August 2010
Matrix switcher to 4 separate
outputs with quad preview
Parameters and input selection
controlled using a mouse
Controllable via Ethernet, RS232C and MIDI
For more details please contact Roland
UK Ltd direct - see Nonlinear & Hybrid
Systems in the Trade Directory on
page 12.
Focus Magazine
www.iov.com
Nurturing new talent is Brian
Hall’s passion. With 30 years of
experience as a BBC Lighting
Cameraman under his belt, Brian
now works with the filmmakers
of the future as the
cinematography tutor at the
University of Lincoln’s School of
Media. This summer, in
conjunction with the School of
Media, he begins a series of
Master Class Road Shows and
Summer Schools, which will take
place in Lincoln and at various
locations around UK, starting in
Yorkshire and the Midlands.
Brian’s long career, both at the
BBC and as a freelancer, was
packed with memorable
experiences. His mission, 30
years later, is to pass on that
knowledge again to his students.
Brian teaches both
highly ranked department;
Lincoln is in the Top 20 out of 89
media courses in the UK.
For his part, Brian knows there
are a lot of people out there who
want to take their camera and
lighting skills to a higher level
and to get more out of their
camera. “The Master Classes are
aimed at those already familiar
with a video camera who would
like to use professional
techniques for camera operation
and lighting. We’re going to look
at shooting techniques,
composition and how to use both
natural and artificial light to
achieve a professional look. We’ll
only be taking up to eight people
in each Master Class and,
because of the small numbers it
will be a fantastic opportunity to
try out the latest HD camera
undergraduate and post graduate
students; supporting, guiding
and encouraging them to aim
high.
“It’s pretty exciting to see raw
talent coming through the doors
and to realise that, with my help,
these students could go on to
make a name for themselves in
the industry.” His work with the
students seems to be paying off.
One of the proudest moments of
his university career came when
a group of his students collected
a prestigious Royal Television
Society (RTS) award for a film
they had made under his
supervision. “They won one of
the RTS National Student Awards
in the face of some pretty stiff
competition from other top Media
Schools. It was an enormous
achievement.” says Brian.
When Brian approached the
University with his idea about
Master Class Road Shows and
the Summer Schools, he found
enthusiasm and support. “It is a
natural extension of my work at
the university and they were
keen to give it their backing and
further raise the profile of the
Lincoln School of Media. It’s
already the University’s most
equipment, fitted with a 35mm
adapter to shoot with 35mm
lenses.”
As an Associate of the RPS,
Brian is also aware of the
galloping convergence of stills
and moving picture technology
and hopes the Master Classes will
attract hard-core stills
enthusiasts who are looking to
the future. “The recent series of
House on American TV was partly
shot on a digital stills camera and
it’s looking increasingly likely
that all new stills cameras will
have a video capability of some
kind. If you’d like to be able to
create great moving images as
well as still images, then the
Master Classes could be for you.”
The remaining Master Class
dates and locations are as
follows:
21st August and 22nd August
Holiday Inn, Leeds Wakefield
28th August and 29th August
Holiday Inn, York
For more details contact Brian Hall
([email protected]) on
01522 886332
Industry News
Area IOV News
East Anglia &
A1 Corridor
By Bill Platts
Our June
meeting was the
second time we
had met at the
ICA Fleet in
Peterborough. It
was a very special meeting as it
was the first time Area 7 had
hosted a VideoSkills night. Martin
Kay of Zen Computer Systems
was our speaker and instructor
for the night.
The evening went very well
and we had fifteen members in
attendance. Martin is very
knowledgeable in this field and
S. Yorks,
Humberside &
Lincs.
By Brian Fernley
On Tuesday 29
June 8 members
gathered at
“The Reindeer
Inn” in
Southwell for a “Show and Tell”
evening, The idea was to bring
along a piece of work or
equipment that would be of
West London,
Middlesex &
Herts.
By Roger
Marshall
IOV. member
Jagvinder Rana
(Jag), who runs
his own
production
company, Perfect Imaging
Filming Services, was our guest
presenter for this meeting. Jag
started his working life in 1983 in
sales and marketing, but in 2004
decided to pursue a full-time
career in video production.
He targeted shops which sold
wedding accessories and gave
incentives to those who sent
business his way. His first
camera was the Sony PDX10,
and he perfected his editing
techniques on the Adobe
Premiere edit suite, later
switching to FCP, due to their
work flow capabilities. He
decided to advertise in the
8
August 2010
guided us in the best ways to
compress video. What he does
not know about video
compression is not worth
knowing.
Although the subject is very
technical and probably would not
be a welcome topic to talk about
to the wife at bedtime (speaking
from experience) our members
seemed to enjoy it – after all if
you are serious at this game you
need to be aware of the pitfalls
and benefits of compression.
After a short break with
refreshments being sponsored by
Forensic Video Services we
continued on with the evening.
We covered topics such as
algorithms, bit rates, codecs,
wrappers and file types. We
learned about how background
movement can seriously affect a
compressed video and how just a
simple trick like blurring it can
make all the difference.
Surprisingly, even though it was
a warm night no one was seen to
fall asleep – and this despite the
fact that some members had
travelled long distances. At the
end of the evening we thanked
Martin gave out Video Skills
certificates to all attendees.
Thanks must go to the ICA
Fleet for sponsoring the meeting
room and to Martin for delivering
an enjoyable presentation.
interest to other members in the
group. We had a splendid
cornucopia of riches featuring
topics ranging from the staple
fair of weddings and dance
shows to the rather more
obscure; “Life Cycle of The
Mayfly” and a Second World War
aircraft’s remained being
exhumed!
On the equipment side a
number of us became acquainted
with an iPad for the first time and
we were also able to get up close
and personal with a “Firestore”.
As you can imagine there
were many and varied opinions
expressed by those present.
Everyone agreed it had been a
most enjoyable evening showing
the versatility and depth of talent
of our members, we’re sure we
will hold a similar evening
sometime in the future.
‘Asiana’ and other high-end
magazines and created a website
to display his work which mainly
included Fashion Shows, Dance
routines and, of course,
Weddings.
He indicated that he uses a
simple format for his weddings to
maintain a professional standard
and incorporates the ‘Magic
Bullet looks’ program to achieve
the ‘film look’. Much of his
experience has been gained from
his contact and association with
US, Asian and IOV
videographers. He has also
redesigned and upgraded his
website, making it more user
friendly, attracting a higher
volume of potential clients to
make appointments and
ultimately get their business. The
use of Facebook as a tool to
attract business was also
discussed and Jag mentioned
that he had switched from ‘Utube’, to ‘Vimeo’ to display his
clips as the quality was much
higher and it targeted a more
specialised clientele . He also
explored SEO as a means of
gaining more exposure and
obtained a fairly high conversion
rate from site visitors sometimes over 70% actually
doing business with him. Jag
made us aware that ‘Facebook’
can also be used to target
specific groups through various
published blogs.
We were then shown some of
Jag’s work which included an ad
for an Indian fashion show, and
footage for the actual show,
Focus Magazine
www.iov.com
Find out about IOV
Meetings in your Area...
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in the ‘Using this Site’ section located
in the upper main menu of the
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Scotland North
Brian Rae - [email protected]
01224 862100
Scotland South
Tony Nimmo - [email protected]
01555 661541
North East England
Mike Trewhella - [email protected]
0191 536 6535
North West England
Phil Janvier - [email protected]
0151 487 9338
S. Yorks, Humberside & Lincs.
Brian Fernley - 0115 989 2787
[email protected]
Ross Ironfield - 01522 872 328
[email protected]
North & West Yorkshire
Roger Staniland - [email protected]
07511 548189
North Wales & Borders
Rowland Barker - [email protected]
01490 430507
Midlands
Chris North - [email protected]
01530 836700
East Anglia & A1 Corridor
Bill Platts - [email protected]
01733 370922
South Wales & Bristol Channel
Rep to be confirmed
West London, Middlesex & Herts.
using Z1 cameras. The
infomercial for a corporate video
included a walk-through the
various departments and
comments by staff. Video clips
taken from Asians weddings,
which were held over several
days, highlighted some of the
difficulties encountered when
coordinating activities separated
by long distances, even in
different continents! We all
agreed that the videos were very
well edited and professionally
presented.
During discussion time the
group focused on methods which
could be used to find new clients,
and ways of presenting
information to potential clients
e.g. the use of modern mobile
phones to show clients video clips
of Weddings etc. The use of
trailers and five minute sequences
of the Bride and Groom separately
as part of the final video package
was also explained.
The presentation ended at
9.20pm after we thanked Jag for
an interesting and detailed
presentation. The majority of
members present then relocated
to the local pub where we
continued informal discussions
over a pint.
