Page 01.pub - Institute of Videography

Transcription

also this
month
The official publication of the Institute of Videography
Shooting a
Civil
Partnership
Ceremony
By
Jason Michaelides
Wacom’s
Intuos A3
Tablet
By
Graham Stein
Issue 136 - May 2006 - £3.50
Roxio
MyDVD 8
Premier
By
Steve Wright
INSTITUTE OF
VI DEOGRAPHY
Foreword
Look Inward
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 Secretary
Martin Baker
t: 020 8502 3817
Executive Chairman
Steven Abrams F.Inst.V.
2 Ingledene Road,
Liverpool L18 3HJ
t: 0151 722 6692
Treasurer
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
t: 0871 8713112
(Calls to this number cost
10p per minute)
Assessment Administrator
Chris Waterlow F.Inst.V.
78 Portland Road,
Bromley, Kent BR1 5AZ
t: 020 8851 0105
Institute of Videography Ltd
Executive Committee
Derek Latimer F.Inst.V.
Ron Lee F.Inst.V.
Robert Scarfe F.Inst.V.
Peter Snell M.M.Inst.V.
Mark Quinn
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.
News Editor: Martin Baker
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.
IOV2006, IOV2007 and IOV2008
are trading names for
IOV Focus Ltd
Maybe I’m becoming a little this
way myself, but its seems to me
that we are fast becoming an
industry of whingers.
Videographers seem to too easily
want to blame everyone else for
their ills, instead of looking at
themselves first to see if this
might be the cause of their
problems.
Over the past months I’ve
had several conversations with
members about a perceived
downturn in business. These
calls normally follow a similar
pattern, in that the call comes in
under the guise of a completely
unrelated question. Once that
issue is addressed, up comes the
old - “Are others finding things
quiet or is it just me?”
I normally get annoyed when
others respond to questions with
another question, but in these
situations it’s the quickest way to
get people to look at themselves
more closely. Without exception,
when I ask - “How are you
marketing yourself?” - I’ve been
met with a momentarily silent
phone line. I’m not sure if that’s
when the penny is starting to
drop, but it sure feels like this is
the first time they are
considering whether the reason
might be down to them and not
prevailing market conditions.
The conversation normally
reveals that their business has
continued to flourish on
recommendation and their
existing client base. This is fine,
but when asked to examine how
they gained these initial contacts
The Cook
Retort
it’s revealed that this
was from a era when
they were spending
time and money on gaining new
clients.
Regardless of what area of
videography you are involved in,
your client base will be subject to
‘churn’. Wedding videographers
might do well for a few years on
a circle of wedding-ripe clients
(those with friends and relatives
of marrying age) - but when
you’ve exhausted these you’ll be
back to square one. Similarly,
those in the corporate market
might do well out of a marketing
department in a company, but
when faces change so will their
little black book of contacts.
Whilst it’s not easy to balance
a full schedule of commissions
with the important practice of
seeking out new clients, it’s the
latter that will be keeping the
wolves from the door further
down the line. Ignore this and
you’ll reach a state of
commercial stagnancy quicker
than you think.
I’m sorry if anyone
recognises themselves from this
piece - but I hope it makes
others look to themselves first
before trying to lay blame with
market conditions. In the cut
throat world of business you
have to speculate to accumulate
- and that means in terms of
both money and effort.
Kevin Cook
This Month
FEATURES
14
Black Beauty
20
When the Pen is Mightier than the Mouse
22
Shooting a Civil Partnership Ceremony
24
Roxio’s MyDVD 8 Premier
Mike Hughes carries out a detailed review of Canon’s XL-H1
HDV camera
Graham Stein gets to grips with Wacom’s Intuos graphics tablet
Jason Michaelides recalls his experiences in shooting a same-sex
civil partnership ceremony
Steve Wright reviews the latest home DVD creation package from
Roxio
REGULAR ITEMS
5
IOV News
IOV and Industry News plus Local IOV Meeting reports
25
Classified Ads
Sales & Wants / Products & Services
27
Trade Directory
Subscribing Manufacturers & Suppliers
30
The List
The Register of Qualified Members
30
Skills Talk
The latest news and views from VideoSkills
www.iov.com
Focus Magazine
May 2006
3
Industry News
IOV News
Industry, Technology & Regional News
IOV Photo-ID Scheme
The IOV is looking into the
possibility of providing its
members with an optional
photo-ID membership card.
This is a result of attempts to
get the IOV involved in the UK
Press Card scheme - which has
so far proved fruitless.
The UK Press Card scheme
provides journalists and media
professionals with a means of
proof of identity which is
apparently recognised by police
forces and other authorities within
the UK. To obtain a UK Press Card
you must belong to one of the
Gatekeeper organisations (see list
on www.presscard.uk.com), which
the IOV has been trying to become
part of in the past couple of
months without success.
This initiative was instigated by
IOV Member, Tim Martin M.M.Inst.V.
of FHP Audio Visual in Wiltshire.
Already a member of one of the
existing gatekeeper organisations,
Tim was experiencing problems in
obtaining his UK Press Card and felt
that the IOV would be able to
provide a more
efficient service in this
respect. Tim also felt
that this would be of
benefit to other
members who
regularly require
photo-ID in their
work.
Whilst the IOV
will continue to lobby
the UK Press Card
Authority to allow it to become one
of its gatekeeper organisations, we
do recognise the immediate
usefulness of a photo-ID solution
for members - and we are
currently looking into introducing
this service within the current
membership card design.
Whilst the IOV’s photo-ID
cards will not initially carry the
same level of recognition, there
that the special offer price of £295
plus VAT is coming to an end and
any bookings taken for training
dates after July 2006 will be
Over recent months, several IOV
charged at £345 plus VAT. The
members have taken advantage of good news is that we are looking
the VideoSkills special offer for
for suitably qualified and
one-on-one training. The big
experienced tutors in light, sound,
advantage of this over the set
specific editing and DVD creation
courses is that each session is
packages.”
individually designed to meet the
Phil is not looking for people
precise needs of the delegate.
with formal teaching qualifications,
This has included hands on,
but anyone putting themselves
practical tuition on light, sound,
forward should have experience to
editing packages, weddings, sports a very high level and be capable of
coverage and specific cameracraft. designing and presenting practical,
Talking of the expansion of
hands-on training either at their
VideoSkills, administrator Phil
own premises or elsewhere.
Wilson, commented: “In one
Phil will be asking for
instance the initial enquiry was
showreels and putting candidates
made on the Thursday and training to the test before confirming them
was delivered less than 48hrs later as part of the VideoSkills network
on the Saturday! The response
of tutors. Phil added: “Anyone
from clients has been tremendous
expecting to get rich from being a
- but there is some good news and VideoSkills tutor should not apply.
some bad news. The bad news is
The probability at present is, at
are situations where it will be
useful for members to be able to
give additional assurances to
clients and those in authority.
The proposed service will be
completely optional, but its
anticipated that members may have
to pay a small administration
charge for setting up and renewing
the photo-ID card. There will also
be a process of ID validation,
whereby members will have to
complete an application supported
by either their passport or photo
driving licence. The initial thoughts
on this are that this process will be
carried out at local meetings, the
Annual Convention or other official
IOV events where applications can
be made in person.
Those members who have received
their membership card in the past
month will see the new design,
which incorporates space to
include the photo. If you have any
queries with regard to this new
service, please contact Kevin Cook
at the Central Office.
Kevin Cook F.Inst.V.
[email protected]
VideoSkills
gets Personal
most, perhaps 5-6 working days a
year, but obviously this depends
on the popularity of the different
courses available.”
More details are available from
VideoSkills on 01482 304830 or by
emailing Phil direct [email protected].
www.iov.com
Assessment Results
The Assessment Panel met for the
latest session on 5th April 2006
when the following qualifications
were awarded:
Master Membership
(Fellowship recommendation)
Antony Meade M.M.Inst.V.
(Harrogate, North Yorkshire)
Master Membership
Peter Hinkson M.M.Inst.V.
(Lytham St Annes , Lancashire)
Congratulations to the above.
There were 10 applications this
time, with only 4 weddings! The
general standard of wedding
films seems to have reached a
plateau at the moment. While
the overall quality is not too bad,
there is still some lack of
understanding of fundamentals
which apply to all aspects of
video production. People seem
to be worrying too much about
the quality of their Hi Def images
when they cannot get some of
the basics right.
There are many examples of
applicants submitting work too
early when, quite apart from not
really having that much
experience with weddings, they
seem to have even less
experience with their kit. Don’t
try to run before you can walk!