Emerson Bovell - [email protected]
020 8575 2842
Oxfordshire, M1 Corridor & NW London
Anthony Barnett - [email protected]
01553 776995
Essex, Herts, N, E & Central London
Zulqar Cheema - [email protected]
01279 413260
West Country
Lara & Ian Lewis - [email protected]
01752 691210
Dorset, Wiltshire & Hampshire
Bryan Stanislas - [email protected]
0845 260 7737
Sussex, Berks, Surrey & SW London
Mike West - [email protected]
01903 892951
Kent & SE London
Peter Snell - [email protected]
01634 723838
Ireland - Ulster
Rep to be confirmed
Ireland - Leinster
Mark Quinn - [email protected]
01 835 3389
Ireland - Munster
John Berry - [email protected]
021 436 2299
Ireland - Connacht
John Murphy - [email protected]
087 688 6720
If you would like to present your
products or services at local IOV
meetings - please contact the IOV’s
Central Office on 020 8502 3817 or
email [email protected]
Chromakey Supplies
3D Graphics & Animation
Push Creativity
Lynwode Lodge, Walesby Road, Market Rasen,
Lincolnshire LN8 3EY
Tel: 01673 843852
Email: [email protected]
Web: www.push.uk.net
Penridge Multi-Media
The Barn, Rashwood Meadow, Droitwich Spa,
Worcestershire WR9 0BS
Tel: 01527 861911
Web: www.penridge.com
Cranes & Remote Heads
VFX Blue Screen Solutions (Bristol UK Ltd)
Unit 3, Sutherland Court, Tolpits Lane,
Watford WD18 9SP
Tel: 01923 779333
Fax: 01923 779666
Web: www.bristolpaint.com
Calumet Pro Video (Cambo distributor)
93-103 Drummond Street, London NW1 2HJ
Tel: 08706 030303 (option 4)
Web: www.calumetphoto.co.uk
Dimming Equipment
The Electronic Picture Company
128 Beckets View, Northampton, NN1 5NJ
Tel: 0796 879 4887
Web: www.theelectronicpicturecompany.com
Audio Equipment Supplies
Roland UK Ltd
Atlantic Close
Swansea SA7 9FJ
Tel: 01792 702701
Web: www.rolandsg.co.uk
HHB Communications Ltd
73 - 75 Scrubs Lane,
London NW10 6QU
Tel: 020 8962 5000
Fax: 020 8962 5050
Web: www.hhb.co.uk
IDX Technology Europe
9 Langley Park, Waterside Drive, Langley,
Berkshire SL3 6EZ
Tel: 01753 593724
Fax: 01753 595104
Web: www.idx-europe.co.uk
Rycote Microphone Windshields Ltd
Libbys Drive, Slad Road, Stroud,
Gloucestershire GL5 1RN
Tel: 01453 759338
Fax: 01453 764249
Web: www.rycote.com
Sennheiser UK Ltd
3 Century Point, Halifax Road, High Wycombe,
Buckinghamshire HP12 3SL
Tel: 01494 551551
Fax: 01494 551550
Web: www.sennheiser.co.uk
Soundkit
12 Earle Place, Canton,
Cardiff CF5 1NZ
Tel: 02920 342907
Fax: 02920231235
Web: www.soundkit.co.uk
Authoring Video To DVD
Authoring Services & RocketDVD
Unit 4, Balksbury Estate, Upper Clatford,
Andover, Hampshire SP11 7LW
Tel: 01264 336330
Web: www.replication.com
Commemorative Video & DVD Cases
Batteries & Power
DS Video Facilities
Unit 27, Metro Centre, Britannia Way,
Coronation Road, London NW10 7PR
Tel: 020 8965 8060
Tel: 0141 300 3404 (Glasgow office)
Web: www.dsvideo.co.uk
Berkshire SL3 6EZ
Tel: 01753 593724
Fax: 01753 595104
PAG
565 Kingston Road, Raynes Park,
London SW20 8SA
Tel: 020 8543 3131
Web: www.paguk.com
Photon Beard Ltd
Unit K3, Cherry Court Way, Stanbridge Road,
Leighton Buzzard, Bedfordshire LU7 4UH
Tel: 01525 850911
Web: www.photonbeard.com
Camera Lenses & Filters
Calumet Pro Video (Formatt Filters)
Tel: 08706 030303 (option 4)
IDX Technology Europe (Century Optics)
Berkshire SL3 6EZ
Tel: 01753 593724
Fax: 01753 595104
Camera Soft Cases & Bags
Manfrotto Distribution
(formerly Bogen Imaging)
Unit 4, The Enterprise Centre, Kelvin Lane,
Crawley, West Sussex RH10 9PE
Tel: 01293 583300
Fax: 01293 583301
Web: www.manfrottodistribution.co.uk
Berkshire SL3 6EZ
Tel: 01753 593724
Fax: 01753 595104
Karina Krafts
Complex 7, 34 Nelson Road, Ystrad Mynach,
Hengoed, Mid Glamorgan CF82 7BP
Tel: 01443 815595
Fax: 01443 862204
Web: www.karinakrafts.com
Tel: 01527 861911
Warehouse Video Services
Burnside, Horton Road, Staines, Middx. TW19 6BQ
Tel: 01753 689400
Fax: 01753 689401
Web: www.warehouse-video.co.uk
Computer Software & Hardware
LCC Photon Technik
Watt House, Pirbright Road, Normandy,
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Web: www.lcc-lighting.co.uk
Photon Beard Ltd
Tel: 01525 850911
Dolly & Track Systems
Calumet Pro Video (Cambo distributor)
Tel: 08706 030303 (option 4)
PEC Video Ltd
65-66 Dean Street, Soho,
London W1D 4PL
Tel: 020 7437 4633
Fax: 020 7025 1320
Web: www.pec.co.uk
AV3 Software
Suite 51 Basepoint Business & Innovation Centre,
Caxton Close, Andover, Hampshire SP10 3FG
Tel: 01264 326312 / 3
Web: www.av3software.com
Tel: 01527 861911
Drapes
LCC Photon Technik
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Duplication Services
Copyright Free & Commissioned Music
AKM Music
PO Box 3199, Kenilworth CV8 2ZP
Tel: 01926 864068
Web: www.akmmusic.co.uk
Chris Worth Productions
7 Blanchard Road, Louth, Lincs. LN11 8YH
Tel: 01507 601546
Fax: 01507 601546
Web: www.chrisworthproductions.com
Trackline Music Services
68 Alton Street, Crewe, Cheshire CW2 7QB
Tel: 01270 665750
Web: www.trackline.com
www.iov.com
Copytrax Technologies UK Ltd
35 Dry Drayton Industries, Scotland Road, Dry
Drayton, Cambridge CB23 8AT
Tel: +44 (0) 844 8156225
Web: www. copytrax.com
Multi Media Replication Ltd
Tel: 01264 336330
Tel: 01527 861911
Focus Magazine
August 2010
11
DVD & CD Applications
Tel: 01527 861911
DVD & CD Replication Services
Intelligent Television and Video Ltd
ITVV House, Norwood Street, Scarborough,
North Yorkshire YO12 7EQ
Tel: 0800 137423
Fax: 0800 0265050
Web: www.itvv.net
Tel: 01264 336330
Tel: 01527 861911
DVD Duplication Equipment
Copytrax Technologies UK Ltd
35 Dry Drayton Industries, Scotland Road, Dry
Drayton, Cambridge CB23 8AT
Tel: +44 (0) 844 8156225
Web: www. copytrax.com
Tel: 01264 336330
Edinburgh Store
3 Bonnington Business Centre, Tennant Street,
Leith EH6 5HG
Tel: 0131 553 9979
Belfast Store
Boucher Plaza Unit 2, 4-6 Boucher Road,
Belfast BT12 6HR
Tel: 02890 777770
Camerakit UK
Unit 5, ABS Business Park, Viaduct Street,
Stanningley, Leeds LS28 6AU
Tel: 01132 573005
Email : [email protected]
Web: www.camerakit.tv
D + P Multimedia Products Ltd
Unit 1, Terenure Business Park, Beechlawn
Way, Terenure Village, Dublin 6W
Tel: +353 1 4924374
Fax: +353 1 4924372
Email : [email protected]
Web: www.camerakit.ie
Holdan Ltd
Unit 2 Waterside Business Park, Waterside,
Hadfield, Glossop, Derbyshire SK13 1BE
Tel: 0845 1304445
Web: www.holdan.co.uk
LEQ Ltd (Lightweight Equipment)
Beech House, 62 York Road, Sutton,
Surrey SM26HJ
Tel: +44 (0) 20 8770 7790
PEC Video Ltd
65-66 Dean Street, Soho, London W1D 4PL
Tel: 020 7437 4633
Fax: 020 7025 1320
Web: www.pec.co.uk
Hireacamera.com
Unit 5 Wellbrook Farm, Berkley Road, Mayfield,
East Sussex TN20 6EH
Tel: 01435 873028
Fax: 01435 874841
Web: www.hireacamera.com
Kitroom Monkey Limited
Ealing Film Studios, Ealing Green,
London W5 5EP
Tel: 0845 166 2597
Mobile: 07739 806807
Web: www.kitroommonkey.co.uk
Equipment Service & Repair
Calumet Pro Video
Tel: 08706 030303 (option 4)
Thear Technology Limited
TTL House, Sheeptick End, nr Lidlington,
Bedfordshire MK43 0SF
Tel: 01525 841999
Fax: 01525 841009
Web: www.theartechnology.co.uk
Grip Equipment
Ianiro UK Ltd
Unit 19, Walkers Road, Manorside Industrial
Estate, Redditch, Worcestershire B98 9HE
Tel: 01527 596955
Fax: 01527 596788
Web: www.ianirodirect.com
Production Gear Ltd
Millennium Studios, Elstree Way,
Borehamwood, Hertfordshire WD6 1SF
Tel: 020 8236 1212
Web: www.productiongear.co.uk
LCC Photon Technik
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Insurance Companies
Tel: 01527 861911
Equipment Dealers
Calumet Pro Video
London Store
Tel: 08706 030303 (option 4)
Manchester Store
Unit 4, Downing Street Industrial Estate,
Charlton Place, Manchester M12 6HH
Tel: 0161 274 4455
12
August 2010
Top Teks Ltd
Bridge House, Royal Quay, Park Lane,
Harefield, Middlesex UB9 6JA
Tel: 01895 855655
Fax: 01895 822232
Web: www.top-teks.co.uk
WTS Broadcast Limited
Media Park, 40b River Road,
Barking, Essex IG11 0DW
Tel: +44(0) 208 594 3336
Fax: +44(0) 208 594 1552
Web: www.wtsbroadcast.com
Aaduki Multimedia Insurance
Bridge House, Okehampton,
Devon EX20 1DL
Tel: 0845 838 6933
Fax: 0845 838 6933
Web: www.aaduki.com
Photo-Shield Winsover Howden
Unit 7a, Winsover Centre, Winsover Road,
Spalding, Lincolnshire PE11 1EJ
Tel: 01775 716690
Web: www.winsoverhowden.com
Equipment Rental
Calumet Pro Video
Tel: 08706 030303 (option 2)
Focus Magazine
www.iov.com
ARRI (GB) Limited
2 High Bridge, Oxford Road, Uxbridge,
Middlesex UB8 1LX
Tel: 01895 457000
Web: www.arri.com
Cirro Lite (Europe) Ltd
3 Barretts Green Road, London NW10 7AE
Tel: 020 8955 6700
Web: www.cirrolite.com
Ianiro UK Ltd
Tel: 01527 596955
Fax: 01527 596788
LCC Photon Technik
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Photon Beard Ltd
Tel: 01525 850911
Nonlinear & Hybrid Systems
Infinity Curves for Virtual Sets
Proactive UK Ltd
1 Eastman Way, Hemel Hempsted HP2 7DU
Tel: 01442 253313
Fax: 01442 260913
Web: www.proav.co.uk
Lighting
Towergate Camerasure
Funtley Court, Funtley Hill, Fareham,
Hampshire PO16 7UY
Tel: 0870 4115511
Web: www.towergatecamerasure.co.uk
David Vincent Clarke Ltd
3-4 Westbourne Grove, Hove,
East Sussex BN3 5PJ
Tel: 01273 205700
Fax: 01273 917099
Web: www.dvc.uk.com
Hybrid Media Solutions
7 Packwood Drive, Birmingham B43 6BD
Tel: 0121 288 4806
Mobile: 07949 265049
Web: www.hybridmedia.co.uk
Planet Video Systems
Pinewood Studios, Pinewood Road, Iver Heath,
Buckinghamshire SL0 0NH
Tel: 020 8950 1485
Web: www.planetaudiosystems.co.uk
Roland UK Ltd
Atlantic Close
Swansea SA7 9FJ
Tel: 01792 702701
Web: www.rolandsg.co.uk
ZEN Computer Services
3 Carolina Way, Salford Quays,
Manchester M50 2ZY
Tel: 0161 736 5300
Fax: 0161 736 5303
Web: www.zenvideo.co.uk
Radio Microphones
Sennheiser UK Ltd
3 Century Point, Halifax Road, High Wycombe,
Buckinghamshire HP12 3SL
Tel: 01494 551551
Fax: 01494 551550
Web: www.sennheiser.co.uk
Soundkit
12 Earle Place, Canton, Cardiff CF5 1NZ
Tel: 02920 342907
Fax: 02920231235
Web: www.soundkit.co.uk
Recordable Media - CD / DVD / Tape
APR Media
Media House, Unit 18 Rylands Industrial Estate,
Bagley Road, Wellington, Somerset TA21 9PZ
Tel: 01823 669166
Web: www.aprmedia.com
Tel: 01264 336330
Ianiro UK (Libec)
Tel: 01527 596955
Fax: 01527 596788
Berkshire SL3 6EZ
Tel: 01753 593724
Fax: 01753 595104
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Vinten
Camera Dynamics Ltd, Western Way, Bury St
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Tel: 01284 752121
Web: www.vinten.com
Video Accessories
Keene Electronics
Old Hall, Unit 9, Mills Bus. Pk, Station Road,
Little Eaton, Derby DE21 5DN
Tel: 01332 830550
Web: www.keene.co.uk
Video Manufacturers
Tel: 01527 861911
Canon UK Ltd
Woodhatch, Reigate, Surrey RH2 8BF
Tel: 01737 220 000
Web: www.canon.co.uk
Studio Lighting Design
LCC Photon Technik
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Photon Beard Ltd
Tel: 01525 850911
Studio & Lighting Services
3 Cedar Drive, Loughton, Essex IG10 2PA
Tel: 020 8418 9848
Web: www.slservices.co.uk
Teleprompting
Autocue Group
Unit 3, Puma Trade Park, 145 Morden Road,
Mitcham, Surrey CR4 4DG
Tel: +44 (0)20 8665 2992
Fax: +44 (0)20 8687 4869
Web: www.autocue-qtv.com
JVC Professional Europe
JVC House, JVC Business Park, 12 Priestley
Way, London NW2 7BA
Tel: 020 8208 6200
Web: www.jvcpro.co.uk
Panasonic Business Systems
Panasonic House, Willoughby Road, Bracknell,
Berkshire RG12 8FP
Tel: 01344 853855
Fax: 01344 853847
Web: www.panasonic-broadcast.com
Sony Broadcast & Professional UK
The Heights, Brooklands, Weybridge,
Surrey KT13 0XW
Tel: 01932 816275
Web: www.sonybiz.net
TV One Limited
Unit V, Continental Approach, Westwood
Industrial Estate, Margate, Kent CT9 4JG
Tel: 01843 873300
Web: www.tvone.co.uk
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Tel: 01494 450414
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Mile End Road, Colwick,
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Focus Magazine
August 2010
13
“Brand” is often seen as
something that only big
organisations need to worry
about. This couldn’t be
further from the truth. Quite
often videographers have
unknowingly developed their
brand without actually
thinking about it – but this
does not make your brand
any less important to the
viability or success of your
business. Unfortunately, an
unconsidered brand is more
than likely going to be
working against you rather
than for you.