We are also getting
applications from people who
clearly have not read the
assessment criteria thoroughly. I
get fed up with saying this time
and time again, but before you
send in work make sure you fully
read and digest the information
given at the following link www.iov.co.uk/assessment.
Apart from the obvious things
such as duration of work, there
are other little gripes. Don’t
send in more than one piece of
work and ask us to choose which
one to watch or leave it to us to
pick the best one; it doesn’t work
like that! Try and make it look
as if you have at least spent a
little time and effort on preparing
it for the assessment. Don’t just
join together bits of a wedding
and think that will do; the piece
has to flow properly. Sometimes
the apparent lack of effort some
applicants put into their
submissions often borders on the
insulting! The Assessment Panel
are experienced professionals
and can easily spot when little or
no effort has been put into a
submission. Don’t do it!!!
The next cut-off date for
assessments is 31st May 2006.
Any work not received by that
date will not be included in the
June meeting – no exceptions!
Assessment Administrator
[email protected]
Focus Magazine
May 2006
5
Industry News
PAL HVX200 Available Now
JVC and Hitachi Join Forces
Panasonic is proud to announce
that the PAL version of the AGHVX200 is now available
throughout Europe. Offering
flexibility and versatility to video
professionals, the AG-HVX200
provides 1080i and 720p
recording with DVCPRO HD
quality. The AG-HVX200 records
onto a P2 card in 1080/50i, 25p,
720/50p and 25p, and 576/50i/25p
at DVCPRO50, DVCPRO or DV
compression modes.
JVC is working closely with Hitachi
to provide a wider range of camera
solutions. In the UK and Ireland
the current Hitachi 4:3 and the
new 16:9 studio / ENG cameras
are now available through JVC
Professional’s authorised dealers.
JVC’s recent camera
development has been in the area
of compact, shoulder-mount, HD
camcorders, witnessed in 2005 by
the launch of the GY-HD100.
Hitachi cameras, meanwhile,
already have a reputation for
quality and reliability, with
broadcasters traditionally being
their main user base. The new
collaboration between JVC and
Hitachi will broaden the appeal of
the Hitachi product through JVC’s
extensive and competent network
of dealers and will offer users an
even greater support
infrastructure.
Whilst majoring on studio
cameras, the arrangement
between JVC and Hitachi also
includes other specialist cameras.
force behind tapeless and HD
production,” said Chas Smith, VP
and general manager for Avid's
Video division. "Many European
broadcasters are beginning to
standardise on 720/50p, and
during 2006 we expect to deliver
a range of offerings that support
editing 720/50p media, while also
maintaining our ongoing support
of native MXF-based P2 media."
“Since its release in North
America, we have seen
tremendous success with the AGHVX200 and Final Cut Studio,”
said Rob Schoeben, Apple’s VP of
Applications Marketing. “The
1080/50i support in Final Cut Pro
5 will allow the same success in
Europe, China and other 50Hz
regions of the world.”
The AG-HVX200 records HD and
SD video on the P2 card as ‘Files’
that can be quickly imported into a
nonlinear editing system or server,
The AG-HVX200 inherits many of
or edited virtually instantly from
the functions of the AJ-HDC27
the P2 card by connecting the
Varicam, including DVCPRO HD
camera via an IEEE 1394 or
quality images, variable frame
USB2.0 interface. P2 cards mount
rates and a cine-like gamma
like a regular hard drive from a
curve. In addition, the AGNLE system’s point of view, which
HVX200 has a Mini-DV tape
eliminates the time-consuming
recorder and down conversion
task of digitising footage.
capability that allows productions
With its pre-record function, the
to shoot 720p VFR recording on P2 AG-HVX200 starts recording from
cards and down-convert to 576
the moment it’s switched on, so
recording onto DV tape. Once an
users can feel confident that they
‘off-speed’ scene is on DV tape,
won’t miss an important shot.
productions can be edited on any
With easy selection of SD or HD
DV NLE software.
recording, users are assured a
The most popular HD format on
future-proof migration to HD on
the market is 1080/50i. The AGtheir own timetable.
HVX200 allows producers to shoot
The AG-HVX200 combines a
1080/50i or 25p (progressive
native progressive 16:9 3-CCD
mode) and enjoy 1080/50i or 25p
high definition imaging system and
editing with existing Avid, Apple, or a HD-quality Leica Dicomar wideCanopus NLE systems. Producers
angle zoom lens with a smooth,
and Broadcasters in the European
cam driven manual zoom focus
regions have access to 720/25p,
ring, and aperture dial in a rugged
including VFR and 720/50p
package. On the 8GB P2 card, the
recording capabilities offering great AG-HVX200 records for 32-mins in
versatility in shooting options. P2
DVCPRO or DV, 16-mins in
has been co-developed with
720p/25, DVCPRO50, and 8-mins
Panasonic’s Partners in order to
in 1080i/50 and 720p/50. The
offer several workflow options.
camcorder has two P2 card slots to
“We are seeing a strong demand permit continuous recording and
for our FireStore FS-100 DVCPRO
the cards are hot swappable to
HD portable disk recorder,” said
assure non-stop recording. Like
Michael Conway, senior VP of
Varicam, the AG-HVX200 can
business development at Focus
capture fast or slow action in 720p
Enhancements. “The FS-100
at various frame rates.
allows users to record 90-mins of
Audio performance promises to
DVCPRO HD material with 1080i50 be superb with 4 channels of non
or 720p50. DVCPRO HD users
compressed 48kHz/16-bit digital
requiring long duration productions audio in DVCPRO HD and
will benefit from the high capacity
DVCPRO50 and two channels in
of the FS-100 and its compatibility DVCPRO and DV. The AG-HVX200
with P2 HD-capable NLE’s from
comes with system interfaces
Apple, Avid and Canopus.”
(IEEE 1394 and USB 2.0) and also
“We have committed to support
includes two XLR audio (with +48
P2 format after the merger of
Volt phantom power) inputs, a
Thomson/GrassValley group,” said component (D4) output, composite
Hiro Yamada, Founder and
in/out, S-video in/out, audio (RCA)
Chairman of the Board of Canopus. in/out, and a headphone output.
“Edius Broadcast is already
The AG-HVX200 is available now
supporting all possible formats in
at a suggested list price of €5,990.
the HVX200-60Hz model For further details contact
720/25p and 50p editing will be
Panasonic Broadcast Europe direct available at the end of June.”
see Video Manufacturers in Trade
“The AG-HVX200 is a driving
Directory on page 29.
6
May 2006
Focus Magazine
www.iov.com
These include the High Definition
‘box’ style production camera, a
compact-sized 16:9 SD camera,
and also the fascinating POV
(point of view) camera, used to
get interesting
camera
angles in
sports and
outdoor
activities.
Ian Scott, Director, Pro Video
Operation of JVC Professional
Europe’s office in London,
remarked: “For many years JVC has
been fortunate enough in Africa and
the Middle East to have exclusive
selling rights for Hitachi’s fine range
of studio cameras. The fact that the
same arrangement now applies to
Europe, and that there are to be
16:9 versions of the V-35, is
fantastic news for JVC and for
professional camera users”.
For further details contact JVC
Professional Europe direct - see
Video Manufacturers in Trade
Directory on page 29.
Call for Lost and Rare Wildlife Film
An ambitious new project to
create a comprehensive collection
of films and memories from 100years of British wildlife filmmaking
is asking for help to find lost and
rare films and memorabilia from
pioneering filmmakers.
For a century, wildlife
filmmakers have been recording
our natural world on film, often
variety of personal and private
collections, at risk of loss or
deterioration and generally
inaccessible to the public.
Pioneering films from 1907 to
the present day are to be
included, as well as programmes
from long-running series such as
Zoo Quest, Look and Animal
Magic, which helped inspire so
many of today’s filmmakers.
WildFilmHistory is giving
priority to key landmark films
and those programmes most at
risk of loss or deterioration. It is
also recording the oral histories
of pioneering filmmakers and has
started to capture their
memories and stories for future
generations. Additional materials,
including books about the early
programmes and photographs
bringing viewers the first ever
sightings of wild species and wild showing the filmmakers at work,
are also being collected and
places. Now with thanks to
funding from the British Heritage catalogued.