Even when brand is
considered it is often muddled
and confusing simply because
the videographer is trying to
develop an identity to fit every
possible customer. I would
certainly question the logic
behind this. But what exactly is
a Brand?
What is a ‘Brand’
The origins of the word are
exactly what you’d expect – a
way of telling one herdsman’s
livestock from another’s. Though
the origins of the word would
suggest that a brand is simply a
unique identifying mark, in the
world of business a brand goes
way beyond a mark or logo. A
brand should say something
about the personality of your
business - often referred to as
your “business culture”.
With a well defined brand
your customers will understand a
fair amount about your product
or service, the price bracket you
operate in, and the other
customers you serve well before
they even make contact with
you. Whilst much of this is
conveyed through your visual
communications – including your
logo, website, business
stationery and other promotional
materials – it’s also carried by
the way you deal with clients on
the telephone, via email or post,
through blogging and social
networking sites and any other
general communications which
give you an opportunity to
display your business culture.
This also extends to the way
others speak about your business
– including affiliated businesses
and, most importantly, past and
present clients.
To your clients your brand
will represent a promise. If your
brand says “we are the cheapest”
that is exactly what they will
expect. If your brand is strong
enough they will simply accept
this without comparing your
prices with others. If you doubt
this phenomenon here’s a little
test for you. Think of an airline
that would offer you the cheapest
possible ticket prices. You will
probably (almost definitely) come
up with either Easy Jet or Ryan
Air. You would expect them to
be the cheapest and will probably
not look any further if you are
trying to find the cheapest option
– albeit that there might be
cheaper options out there. They
are the leading brands when it
comes to cheap, no frills, airlines
– yet they are not going to be
everyone’s first choice that’s
looking to travel by air. Other
passengers will be looking for
other qualities in their airline and
there are brands that will hone in
on their expectations too.
In this sense videography is
no different to any other product
or service. You simply can’t be
all things to all men. There are
things in life that usually don’t go
together – such as ‘Cheapest &
Best’, ‘Fastest & Most Refined’ or
‘Traditional & Contemporary’.
Again, looking at another
household name will help us to
understand the importance of
branding and how it can work
across a number of otherwise
unrelated products and services.
Virgin operates in an incredibly
wide and varied range of
businesses. Some instantly
come to mind – including Virgin
Music, Virgin Airways, Virgin
Media, Virgin Money, Virgin
Mobile, Virgin Active, Virgin
Radio…. But, there are actually
over 200 Virgin branded
companies worldwide –
generating around £11 billion
worth of business.
According to their corporate
website, “Virgin stands for value
for money, quality, innovation,
fun and a sense of competitive
challenge.” I’m not sure about
you, but these fifteen words sum
up their brand perfectly to me.
They do go on to say that one of
the factors that contributes to
making a Virgin business
successful is Richard Branson's
personal reputation. Whilst this
is something that every small
business can take comfort from it
must be followed by a word of
caution. When Mr. Branson is no
longer here (an unavoidable
conclusion – even if you are this
successful) will it detract from
the brand? I think so – and I
would therefore question
whether it’s sensible for a small
business to build its brand on
personalities – especially if you
have aspirations to one day sell
up and retire (which I doubt Mr.
Branson will ever do!).
Even if you think you already
have a strong and identifiable
brand it would be useful for you
to come up with your own,
single-line, brand statement.
Complete the following sentence
about your own company…
“X Production Company
stands for........................”
To give you some tips, make
sure the statements do not
conflict with each other. Don’t
think about specific services but
rather concentrate on the culture
and the customer experience. It
might help by starting with a list
of brand values - the things you
want your customers to think of
when they consider your
business.
14
August 2010
Focus Magazine
www.iov.com
Article
Quite often opportunity will take
your business off in a completely
different direction and your
original brand, albeit successful
in your original area of business,
does not perfectly suit your new
market.
It could be that you need to
develop a completely separate
brand for different avenues of
your business and, if so, you’ll
need to consider whether these
separate identities can sit happily
together under one corporate
brand or whether you should
develop completely separate
businesses for different avenues.
For instance, a brand that works
for a wedding day film business
might not work as well for a
corporate video business.
The above should get you
thinking about your business in a
more analytical manner and help
you develop your brand and the
way it is visually represented.
Business Names &
Branding Elements
OK – once you have the big ideas
and concepts in place you can
start to look at the visual
elements that represent your
brand. These can include
business names, logos, images,
colours, font styles and slogans.
Now all these elements might
already be in place but it doesn’t
do any harm in revisiting these
every now and then to make
sure they still reflect your brand
and the direction where you want
to take your business.
The actual business name
itself is obviously the most
important part of this. If you
started off as ‘Acme Wedding
Videos’ and you have plans to
move into corporate video then
something has to change or
you’ll have to create a
completely new business name
for this side of the business. It
makes much more sense to
create a completely generic
business name that can serve all
possible avenues. ‘Acme Video
Productions’ would be a much
safer choice. Also be aware of
the rapidity at which technology
changes, so ‘Acme DVD
Productions’ might still make
sense now but give it a few years
and you’ll be dealing with clients
who have never used a ‘DVD’
before. Look for constants. The
word ‘Video’ is safe – as is ‘Film’
- as they both refer to the action
or content contained within the
media and not the media itself.
Including the actual service
within your company name is
called a ‘Descriptive’ brand name
but there’s also...
Acronyms
(e.g. BBC, IOV or IBM)
Alliteration or Rhymes
(e.g. BlackBerry or Coca Cola)
Evocative
(e.g. Zenith or Amazon)
Neologisms or made-up words
(e.g. Wii or Edius)
Foreign words
(e.g. Adobe or Samsung)
Founders' names
(e.g. Disney or Marks & Spencer)
Geographic
(e.g. Fuji Film or North West Video)
Personifications
(e.g. Ajax or Nike).
You can of course combine some
of these but try to keep things
simple. What might seem clever
to you might not be so easy for
your clients to decipher.
Even if you have a longstanding business you shouldn’t
rule out the thought that it could
be time for a complete re-brand
and maybe even a business
name change – especially if your
business has grown organically
from its original concept. Ideally
we should all create completely
timeless brands but even things
like fonts and colours come in
and out of vogue and can place
your business in a specific era.
What might have seemed like a
“cool” look 10-years ago might
well be “old hat” today. If part
of your brand statement includes
words like “contemporary” then
it’s going to be at odds with your
brand image if it’s not portraying
a contemporary look.
Before I move on to looking
at the basic visual brand
elements in more detail you
should give some thought to at
least one of the more advanced
branding opportunities.
Question… what do the following
top electronic brands have in
common - Direct Line, Intel,
Apple and Nokia? They should
all conjure up what is called a
‘sonic logo’ in your mind’s ear (if
there is such a thing!). Maybe
this is a bit too much
www.iov.com
Focus Magazine
August 2010
15
Article
for you to be considering when
starting your business, but we
are operating in a creative
industry and you do have the
opportunity within your opening
programme captions and on your
website to establish a unique
sound as part of your brand
identity. I did say it was
advanced – but if you also
include in this any audio
branding (including songs,
jingles, tunes and audio slogans)
you’ll appreciate just how serious
big businesses take these. If you
still don’t believe me see if this
starts off an earworm for you...
“Go compare!”
I’m going to look at logo
designs in more detail in a
moment, but once you have
defined your branding elements
these should be adhered to in
everything you produce. The
more closely you stick to this rule
the easier it will be to develop an
instantly recognisable brand.
Three rules of logo design
Like every design challenge
really great logos are a result of
creativity and originality. But,
there are three golden rules to
follow that will help even the
most uncreative mind come up
with something that works.
1 - Keep it simple
If you are going to use a design
or mark as a logo (it needn’t
have one – just think of Sony or
Panasonic) make sure its not too
intricate. A good way to
measure this is to make sure
that its easy to draw pretty
accurately by hand.