Launching in 2007,
Lottery Fund (HLF) the
WildFilmHistory will bring
WildFilmHistory project has got
together 100 years of wildlife
off to a roaring start.
filmmaking, providing an online
Founded by Wildscreen,
reference resource, as well as
organisers of the world's largest
enabling public access to the
and most prestigious wildlife film
festival, WildFilmHistory has begun collection, and an exciting
the search for key wildlife films and outreach programme of film
screenings and talks. The
is looking for any information on
project has already unearthed a
private collections - as well as
well persevered copy of the
asking filmmakers to check their
1934 ‘Private Life of Gannets’ by
lofts for lost tapes and
memorabilia. All offers of help and Julian Huxley, a groundbreaking
film that went on to win an
support, as well as suggestions of
Oscar in 1937.
films to include, are welcome.
Even though wildlife programmes
If you have information on the
are hugely popular and dominate location of any old wildlife films, can
peak viewing, the programmes
offer help, or want to suggest your
favourites for inclusion - please
themselves may only be shown
contact Derek Kilkenny-Blake,
once or twice - never to be seen
Project Curator, on +44 (0)117 915
again. Many of the records are
7109. Or by email - derek.kilkennynow scattered throughout a
[email protected].
Industry News
High Def Evolution for Chroma Video
Chroma Video Productions of
Accrington, Lancashire has recently
equipped its entire camera and
post production suite with High
Definition, which includes the JVC
HD-101 cameras and state of the
art edit systems.
Proprietor, Lee Mannering
M.M.Inst.V., is no stranger to pro
media work as he was a
professional child actor for several
years, working along side the stars
of the 70's including Ronnie
Corbett and Diana Dors, and even
with director Alan Parker. Lee had
this to say about the HD
investment: "I have only been
trading for 4-years, but have been
involved in narrative (story) film
making for 30-years on both film
and video acquisition. The JVC HD
camera offered us interchangeable
lenses, progressive scan and a
good solid build which feels comfy
on the shoulder helping steady
filming. We have also equipped
with Macs for DVD authoring and
new PC's throughout which has
also greatly enhanced our
productivity. Chroma has grown
over the last few years partly due
to my Master Membership
qualification from the IOV, and
some great recommendations we
have gained since day one. I view
our membership with the IOV as
something of a must-have and can
only thank them for the clients
which have come to us as a result
of our membership."
Chroma Video is a small
business, but big on personal
service, and started out primarily
filming Wedding events. Today
they produce all manner of videos
for both local and national based
businesses, film for other
videographers, and last year filmed
an event in Holland. My, Lee does
get about with that camera! More
recently, Chroma Video Production
was nominated for Creative
Innovation for East Lancashire
within the Creativity Works
Industry awards.
For further information contact Lee
Mannering on 01254 393683 or by
email - [email protected].
EDIUS Pro3 Trial Version Offer
Canopus has launched a new 30day trial of its EDIUS Pro3 v3.61
NLE software, which gives
customers access to EDIUS Pro3
features, including native 1080i,
1080p and 720p HDV support
and realtime mixed-format
editing. This trial version also
offers a sample of EDIUS
Broadcast features, such as
advanced metadata support,
realtime native editing and I/O
support for standard definition
Sony XDCAM and standard, as
well as high definition, Panasonic
DVCPRO P2, the format used in
the new Panasonic AG-HVX200
camera. Customers can
download the software trial from
the company's website at
www.canopus.com.
EDIUS Pro3 nonlinear editing
software provides native editing
and realtime processing of
uncompressed SD, HD, HDV, DV,
MPEG-2, and MPEG-1 formats.
With its realtime workflow,
EDIUS Pro3 lets professionals
mix and share video content in
multiple HD and SD formats and
work with unlimited
video, audio and
effects layers, while
providing realtime
high quality, onscreen display.
EDIUS Pro3 delivers
increased quality
and realtime
performance
through the
company’s variablebitrate Canopus HQ
codec. EDIUS Pro3
includes professional
features, such as
realtime batch
capture from 1080i HDV cameras
and decks, advanced audio tools
and precise colour correction
controls, designed to help editors
create the highest quality
productions. EDIUS Pro3 is also
included with Canopus’s line of
EDIUS hardware and software editing
solutions, including EDIUS NX.
For further details contact Canopus
Europe direct - see Nonlinear & Hybrid
Systems in Trade Directory on page 28.
www.iov.com
Focus Magazine
May 2006
7
Industry News
2,000 Tracks!
Prompt Solution
Vinten has teamed up with
Autoscript to bring you two
portable production solutions
that are conveniently packaged,
reliable, fast to set-up and so
simple to use; and with a host of
new and exciting
standard
features that
should make
each production
stand head and
shoulders above
the rest.