Your logo will need to work
on business cards, posters,
websites, on video, on exhibition
displays… If it’s too intricate it
will become indistinct on a
business card. And one of the
definite no-no’s in my mind is to
use pictures of your camera
within your logo as these will
definitely date your business.
2 – Font Economy
If you study the logos of leading
brands you will notice that they
will generally only use one font
style (again – think of Sony and
Panasonic). Fonts that have
weight (thickness) will stand out
better – and even better are
those which come in various
weights as these can be used in
accompanying slogans or
headlines. Avoid gimmicky fonts
(as they will portray that image)
or those that do not reproduce
well on a smaller scale.
3 – Use of Colour
As with the fonts, don’t
overcomplicate the colour. One
is ideal but two is OK if you are
using a combination of a mark
and text - with the text ideally in
black. Avoid gradients as these
can be difficult to replicate
accurately and consistently
across all the things that your
logo might appear on.
Final thoughts
There are plenty of good
examples of clear and concise
branding amongst the IOV
membership - but lots of
examples of those with poor
branding. I’m not going to
embarrass either side by giving
out names but hopefully from
this article you can skip through
a few websites and see which
ones adhere to the principles
covered here. Whilst this is not
always the case, those with clear
and well defined brands will be
the more financially successful
videographers.
There will be some reading
this that have bumbled along for
years with their stale, out of
date, and irrelevant brands and
have managed to do quite nicely
thank you very much! However,
I would bet these same people
are the ones who get somewhat
taken aback when faced with
new competition who have got
their branding just right. If
there’s no alternative in the
market your customers won’t be
inspired to go elsewhere – but
when there is they’ll be avoiding
you like the plague.
The good news is that it’s
rarely too late to put things right.
Whilst it’s important for new and
emerging businesses to get their
branding right it’s probably even
more important when you come
to the point of selling on your
business or retiring. Your exit
strategy will greatly depend on
the options you have available to
you and having a well defined
and sellable brand will basically
give you more options.
So, this is where this series
will be heading next month –
planning where you want to be at
the end of your business journey.
It’s not something we tend to
think about when starting a
business but planning for it will
give you a definite goal to aim
for.
Kevin Cook F.Inst.V.
I became acutely aware of
the need for a shoulder
mount system when standing
in a muddy field looking
forward to a day of hauling
cameras, day sacks and
overnight kit over difficult
terrain. I knew I would then
have to find the energy to
carry out hand-held
interviews at the end of an
exhausting day’s hike.
Holding a non-shoulder
mount camera rock steady for
the duration of interviews
kills your arms and your
nerves, as most IOV members
are all too well aware. But
otherwise the lighter weight
camera is perfect for this kind
of ENG work and I get great
results with my Sony PMWEX1. I certainly wouldn’t
want to switch to some
shoulder mounted monster.
Seeking a solution I explored
a range of possibilities that might
help when faced with a similar
dilemma. One IOV member is
going to get the chance to be
very happy with what I found.
More on that later.
My ally in that muddy field
was fellow IOV member Peter
Fison. He had a shoulder brace in
his kit but had inexplicably left it
18
August 2010
back at base. Wouldn’t that have
been the perfect solution?
When Peter
bought his Sony
HVR-V1 H Preston
kindly threw in a
free KamKorda
shoulder support
system. He tried it
out when filming at
a conference where
there was no room
for a tripod. “Towards the end
it’s hard to avoid what I call the
sniper effect” he said, “when the
camera starts heaving up and
down in time with your laboured
breathing.” He finds the system
useful for long distance shooting
and when following aircraft and
fast boats, where there isn’t the
option of a tripod. He
commented that “it feels pretty
similar to clay pigeon shooting your upper body has to follow
the direction of the camera - in
contrast to the freer movements
possible when supporting the
camera on its own by the handle
and underbelly.”
The system only has one
strap, so is wobbly to left and
right and he found it strangely
complex to assemble, given that
it’s in three parts that need
retightening each time you use
Focus Magazine
www.iov.com
it. You can’t switch between
shoulder brace and hand-held or
tripod very quickly. Overall he
summed it up as “quite
cumbersome to move around
wearing it and it looks and feels
like some kind of rifle to carry
around or cradle in your arms
when not in use.”
If that’s what you get for
£90, or, in his case, for free;
what happens when you increase
the budget?
I got the chance to find out
when filming a large awards
ceremony. No tripod allowed;
nimbleness the order of the day.
I had to find the winners as they
stood up and track them up to
the stage, where another angle
would, thankfully, take over. IOV
member Simon Beer, Marketing
Director at Production Gear,
helpfully loaned me a RedRock
Micro to try out, which costs the
wrong side of £400, making it
unlikely that anyone would throw
it into a deal.
attach the camera. Put the
shoulder plate on your shoulder,
hold the hand grips, and off you
go.
One of the hand grips was a
bit loose and it felt like I might
be over-tightening it to get it to
grip. Perhaps I wasn’t, but it was
attached to a circular pole which
meant that in comparison to a
step or spline system, what I
gained in flexibility I felt I might
lose in strength. No problems
occurred, but it did give me
cause for concern.
The other problem was less
about the kit, and more about
me. If you are holding onto the
handles, er, how do you operate
the camera? My able assistant
(our cover model) shows that
you can hold one handle with
your left hand and put the right
through the hand grip for normal
operation. The second hand grip
is then a bit redundant, adding to
weight and affecting balance. It
felt like an unbalanced way of
operating, but maybe in time you
get used to it.
The RedRock
Simon helpfully added a
First impressions were that it was quick release system that used
exceptionally good. The brace is
the same plate as my tripod, so
very well made, and intuitive to
switching from brace to tripod
use. It takes the form of a kind
was as quick as it would be
of support crate to which you
between two tripods.
Review
At the event I achieved far more
stable images than I could have
done without any grip equipment
which was a relief, given that my
pictures were being thrown onto
large screens, which highlighted
every wobble.
I did find the system tiring to
use. The weight is still very much
to the front end and given that I
needed to keep the LCD screen a
focal length away from my eyes,
I ended up thinking that I was
trying to turn my EX1 into
something it wasn’t. Perhaps the
only solution is to, well, use a
shoulder mount camera for that
kind of work.
I didn’t have the kit long
enough to really test it fully, so
asked Andy Lunn of Media73 for
his opinion. Given that he uses
the Canon XL1H, which sits on
your shoulder perfectly well, why
did he add RedRock
Micro? “Several reasons really,”
he explained, “The first is I don't
feel the shoulder mount quite sits
right on the XL1H; it doesn’t
offer enough support, especially
for the hands. I found that with a
matt box, filters, and support
bars, the camera digs into your
hand and becomes painful to use
during long shoots. The camera
is already front heavy. I also
shoot occasionally with a 35mm
adapter which in the case of the
XLH1 means you need offsets
and risers. This actually covers
up the camera’s own shoulder
mount deeming it pointless. And
lastly by using the shoulder
mount you can use fore-grips.
These enable a better and more
stable working platform, taking
the pain out of long shoot and
giving you more creative
options.”
Andy also came up with some
new uses. Rather than dismount
the camera from the Micro, he
simply attaches the whole thing
to the tripod, and as such can
still use the hand grips to make
pans and tilts more stable. He
also uses the Micro for ultra-low
shots by placing it on the ground,
which means that the hand grips
can be adjusted to give control
over the shot angle; a use that I
have to say didn’t occur to me
and I doubt it was a use that
RedRock had in mind when they
designed it. But you can see the
point. Getting ultra low rock
steady shots can be difficult.
Let’s be clear. This is a
professional, very well made and
very coherent effect system.
There is plenty of space to add
lights, wireless kit, batteries,
follow focus units, flags, filters or
whatever you might need. As
Simon says, “Redrock Micro kit is
akin to either Lego or Meccano,
you can build the kit in different
configurations and add
components to customise to your
heart’s content.” If you are
considering developing your own
configuration, you could do
worse than contact Simon to
discuss your needs.
So, what else is out there?
runs Vortex and would
recommend his Field Guides for
specific cameras. In pictures, his
shoulder brace system looks like
an elegantly minimal curve.
However, some users report it
being somewhat springy, and it’s
very thin on your shoulder which
means that it doesn’t help you
with your horizons. It lacks
additional attaching plates. But
more to the point, when I
contacted them, Vortex Media
said that they actively don’t want
me to review it, as they don’t
supply to Europe and have no
plans to do so. It seems like
rather a large market to ignore,
but there it is.
Westside AV to the
rescue
However, all was not lost. While
researching Vortex Media’s brace
system I came across a supplier
called WestsideAV. They provide
an integrated system that
resembles Vortex Media’s, rather
than the separate crate used by
the RedRock Micro. Would they
agree to send a system? Yes
they were happy to do so. Do
they supply to the UK? Yes, they
said they supply to shooters all
over the world, even Europe.
When the system arrived I
was completely mystified with
what I was looking at. It
comprised of beautifully milled
and anodised parts, technical
drawings, a screwdriver, an allen
key, screws, Velcro stickers...
what on earth was I going to do
with all of that? There is no
product name as such and the
system doesn’t come with glossy
brochures or step by step
instructions. My sub-Ikea skills
were tested to the limit.
Luckily there are pictures on
their website and it’s logical
enough to construct once you get
going. There’s a sturdy plate that
fastens onto the camera itself
and is designed to stay there.
Your QR plate then attaches
to that. You then fasten the side
plate to the sturdy plate and the
shoulder brace
Alternatives
At half the price of the Micro and
with an interesting-looking
design, maybe I should have
considered the Anton Bauer
Stasis Flex system? True,
customer reviews range from bad
to appalling; all seeming to end
with ‘this product is useless’ and
true that their product video also
irritates me (have a look at both
here http://bit.ly/c2M4aF).
Maybe I should have tested it,
but their UK re-sellers don’t
answer calls or emails, so I
couldn’t.
Vortex Media were not a lot
more helpful. As an EX1 user, I
am a big fan of Doug Jensen who
www.iov.com
Focus Magazine
August 2010
19
Review
attaches to the side plate. More
to the point, Westside AV send
out the plates with the screws
fixed into the relevant holes for
your specific camera and held in
place with tape, which takes the
guess-work out of matching
screw to hole, which is useful
given that the plates work with
different cameras.
However I had two problems
with building the system. The
fixing for the shoulder extension
was a bit loose, so I felt that the
only way to fit it was to ensure
that it slid all the way in.
However, if I did that, I then
couldn’t change to my larger
battery without loosening
everything off again as a couple
of fixing screws were in the way.
The set-up was still a bit
forward heavy, but your hands
are on the camera; the brace
keeps it stable; helps with your
horizons; and you’ve got the side
plate where you can attach your
wireless receiver, additional
batteries, or whatever you
choose. The design of the
shoulder plate allows for the
addition of V-lock batteries, thus
balancing the weight of the
camera. The manufacturers of
the Nano Flash actually
recommend the side bracket as a
solution.