Both systems
utilise the
purpose
designed Vinten
Vision iScript pan
and tilt head with its unique
platform, significantly reducing
the time and effort associated
with the attachment of a
conventional prompting system;
a pre-set counterbalance system
tailored for the prompter system
- so no more counterweights and
wasted setup time - and all the
performance you have come to
expect from a Vinten Vision
product. In addition, both
systems are offered with the
Autoscript GoPrompt 12 solution,
offering a newly designed ‘speed
mount’ hood/bracket, which
easily slips into the head
platform and is simply and
securely locked off. GoPrompt
also offers a multitude of
performance enhancements such
as switchable hi/lo brightness for
indoor and outdoor use; 12V DC or
universal mains; USB, wired and
wireless connectivity for a variety
of script communication options;
and the unique ‘RAT’ remote
wireless scroll controller for simple
and reliable location scrolling.
For location and production
studios alike, scripted talking
head sequences can be a drawnout and expensive experience especially when there is no
prompting system available and
the talent continues to forget
their lines. Worse still are live
situations where the pressure is
on to get it right first time. The
new Vision iScript Studio system
aims to be the ideal solution for
studio situations, comprising the
newly released Vision Ped Plus
with its perfect balance column
providing super smooth on air
control and a tracking/castoring
skid allowing even more creative
opportunities.
For those who are constantly
asked to
produce longer
pieces to
camera on
remote
locations, the
new Vision
iScript ENG
system has
been carefully
pieced
together to
offer
everything you need to maintain
production values in one robust
lightweight package. Comprising
a two-stage Pozi-Loc Aluminum
tripod, lightweight ground
spreader, iScript head and
GoPrompt 12 and all neatly
packaged into a very robust
lightweight flight case. No more
broken prompter glasses, no
more lost brackets, and no more
wasted time. The new Vision
iScript ENG system promises to
be the most convenient all-inone location production system
you’ll ever need.
For information on the GoPrompt
12 system - visit www.autoscript.tv.
For further details contact Vinten direct
- see Tripods & Camera Supports in
Trade Directory on page 29.
Register now for BT Vision
British Telecom (BT) has
announced that its national nextgeneration TV service will be
called BT Vision. Claimed to be a
world-first service, BT Vision
combines digital terrestrial TV
with on-demand film, TV and
music programming, as well as
interactive services, and will be
launched in the Autumn.
However, BT Broadband customers
who want to be first in line for this
service can register their interest
at www.bt.com/btvision.
BT’s most recent announcements
of content deals for the new
service include a deal with leading
TV production company, Endemol,
to license programming and
develop cutting-edge interactive
content for BT Vision. The
company also recently signed a
deal with Cartoon Network to
license its most popular
programming such as the
Powerpuff Girls and Dexter’s
Laboratory and to develop
interactive content for BT Vision.
BT Vision will also benefit from
content deals already announced
with some of the world’s biggest
entertainment companies
including BBC Worldwide,
Paramount and Warner Music
Group, factual powerhouse
National Geographic Channel and
with kids’ TV programming
leaders HIT Entertainment and
Nelvana. BT will unveil further big
name deals throughout the year
as it builds towards the launch.
8
May 2006
Customers will be able to choose
from a wide range of on-demand
film, music and television
programming as well as a
groundbreaking interactive and
communications service, all
available through their TV sets.
The service will combine access
to digital-terrestrial channels
through the aerial with
broadband-powered video on
demand. This unique
combination, delivered on a
software platform powered by
Microsoft and through a set-top
box made by leading
manufacturer Philips, will allow
customers choice, control and
Focus Magazine
www.iov.com
AKM Music has announced the
release of two new CDs to its
library of Copyright Free Music,
and so celebrate reaching over
2,000 music tracks now available
to the media producer.
From starting in 1995 with a
humble cassette of themes, AKM
claims it has has now grown into
one of most reliable quality
Copyright Free Music production
houses in the UK, with 64
different themed CDs and CDROMs used by broadcast and
corporate producers throughout
the world.
The new CDs added this month
include Guitar Textures (AK060)
and Cinematic Moods (AK062).
Which and can be previewed and
purchased online at
www.akmmusic.co.uk.
convenience. Unlike other payTV services, there will be no
mandatory monthly subscription.