Personal touch
So, nearly perfect, was my
verdict... until a very useful
Skype chat with Olof and his wife
Sharyn. Hailing from New
Hampshire, Olof has been
shooting since the year dot, and
was an early adopter of the EX3.
But as a long-term user of larger
shoulder mount cameras, he had
sought a shoulder support
solution for his own filming. The
sturdy plate came about because
another shooter had managed to
break the bottom of his EX1 and
turned to Olof for help. Olof
decided that this was due to a
weakness in Sony’s design and
decided on a solution; an EX1
plate that can be bought
separately. He then developed a
side fixing as a solution to
working out where to fix his
Nano Flash, and developed it as
a shoulder mount system.
Olof also makes cabinets; has
designed and built his house and
studio; and has machined parts
for motor bikes. When he sees a
problem with his kit, he gets out
his CAD tool, measures out
dimensions, mills his own
prototypes and tries them out.
When he’s happy with them he
20
August 2010
previously know I had; an
attachment that balances the
camera and provides a useful
fixing point and a shoulder
support to which I can attach
batteries to help the overall
balance. A belt and braces
system, maybe, but one that
works.
Ben Bruges M.M.Inst.V.
www.meconopsisfilms.co.uk
Thank you to...
Peter Fison
(www.alchemyfilmworks.com)
Andy Lunn
(www.media73.co.uk)
sends the design to a machinist
who produces the plates and
brackets and then sends them on
to the anodiser; thereby creating
the finished product. It’s a
cottage industry approach that’s
rooted within his own experience
and feedback from the filming
community. Olof likes nothing
better than finding a problem to
which he can work out a solution.
He listened carefully to the
problems I had getting the trial
system to work and gave clear
solutions. His enthusiasm is
infectious. He pointed out that I
should just reverse the fixing
screws. That solved that
problem. The shoulder fixing is
intentionally flexible to help
those who want to shoot with
their eye glued to the VF. By
fixing a hood loop (by Hoodman)
onto the LCD you can turn the
EX1 into something much more
akin to the EX3, with the camera
much closer to you which helps
solve the balance problem. If you
then fix a couple of batteries to
the back shoulder brace the
weight becomes much closer to
equal and you need much less
guidance to control the camera.
The bottom plate adds
strength to the camera so can
just stay there. The side bracket
solves the ‘where do you put the
wireless receiver when you want
to use a camera-top light’ issue.
It balances the camera better left
to right, and so is best left in
place at all times. The shoulder
support can then be carried in
my filming bag for use when
required.
700s. We then needed to figure
out alternative ways to operate
the camera since all our
camerapersons had been using
cameras designed to be used off
the shoulder.”
CBS firstly made and rejected
their own rig, and then bought
another firm’s system to try
before coming across the
Westside AVs system. According
to Huxley the system “is of
excellent workmanship, and the
company’s service and eagerness
to help is impressive. They
provide an extremely valuable
camera assembly that we can
use seamlessly. In addition Oloff
uses the same equipment, so we
benefit from his experience”.
Conclusions
Olof’s commitment to the film
making ‘community’ is clear to
see. He has designed a couple of
adaptations to his systems to
assist left-eye dominant
shooters. He is a fan of the Fig
Rig, although already planning to
re-build it in a way that solves
problems he sees in it. As he
says, “I’m coming up with
solutions I think work. If you
don’t think it works call me, we’ll
talk about it and find a solution
that works for you.”
The system already works for
the Sony range (Z1, Z5, Z7, EX1
& EX3) but Canon XL1H users
also use it largely to add a fixing
for the Nano Flash. But why not
throw a curve ball at Olof and
see if he can design a system for
your camera if it’s not yet on the
list? Chances are he’ll end up
designing it specifically for you,
The CBS News
and then go on to sell that
Experience
solution to the community. That’s
I’m not the only one to be
how he works.
impressed. Huxley Galbraith from
So, in the end I chose a
CBS News explained, “We
system in three parts from
recently made the decision to
Westside AV: a plate that
purchase Sony EX1R cameras
strengthens the bottom of my
instead of additional Sony PDWcamera – a problem I didn’t
Focus Magazine
www.iov.com
Simon Beer
(www.productiongear.co.uk)
and to Olof and Sharyn
(www.westsideav.com)
Notes: Ben Bruges is the
Director of Meconopsis Films Ltd
which films corporate, training
and event video, ably assisted by
his six year old son, Tom.
(www.westsideav.com)
WestSideAV systems
EX1 complete system costs
$275, and the EX3 total system
costs $250 - (Bottom plate and
side piece are available
separately, see website for more
information). The KamKorda
shoulder brace costs £90 + VAT,
the RedRock Micro costs £392 +
VAT, the Anton Bauer Stasis Flex
costs £197 + VAT and the
Vortex Media is not on sale in
Europe!
Win a Westside rig!
And here’s where you come
in. A competition. To win, be
the first to send the correct
answer to the following
question to
[email protected]:
What does Olof and
Sharyn’s office webcam
point at?
A) Upstate New York
B) The White Mountains
C) Mount Washington
The first person to send the
correct answer (with their
name and contact details) will
have the opportunity to
contact Olof by Skype, tell
him about their current
camera set up and any fixings
they use. Olof will then advise
on the best support system to
use and send it direct to their
door. You pay postage,
nothing else.
The arrival of Canon’s 5DMK2
has brought with it both a
wave of excitement and
trepidation amongst many
areas of the industry. In its
wake the lines between
photography and film have
been truly blurred enabling
each to be captured to
astounding quality levels by
the same device. The
buzzword attributed to the
merger has been ‘Fusion’ but
with it many different
interpretations leaving final
production outputs unsettled.
Long has there been friction
between photographers and
videographers, particularly in the
events industry, but with this
latest development the tension
could not be higher between the
two camps as an opportunity has
been given to take a big bite out
of each other’s apple. How big
the chunk will be determined by
how quickly each grasps the new
skills needed to master the new
platform.
For the first time
Photographers have been given
the ability to shoot full 1080p
video without any major
investment, and also to produce
quality standards only
superseded in some instances by
35mm film. The camera has an
exceptional ability to record in
low light with minimum noise and
shoot video with a true cinematic
look through a range of
interchangeable lenses, offering
incredibly shallow depth of fields
22
August 2010
and beautiful bokeh patterns.
Photographers certainly have the
edge with their kit bags
potentially pre-filled with a
selection of lenses and familiarity
with the camera body controls,
but they must encounter many
challenges in shooting a totally
new medium.
completely foreign. Whilst the
camera includes a small internal
microphone, the quality levels
are poor. Essential for decent
reproduction of sound, off
camera capture must be set up
either using a mounted
microphone connected via a
35mm jack, or recording via a
digital recording device. Both
directional mono and stereo units
can be easily fixed to the
camera’s flash hotshoe fixing.
But perhaps the most novel
challenge for the photographer is
post-production considerations.
Familiar with the lesser editing
and storage demands of photos,
video has vastly greater
requirements both in terms of
size, processing time and
expertise. It is this that poses
Learning curves
the greatest barrier to
Shutter speed for example has
photographers grabbing the film
different implications for video
production reins - that’s unless
and photography. Where
new services were to emerge
photographers use it in most
catering for these.
instances to freeze motion by
Without this there is no doubt
using high speeds or avoid
that videographers hold a major
camera shake, lower speeds
beneath 1/160 second need to be advantage and it explains why,
to date, many photographers
used in video to maintain fluid,
have fallen so far short of what
smooth movement and avoid
this new platform can offer them.
visible digitization. Next comes
Unfortunate evidence is in
the challenge of keeping the
attempts to mix photo and film
camera stable for periods of
presentation in eighties-like
time, when usually they would
slideshows made in iMovie.
have to hold it steady for a split
This fusion offers photographers
second.
a unique ability to explore
Another major challenge is
existing stills capture techniques
sound recording for
photographers, which is
in the realms of filmmaking but
Focus Magazine
www.iov.com
high occurrence of these
episodes certainly show it to be
in a period of new exploration.
An on the other side
On the other side of the camp
are videographers who have indepth experience of capture and
production requirements, but
they too have their own new
challenges. Most video cameras
include a single zoom lens built
into the body, which covers a
wide range of focal lengths with
a fast autofocus response and
peaking assistance. Whilst
photographers are widely familiar
with selecting different lenses for
different scenarios these are new
skills to be picked up by
videographers.
Focusing with DSLR cameras
is also a completely manual
experience with no visual help
from the camera body. This is
also certainly a challenge for
photographers but have they
have the advantage of being
familiar with the camera’s
ergonomics and grasp in their
hand. One particular
disadvantage of the camera is
the LCD screen in terms of
focusing, not only for the lack of
software assistance, but also
because of its fixed positioning
locked at one angle to the back
of the body. Whilst it is certainly
of a high resolution, its inability
to tilt to accommodate different
shooting angles needs some
getting used to, but ultimately
disadvantages the operator.
Article
Popular products to aid more
accurate judgment of focusing
are optical magnifiers that fit on
the back of the cameras over the
LCD screen, offering up to 3x
magnification. In addition to the
visual aid they provide a further
point of contact with the body to
help stability when handheld.
A new concept the
videographer has to consider is
variable ISO. Whilst it is a major
advantage to optimize exposure
quickly without having to alter
desired aperture and shutter
speed settings, as opposed to
using basic gain imprecise
neutral density filters, it is
certainly a new technique to be
mastered.
The ergonomics of the
camera are another significant
challenge for video operation
with layout and button function
designed for stills capture. Since
the release of the 5DMK2 there
have been many cries to put the
sensor into a dedicated video
camera and this is certainly a
possibility in the future. Add to
this an interchangeable lens
mount and you may well be
visualizing the forthcoming
hybrid platform although there
seems to be no signs of this yet.
Video is nearly all shot tripod
based but the new camera
platform encourages its use
handheld and this needs
practiced skill for focal lengths of
50mm and beyond. Certainly this
has led to the development of
various body and shoulder
support systems, made possible
due to the small size of the
camera. The value of lens image
stabilizer systems should not
however be underestimated
when using DSLRs. Similar to
how photographers are given
several more stops to avoid
camera shake at slow shutter
speeds, they enable handheld
use for video at focal lengths that
would be thought impossible
without the use of a tripod.
Practice in the field has
shown with careful training and
body position techniques,
shooting at 200mm without sign
of camera movement is very
possible.
Evolution or
Revolution
So are all these challenges worth
it? You only have to look across
the industry to see the
shockwaves the camera has
created to realize this is
revolution. It certainly depends
on the application, but for
anyone interested in creative
filmmaking this camera provides
astounding results and incredible
specification. Latest firmware
updates have added 24p and 25p
frame rates to the 5DMK2 whilst
new line-ups in the form of the
7D and 1DMKIV offer slow
motion 50p capture at 720p.
Suddenly for a fraction of the
price you are able to achieve a
similar look and feel to many
high-end production cameras. Its
to no surprise that discrediting
words have been shouted out
from team RED.
Bright futures
Something not to forget is that,
on adapting the DSLR platform, a
stills camera is being put in the
hands of the videographer giving
them the opportunity to bite
back against the photographer to
compete on their own service. A
big skill set to master but
certainly a similar jump to that
taken by photographers leaping
into film production.
What of the future of
cameras in the industry? Back in
2008 RED announced that the
DSMC concept of an integrated
Digital Still and Motion Camera
system was to be the
overarching philosophy of Red's
future product lines making a
statement to the industry. After
delayed product releases Canon
has since led the pack delivering
this fusion concept with
incredible success, although to
get high quality stills from the
cameras the mode has to be
switched rather than simply
pausing the footage. It is surely
just a matter of time though that
the concept of taking highquality stills from video without
the need to switch from shooting
video will be possible as similar
technology is developed and
adapted into the likes of the
5DMK2 and its counterparts.
Could this suggest a takeover
of video over photography?
Watch this space as its very
exciting times for the industry –
new players like Sony are soon
to join the pack and Nikon
predicted to pick up their pace.
Look out for my monthly
equipment reviews and technique
tips for the exciting new DSLR
film platform.
Peter Rear
PR Photography
Notes: Peter will be giving a
presentation at ProVideo 2010
entitled ‘Filmatography Fusion’.
www.iov.com
Focus Magazine
August 2010
23
David Howles M.M.Inst.V.
Phil Janvier M.M.Inst.V.
Thomas Jones M.M.Inst.V.
Kindred Films *
Ron Lee F.Inst.V.
Mirage Digital Video Productions *
Gordon Moore M.M.Inst.V.
Jeffrey Mortimer M.M.Inst.V.
Mark Newbolt M.M.Inst.V.
Peter Parker M.M.Inst.V.
Arthur Procter M.M.Inst.V.
David Royle M.M.Inst.V.
Stephen Slattery M.M.Inst.V.
Steven Smith M.M.Inst.V.
1a
01706 657835
0151 487 9338
01744 603799
0161 973 8889
01744 29976
01253 596900
01706 215914
01663 762354
01928 733225
01772 611590
0161 427 3626
01942 735759
01706 230545
0161 797 6307
ABCDE
ABCDGN
BN
B
ABCG
ABCDFKLMN
ABC
B
ABCK
ABCK
ABCHJK
AKN
E. Midlands, S. Yorks, Humberside & Lincs. (Area 04a)
Dean Hodson M.M.Inst.V.
Geoff Knight F.Inst.V.
Adrian Medforth M.M.Inst.V.
Ben Newth M.M.Inst.V.
John Port M.M.Inst.V.
Shane Rumsey M.M.Inst.V.
Darren Scales M.M.Inst.V.
Gordon Simpson F.Inst.V.
Tim Smithies M.M.Inst.V.
Philip Wilson F.Inst.V.
Sean Atkinson M.M.Inst.V.
Andrew Blow M.M.Inst.V.
Broadcast Media Services *
Quentin Budworth M.M.Inst.V.
Chris Goulden M.M.Inst.V.
Philip Groves M.M.Inst.V.
Lynne Hamilton M.M.Inst.V.
1b
2
19a
4b
19d
3
19b
4a
5
6
19c
7
8
10
9
13
14
11
15
12
16 - Channel Is.
THE LIST is designed to help qualified IOV members to
share work on a national scale and for potential clients to
find the right kind of videographer for their needs. The
List is divided into geographical areas, as shown above,
and specialist work types as listed below...
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Corporate, Industrial & Commercial Video Services
Wedding, Event & Celebrational Video Services
Freelance Videographer
Freelance Audio Engineer
Freelance Lighting Technician
Freelance Directing
Script Writing
Freelance Production Assistant
Presenter and Voice-overs
Graphic Design & Animation Services
Freelance Editing Services
Training
Broadcast Production
Special Interest Videos
Steadicam Operator
Underwater Videographer
PLEASE NOTE: In this listing Qualified Members have declared
their own areas of specialisation. The declaration of a work
type should not be regarded as an endorsement by the
Institute of Videography.
Scotland North (Area 1a)
Mark Stuart M.M.Inst.V.
Ron Carmichael M.M.Inst.V.
Iain Johnston M.M.Inst.V.
Alan Rae M.M.Inst.V.
Brian Rae M.M.Inst.V.
Colin Sinclair M.M.Inst.V.
01224
01382
01764
01224
01224
01847
314999
520437
655655
703745
862100
895899
Scotland South (Area 1b)
Ken Neil F.Inst.V.
Tony Nimmo M.M.Inst.V
Pro-Create.Co.Uk *
Jonathan Robertson M.M.Inst.V.
Steve Towle M.M.Inst.V.
Michael Ward M.M.Inst.V.
Alex Crosbie M.M.Inst.V.
Danny Hart M.M.Inst.V.
Trevor Jenkins M.M.Inst.V.
Guy Kinder M.M.Inst.V.
John Lawton M.M.Inst.V.
Wendy Love F.Inst.V.
James Lundy M.M.Inst.V.
Graham Mackay M.M.Inst.V.
Douglas Miller M.M.Inst.V.
Lee Mulholland M.M.Inst.V.
0141 883 7168
01555 661541
0141 587 1609
0131 476 5432
0845 226 2167
0141 644 1136
01555 665236
01563 542195
01334 656922
0131 221 1697
0141 339 1797
0141 954 0840
01501 739153
01236 730770
01555 860382
01294 217382
North East England (Area 2)
Chris Hughes M.M.Inst.V.
Glenn Huntley M.M.Inst.V.
Brian Jenkinson M.M.Inst.V.
David Pethick M.M.Inst.V.
Mike Trewhella M.M.Inst.V.
Neil Wood-Mitchell M.M.Inst.V.
Michael Bell M.M.Inst.V.
Ian Black M.M..Inst.V.
Roger Brown M.M.Inst.V.
Andrew Charlton M.M.Inst.V.
Andrew Crinson M.M.Inst.V.
Chris Gillooly M.M.Inst.V.
07779 807538
0191 549 3675
0191 300 6292
07712 802922
0191 536 6535
0191 270 9063
01325 241821
01325 718188
07786 705066
01661 844542
07972 801466
0191 286 9800
ABCDJKMN
ABCK
ACKN
ACK
ABC
ABFILMN
ABC
ACEFGK
ABCK
ABC
ABCKL
ABC
AB
P
ABCK
AB
ABCFJKMNO
ABCGILKMN
ABN
ABCJK
ABCFGHJKLMN
ABCFGHJKLMN
ABCHKL
ABCFIKN
ABCFHJKN
ABCFK
AB
ACHIKN
ABC
ABCDFM
North West England (Area 3)
Ken Stott M.M.Inst.V.
Mike Waring M.M.Inst.V.
Les White M.M.Inst.V.
Des Williams M.M.Inst.V.
Tony Williams M.M.Inst.V.
Chris Abram M.M.Inst.V.
Graham Baldwin M.M.Inst.V.
Dave Barrow M.M.Inst.V.
Roy Beaumont Swindlehurst M.M.Inst.V.
Paul Cragg M.M.Inst.V.
Chris Dell M.M.Inst.V.
Jack Ebden M.M.Inst.V.
Steve Edwards M.M.Inst.V.
Nick Farrimond M.M.Inst.V.
Gavin Gration M.M.Inst.V.
Dave Hall M.M.Inst.V.
David Harwood M.M.Inst.V.
Thomas Harrington M.M..Inst.V.
Mark Higham M.M.Inst.V.
Peter Hinkson M.M.Inst.V.
John Hodgson M.M.Inst.V.
24
August 2010
01282 414073
01704 531576
01768 899936
0161 928 7361
01704 232116
01524 736573
0151 722 6692
01257 264303
01254 830823
01254 679625
01204 847974
01772 622522
0161 428 9646
01942 703166
01254 830823
0161 637 6838
07927 691454
01253 763764
0845 389 0039
01606 889975
01253 721993
01253 899690
ABCD
ABCKN
ABCJK
ABCNP
ABCK
ACK
ACFK
ABCKM
ABCN
ABCHJKN
CM
AKM
B
B
BC
ACK
BCD
Focus Magazine
01246 268282
01472 811808
01964 503771
0115 916 5795
01623 654446
01909 733291
07876 021609
01724 720111
01246 813713
01482 304830
01472 507367
01522 754901
0115 955 3989
01964 562073
01430 431634
01526 353225
01246 866673
ABN
ACDFGIKN
ABC
ABK
ABCEFGKMN
AN
ABCG
ACFJKLN
ABCFGJKLMN
ABCFGHIJKLMN
ACFGIKM
ABCJ
ABCIKN
North & West Yorkshire (Area 04b)
Christopher Lawton M.M.Inst.V.
Simon Marcus F.Inst.V.
Richard Mortimer F.Inst.V.
Terry Mullaney M.M.Inst.V.
Paolo Pozzana M.M.Inst.V.
Dave Redmond M.M.Inst.V.
Peter Thornton M.M.Inst.V.
Mike Wade F.Inst.V.
Mike Walker F.Inst.V.
Mike Wells M.M.Inst.V.
Gail Allaby M.M.Inst.V.
Philip Burton M.M.Inst.V.
Colin Campbell M.M.Inst.V.
Bryan Dixon M.M.Inst.V.
George Duncan M.M.Inst.V.
Diana Eales M.M.Inst.V.
Simon Hare M.M.Inst.V.
Ian Jackson M.M.Inst.V.
0113 218 9298
0113 261 1688
01924 249700
01924 864613
01756 798335
0113 263 2496
01706 812008
01484 684617
01924 515100
01347 868666
01422 844392
01274 595421
01274 690110
07800 787580
01943 870431
01937 588858
0113 258 8147
07979 914996
ABCFHK
ACDFGHJKLMN
ABCHJK
AB
ABCHKN
ABCGIKN
ABCKN
ABCFG
ACDEFIKMN
ABD
ABCFGHK
BCN
ACFGKLM
ABCFIKN
ABFK
ABCKMN
ACFJKLNR
North Wales & Borders (Area 5)
Cam 3 Media *
Martyn Chidlow M.M.Inst.V.
James Edwards M.M.Inst.V.
Peter Eggleston F.Inst.V.
John Evans M.M.Inst.V.
David Jones F.Inst.V.
Richard Knew F.Inst.V.
David Pearson M.M.Inst.V.
Christopher Smith F.Inst.V.
Christopher Smith M.M.Inst.V.
Rowland Barker F.Inst.V.
Midlands (Area 6)
Nick Kirk F.Inst.V.
Bob Langley M.M.Inst.V.
Michael Leach F.Inst.V.
James Mackenzie M.M.Inst.V.
Brad Miles M.M.Inst.V.
Chris North M.M.Inst.V.
Mike Payne M.M.Inst.V.
Gillian Perry M.M.Inst.V.
Roger Perry M.M.Inst.V.
Bob Sanderson M.M.Inst.V.
Michael Shaw M.M.Inst.V.
Daniel Thompson M.M.Inst.V.
Mike Walters M.M.Inst.V.
David Wilford M.M.Inst.V.
Jackie Williams M.M.Inst.V.
AVInteractive*
John Felix M.M.Inst.V.
Simon Hammond M.M.Inst.V.
Stephen Hart M.M.Inst.V.
Thomas Hill M.M.Inst.V.
Ice Productions Ltd *
David Impey F.Inst.V.
David James M.M.Inst.V.
Colin Jones M.M.Inst.V.
01588 650456 ABCFGHIKN
01978 350122 ABCHKN
0845 427 5794 AC
A
01492 543246 CK
01743 891286 ABCKN
01244 570222 ACFKM
07775 965908 ABCFKN
01948 780564 AIMN
01691 610762 ABCDFK
01490 430507 ABCFGHKLN
07836 702502
0121 308 6453
01902 893068
01902 342154
01455 202057
01530 836700
01283 567745
01676 541892
01676 541892
01384 271073
01782 746553
07708 506657
0845 257 8207
01858 410278
01455 848199
01789 761331
01332 737525
01588 638116
01527 878433
07780 691809
01926 864800
01926 497695
01782 514942
07837 276475
ACFGKL
AJMO
BC
A
AB
ABKN
AI
ABCFKGHMN
ACKN
ACGNO
ACDKMN
ABCKM
ABCFKM
ABDJM
ACFGJKLMN
ABJ
ABCK
East Anglia & A1 Corridor (Area 7)
Malcolm Wooldridge M.M.Inst.V.
John Worland M.M.Inst.V.
Hedley Wright M.M.Inst.V.
Mike Brown M.M.Inst.V.
Dave Collins M.M.Inst.V.
Stephen Curtis M.M.Inst.V.
Mike Deal M.M.Inst.V.
Extreme Video*
Brian Gardner F.Inst.V.
Colin Goody M.M.Inst.V.
Nigel Hartley M.M.Inst.V.
David Haynes F.Inst.V.
John Lambert M.M.Inst.V.
Shaun Lawson M.M.Inst.V.
Dave Parkhouse F.Inst.V.
Bill Platts M.M.Inst.V.
Craig Stanley M.M.Inst.V.
John Suckling M.M.Inst.V.
Andy Welham M.M.Inst.V.
01493 782174
01206 241820
07966 793885
01603 407097
01603 271595
01502 712411
0800 970 6159
01603 630555
01603 260280
01473 257595
01728 452223
01842 862880
01603 610566
01493 441162
01263 862231
01733 370922
07984 005074
020 8517 6752
01473 711870
N
ABCFGKLN
ABCKN
ABCGK
BCN
ABCGKN
ACIJKLMNOP
ACFGKMN
AB
ABCHJKMNQR
ABCDHK
CDKN
ABCEGKM
CAN
BLN
South Wales & Bristol Channel (Area 8)
Chris Wheatley M.M.Inst.V.
Peter Cluer M.M.Inst.V.
Michael Hill M.M.Inst.V.
Harley Jones M.M.Inst.V.
Manolo Lozano M.M.Inst.V.
Dawn Morgan M.M.Inst.V.
Andrew O'Leary M.M.Inst.V.
Nick Pudsey M.M.Inst.V.
Colin Riddle M.M.Inst.V.
Alan Torjussen F.Inst.V.
Alan Vaughan M.M.Inst.V.
01242 579712
01453 832624
01242 674462
029 2052 0599
01792 520450
01792 776121
01656 650249
01646 651555
01437 769635
029 2066 6007
01453 884800
ABCDN
ACGKN
ABCDIKN
ABCFK
ABCN
ABCKN
ABCK
ACGJKLN
AFGLMN
ACFGN
West London, Middlesex & Herts. (Area 9)
Michael Lawson M.M.Inst.V.
Stuart Little M.M.Inst.V.
Anthony Myers M.M.Inst.V.
Alan Benns M.M.Inst.V.
Adam Carroll M.M.Inst.V.
Paul Cascarino F.Inst.V.
Andrew Cussens M.M.Inst.V.
John De Rienzo M.M.Inst.V.
Peter Fison M.M.Inst.V.
Mike Henson F.Inst.V.
020 7932 1190
020 8347 9567
020 8958 9838
020 8943 2666
07768 014503
020 8898 2229
0800 234 6368
07877 908143
020 8133 0081
01494 438904
ACFGKLN
BCK
ABCEKMN
ABCD
ABFN
ABN
ACFGHIKN
AJM
Oxfordshire & M1 Corridor (Area 10)
Hamish Maclean M.M.Inst.V.
Gordon O'Neill M.M.Inst.V.
Mark Shipperley M.M.Inst.V.
John Snelgrove F.Inst.V.
Jonathan Ashby M.M.Inst.V.
Anthony Barnett M.M.Inst.V.
www.iov.com
01582 596935
01494 773818
01844 237857
01442 250088
0845 053 5400
01553 776995
ABCN
ACFKM
ACFGJKMN
AFIKLN
David Blundell F.Inst.V.
Ray Burnside M.M.Inst.V.
Mario Crispino M.M.Inst.V.
First Sight Video*
Ken Franklin M.M.Inst.V.
Steve Hart M.M.Inst.V.
01234 764883
020 7193 0721
01295 262260
0800 072 0753
01993 868479
0800 633 5784
AJKL
ACGIKLN
ABCFHIJKLN
AB
ABC
ABCJKN
E. London, Essex & Hertfordshire (Area 11)
Tony Lench M.M.Inst.V.
Anthony Manning M.M.Inst.V.
Hugh Morris M.M.Inst.V.
Kresh Ramanah M.M.Inst.V.
John Rose M.M.Inst.V.
David Strelitz M.M.Inst.V.
Iain Wagstaff M.M.Inst.V.
Gillian Walters M.M.Inst.V.
Peter Walters M.M.Inst.V.
Andreas Andreou M.M.Inst.V.
Ian Burke M.M.Inst.V.
Zulqar Cheema M.M.Inst.V.
David Chevin M.M.Inst.V.
Fred Curtis M.M.Inst.V.
David Durham M.M.Inst.V.
Rick Fiore M.M.Inst.V.
Jonathan Grose M.M.Inst.V
John Harding M.M.Inst.V.
Duncan Hector M.M.Inst.V.
Martin Klein M.M.Inst.V.
Elaine Laurie M.M.Inst.V.
01702 525353
020 8923 6068
020 8220 6955
07956 395345
01375 483979
01268 412048
01376 556417
01708 724544
01708 724544
0208 369 5956
ACE
ABCGN
FKLN
ABCHK
ABCN
ABCFKLMN
B
ABCFKN
ABCFKN
ABCKN
01279 413260
020 8502 7232
01708 343123
020 8504 9158
01702 293003
01279 757300
01206 842607
01462 892638
01707 655895
020 8502 6198
ABCDKLN
ABCKQ
ABCH
CGK
ABCFGHIKL
B
ABCK
West Country (Area 12)
Mark Huckle M.M.Inst.V.
David James M.M.Inst.V.
Ian Lewis M.M.Inst.V.
Muirgarth Limited*
Mark Brindle M.M.Inst.V.
Nicky Brown F.Inst.V.
Pip Critten M.M.Inst.V.
Mike Dutton M.M.Inst.V.
Jon Durrant M.M.Inst.V.
Chris Ellery M.M.Inst.V.
01872 270434
0117 979 2858
01752 691210
01985 844820
01271 891140
07771 757148
01752 361210
07050 262016
01761 232520
0117 910 9704
ABC
ABCKN
BCN
ABCHJN
ABC
AKN
ACDJKMN
ABCDEFGHIJKLMNO
B
ABC
Dorset, Wiltshire & Hampshire (Area 13)
Ernie McKenna M.M.Inst.V.
Eric Montague M.M.Inst.V.
Colin North M.M.Inst.V.
Jeremy Payne M.M.Inst.V.
Jennifer Roberts M.M.Inst.V.
David Angus M.M.Inst.V.
Steve Axtell M.M.Inst.V.
David Bennett M.M.Inst.V.
Maurice Brake M.M.Inst.V.
Nick Curtis M.M.Inst.V.
Steve Feeney M.M.Inst.V.
Stewart Guy M.M.Inst.V.
Greg Hawkes M.M.Inst.V.
Otton Hulacki M.M.Inst.V.
Clive Jackson M.M.Inst.V.
Ray Joyce M.M.Inst.V.
Patrick Kempe F.Inst.V.
Kazek Lokuciewski M.M.Inst.V.
Tim Martin M.M.Inst.V.
01373 832763
01202 486330
01725 511688
0845 644 0912
07850 587415
01793 845060
01202 718522
01590 623077
01202 512449
01794 324147
01962 622549
01256 850142
01256 817926
01983 884845
01329 236585
01202 692008
01590 675854
0118 965 6322
01985 212863
ABCKN
CAN
ABCN
BCK
ABCDJ
BCKN
P
ALM
ABC
ABCHIKMN
ABCKN
ABCDFIKMN
ABCFGKL
ABCJKN
ABCKMN
ACGKN
ABCGHK
ABCDEFGIJKN
AGIJN
Surrey, Berkshire & Sussex (Area 14)
Gerald Thornhill M.M.Inst.V.
Chris Towndrow M.M.Inst.V.
Barry Weare M.M.Inst.V.
Mike West M.M.Inst.V.
David White M.M.Inst.V.
Mark White M.M.Inst.V.
Vince Babbra M.M.Inst.V.
Noriko Brewster M.M.Inst.V.
Matt Davis M.M.Inst.V.
Matthew Derbyshire M.M.Inst.V.
Leo Ferenc M.M.Inst.V.
Paul Finlayson M.M.Inst.V.
Focal Point Television Ltd*
Brian Hibbitt M.M.Inst.V.
Neil Hodgson M.M.Inst.V.
Martin Hooper M.M.Inst.V.
Peter Howell M.M.Inst.V.
Laurie Joyce M.M.Inst.V.
Robin Kay M.M.Inst.V.
Gerry Lewis M.M.Inst.V.
Philip Nash M.M.Inst.V.
Anthony Neal M.M.Inst.V.
Derrick Oakins M.M.Inst.V.
Frank Prince-Iles M.M.Inst.V.
Simon Reed M.M.Inst.V.
TBP Limited*
Ines Telling M.M.Inst.V.
01342 300468
0845 450 0961
01293 886484
01628 528682
01903 892951
01372 360145
01329 505501
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1958
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Article
missing because prior to
broadcast the central part of
each frame had been enlarged
so that it filled the entire width
of my widescreen TV cropping
the top and bottom of the frame
in the process; the result was a
travesty of the cameramen’s
go in case you are a crazed
An English triumph
intentions making it look as if he
criminal intent on goodness
On Sunday 27 June I witnessed
was clueless about framing a
knows what.
a fine English performance. It
shot.
Three cheers for progress.
was full of great energy and
Why do the powers that be
great skill and was
in broadcast TV think that
Give credit where it’s audiences will rise up in revolt if
consummately professional and
highly entertaining. No it wasn’t due
they display a 4:3 picture as
the England football team’s
intended? It’s an insult to both
Have you noticed how when a
magnificent performance against movie that you have been
the film-maker and the
Germany in the World Cup
audience.
watching on telly comes to an
(none footy fans should note
So if you’re a TV boss
end some inane individual at the
that I am being ironic here) but
reading this I have a message
TV station feels compelled to
Paul McCartney performing in
for you: stop it!
interrupt the credit sequence
Hyde Park in front of an
with news of the next
audience of forty thousand.
programme?
Shootout
Where does a man of sixtyNow my view is that the
I recently undertook a multieight get the energy to perform
credit sequence of a movie is
camera shoot at the Mermaid
none stop for two and a half
part of the movie. Often it lends Theatre (well actually the
hours at such a level?
the opportunity to reflect on the ‘Mermaid Conference and Events
movie’s contents and acts as a
Centre’ - I wonder what bright
valve for the gradual release of
spark came up with that
the emotions that a good movie moniker?).
engenders. Under no
None of my regular second
circumstances should the TV
camera operators were available
station bosses allow some clown and so I called upon one of my
great film-making heroes the
to wreck that mood. It’s an
great Mr Tom Hardwick himself
insult to both the film-maker
to take on this role. He has one
and the audience.
of the new Sony NXCAM
So
if
you’re
a
TV
boss
Ah the old days
camcorders - the HXR-NX5E
reading
this
I
have
a
message
I was recently invited to attend
which shoots in the dreaded
for you: stop it!
a product launch for the new
AVCHD format - and I thought
JVC camcorder held at premises
that it would be interesting to
Oh yeah?
inside Pinewood Studios. It’s a
see how it would fare alongside
few years since I’ve been to
I was watching a documentary
my JVC GY-HM700 shooting in
Pinewood and I was
XDCAM EX format. Or to put it
about the Youth Hostel
another way to see a shootout
disappointed to note that one no Association on telly the other
between MPEG4 and MPEG2.
longer gains entrance via the
night (avid readers of this
In the event there was really
iconic double gateway but
column may by now have noted
nothing
in it. When cameras at
instead goes around the corner
that I seem to watch an awful
this level are deployed properly
to a newly built entrance-cumlot of telly). Part of the
they perform equally well and I
reception area.
programme featured some old
didn’t even have to use any post
In the old days all you had
footage shot on 16mm film in
to do to gain entry was to tell
the 1950s and the narrator was production colour correction as
the images from both cameras
the bloke at the gate whom you saying that the footage had
were visiting and then you’d be
been cleaned up and could now were identical in colour terms in
spite of employing different
let in and left to your own
be viewed as the original
makes of lenses.
devices. This enabled a magical
cameraman intended it to be
So it’s all down to personal
walk around the site to look at
seen.
preference - Tom loves his NX5
the various studios and to
But it wasn’t shown as the
imbibe the atmosphere.
original cameraman would have and I love the HM700 - which is
just how it should be.
Now you have to be signed
wanted it shown at all. A great
in and escorted everywhere you big swathe of each frame was
Stuart Little M.M.Inst.V.
www.iov.com
Sussex
&
Lincolnshire
SEE WEBSITE
FOR DETAILS
Focus Magazine
August 2010
25
CLASSIFIED SECTION
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& Services here
Call 020 8502 3817 or email [email protected]
for more details
SALES & WANTS
SALES & WANTS
SALES & WANTS
CALL 020 8502 3817 OR ORDER ON-LINE AT WWW.IOV.CO.UK
SALES & WANTS RATES: IOV Members - £15.00 Plus VAT per advert
Non-Members - £20.00 Plus VAT per advert
Cameras/Camcorders
Canon XL2 Video Camera, Manfrotto
Tripod and fluid head, Sony Mini DV player
Canon XL2 Video Camera, with twin
batterys and holder ,very low usage £1,950. Sony GV D1000E mini DV
player, also low usage £495. Manfrotto
350 MVB pro Tripod with Manfrotto 516
Fluid Head - £450. Manfrotto Lanc Zoom
controller for Canon & Sony Cameras £95. This equipment has had very little
use and is in mint condition.
Contact David: 01253 890556
[195]
Sony EX3 & Canon Lens
Sony PMW-EX3 only 30 hours £5,250.00
No VAT. 4 x Sony 8 Gb SXS Pro cards,
£200.00 each. (3 Still Sealed) No Vat.
Sony Profrssional Harddisk Unit PHU-60
As New £490.00 No Vat. Canon KH10x3.6
IRSE x2 HD Lens suit Sony PDW-330,
PDW-350 PDW335 Xdcam 1/2 inch Lens.
As new, £8,500.00 No VAT. May take part
exchange on any of these items for Sony Z1E,
or Panasonic HVX-200 or what have you.
Contact John: 07732-641-839
Ealing Green & Bracknell
[189]
Canon XH-A1
With wide angle adapter lens/hood
fitted. The camera is in good condition &
working order. Boxed with owners
manual. Open to reasonable offers.
Contact Ian: 07973 30 40 23
[188]
Sony PD150
PSU, mike, manual Op 170x10h, Drum
85x10h, TapeRun 70x10h, Thread
286x10h. Cash sale only, buyer collects
London, £750 ono ex VAT IOV members
Contact Tim: 01172 300 710
[188]
Sony HVR V1E setup
Sony HVR V1E setup for sale + Sony URX
system, Manfrotto 528 tripod, Lightpanels
LP-Micro, Bayer reporter mic. http://
bit.ly/aCKQEc £3000
Contact Andy: 07847 535777
[187]
Sony HVR-Z5E Camcorder
With HVR-MRC1K Memory Recording
Unit. Operation 54x10, Drum Run 46x10,
Tape Run 20x10 Includes 1 Year Sony
Warranty. As new £2950 ono
Contact Les: 01474 702220
(based in Longfield Kent)
[186]
SONY Z1 CAMCORDER
Sony Z1 in Perfect condition £2000
Operation: 50 X 10 hours, Drum Run: 46
X 10 hours, Tape Run: 29 X 10 hours,
Threading: 60 X 10 hours. Also for sale:
JVC5100 with Fujinon S17x6.6 lens
(VF116 Viewfinder!). Recently serviced
670 Hours (Small crack on bottom)
£1750. Sony VX2100 in perfect working
order £1100.
Contact: Isaac 0781 2097692
[186]
SONY Z1 CAMERA AND CARRY CASE
Operation: 56 X 10 hours, Drum Run: 38
X 10 hours, Tape Run: 21 X 10 hours,
Threading: 59 X 10 hours. All inclusive
package for £2,500 plus shipping costs
Including: Manfrotto Tripod and Bag,
Microphone, Weather Hood, Shoulder
Brace, Additional Lens: Sony VCLHG0872, Cleaning Cloth and Pouch
Charger, Sony Remote Control, Battery
operated night light, Sony Battery
NPF970 X 2 hours, 2 X Sony Batteries NP
F570 X 8 hours and DV Tapes.
Contact: Susie: 01844 274734 (Voice) or
07966 913422 (Text preferred)
[186]
Sony HDR HV1000e
As new Sony HDR HV1000e still under
Sony Silver support; less than two years
old. Just 8x10 hour operation and 7x10
hour drum run. Great secondary or stand
by camera. New camera forces sale. £750
ONO. Can sell with Kata bag if necessary.
Contact Matt: 07813030345
[186]
Miscellaneous
Various items to clear
I have the following for sale due to a clear
out to make space: JVC BR-HD50
playback deck HD720p, DVCAM large and
small, DV large and small approx 200
hours, boxed with accessories - £800 ono.
Sony VCL EX-0877 wide angle converter
for Sony EX1/3 c/w lens caps, perfect
condition - £175 ono. Century Optics FA7X85 wide angle lens, no caps, small
scratch on front element 10mm from outer
edge - £100 ono. Sony AC-SQ950 dual
charger for M series batteries, excellent
condition - £80 ono. Formatt FM600 matte
box c/w 3 rings - £100 ono. Les Bosher
lens adaptor to fit Nikon lens to
JVC500/5000 - £100 ono. Cavision RS
1511M rod support kit for Canon XL, Sony
VX etc - £100 ono. Postage at cost,
payment by Paypal preferred or cheque.
Contact Neil:
[email protected] [189]
Surplus to requirements
Manfrotto 522 LANC remote control. Push
button features include - on/off- backlight
- focus (man/auto) - fader - rec/stop photo - zoom £165. Also - Sony PVM14L1 (14 inch) Trinitron Colour Video
Monitor, very little use. Features include
LINE A Y/C in/out 4 pin mini DIN - BNC
video in/out - audio in/out. LINE B BNC
video inY/C video in 4 pin mini DIN audio in. Parallel remote 4:3 & 16:9
aspect ratios. Can be rack mounted. £180
Contact Colin: 07860 333444
[189]
or 01623 409704
Call 020 8502 3817 or order on-line at www.iov.co.uk
26
August 2010
Focus Magazine
www.iov.com
SALES & WANTS
(maximum of 25 words or thereabouts)
MAC BOOK PRO + FINAL CUT SUITE
STUDIO 2
Our mobile production suite, very light
use, all still boxed and in excellent
condition. Macbook Pro 3.1, Intel 2 Core
Duo 2.4Ghz, 3GB Memory, 149Gb HD,
Bus 800Mhz, 17” LCD, GeForce 8600M
Graphics Card, Firewire 800 & USB 2.0.
Includes Full Version Final Cut Studio 2
Software Suite boxed with manuals.
£1,450.00 INC VAT + UK Carriage.
Contact: Stuart 0115 939 3322 (8am4.30pm Mon-Fri)
[188]
Tele Prompter
13" colour studio mains powered tele
prompter, all hardware, mirror unit,
colour screen, for full sized cameras.
Hardly used, all flight cased for transport.
Buyer collects somerset, £850 ono ex
VAT IOV members.
Contact Tim: 01172 300 710
[188]
JVC BR HD50 Deck
Having just changed from JVC to Sony i
have a JVC HD playback deck for sale.
Less than 200 hours still have box and all
accessories (i think). Would consider deal
on similar Sony deck (HDV /1080i).
£1100 ono
[187]
Contact Neil:
[email protected]
WANTED
Sony HDR-SR8 and/or HDR-SR7
Contact John: 0116 270 0446
[188]
Merlin Steadicam
Complete package system ie
steadicam/arm/and vest.
Contact John: 07766691869
[187]

Focus - Institute of Videography

Transcription

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