BT Vision will be enabled by the
BT Hub, the device which is at
the heart of BT’s strategy for the
converged home. The hub will
also allow wireless networking for
the family’s PCs and laptops and
up to five different calls to be
made at the same time using
voice over internet technology.
Dan Marks, chief executive of TV
Services, said: “Our choice of the
name BT Vision encapsulates the
qualities needed to make this
offering successful and underpins
how important our next generation
TV will be in the converged world.
BT Vision will be offered nationwide
and will be not restricted to
metropolitan areas and, as with
Freeview, there will be no
mandatory subscription.”
Other services will include: an
extensive library of movies, TV
and music; catch-up TV, i.e.
programmes from the previous 7days broadcast schedule; a
Personal Video Recorder, storing
up to 80 hours of programming;
more than 30 digital terrestrial TV
channels; communication services
such as instant messaging, chat
and video telephony; and
interactive services such as online
games, retail opportunities and
community services.
For more information please contact
Laura Burch on 020 7479 4319 or
email - [email protected].
Guitar Textures is a collection of
electric guitar atmospheres and
moods expertly played by Dan
Morrissey. The CD features 11
tracks ranging from soft melodic
rock to indie guitar, through to
U2. Cinematic Moods has over
40 tracks of pure drama and
filmic moods. A huge assortment
of stings, short edits and
underscores gives this CD real
variety and flexibility.
Until 31st May 2006, Focus
readers can purchase either of
these albums at the discounted
price of £28 for audio CD, and
£31 for the CD-ROM (normal
prices £32.95 and £34.95
respectively). Prices includes
VAT and postage and packing for
UK orders. For overseas orders
please add £4.
To take advantage of this offer call
01926 864068 and quote this article.
All AKM Music's tracks can be
previewed and purchased at
www.akmmusic.co.uk.
Industry News
Green Award for Creativity in Sustainability
It’s become evident over the last
18-months that environmental
issues have risen to the top of
the news agenda. There are
constant stories about the effects
of global warming, climate
change, polar ice caps melting,
acid seas, deforestation, water
shortages and flooding disasters.
However, consumer behaviour
and attitudes will not change
overnight if they are still
presented with advertising
campaigns which promote mass
consumerism and unbridled
consumption. As marketing is a
key driver of economic growth it
is ideally placed to be a major
player of responsible growth, and
take a lead in solving some of
these issues by persuading people
to adopt greener lifestyles.
There has also been a
noticeable communications shift
where some brands and
organisations have started to
produce campaigns which appeal
to the ethical consumer and
which raise awareness of the
environmental benefits of their
product or services. It could be
argued that these brands are just
paying lip service to the issues
and are jumping on the green
bandwagon - but it’s a start.
The Green Awards were
created to recognise excellent
creative work that communicates
the importance of corporate and
social responsibility, sustainable
development, and ethical best
practice and to make brands and
organisations aware of the
importance of including corporate
social responsibility within the
creative process - especially
when briefing creative agencies.
They also aim to promote
general debate and a forum
within the media by putting some
of the onus for change on
companies and organisations as
opposed to consumers. And
finally, to develop the notion of
‘reform’ advertising, i.e.
advertising which includes
environmental and social
considerations during its planning
and execution - in addition to the
traditional marketing mix.
The awards will be given to
brands or organisations that
have demonstrated their
commitment to these issues
across different media platforms
and marketing disciplines. Such
as, by promoting a product or
service which promotes some
aspect of sustainability, e.g. fair
trade, energy efficiency, waste
awareness, etc.
The ceremony takes place on
29th November 2006 at the
historic Guildhall, London. The
awards, dubbed a ‘green tie’
event, will be hosted by Penney
Poyzer, presenter of the popular
BBC series 'No Waste Like Home'.
The Green Awards are already
receiving positive news coverage
at a time when sustainability is
very much a hot topic within the
media. The awards themselves
will be made by sustainable
designer, Oliver Heath, using
recycled glass. One Water, the
ethical water supplier at Live8, is
also supporting the event and
Media Guardian will be the
principle media sponsor.
The awards will be promoted
through a targeted PR and
advertising campaign as well as
through coverage by the Media
Guardian. They will also be
promoted through the
established CSR networks and
direct approaches to companies
and organisations who might be
eligible to enter. The benefit of
having entrants is that part of the
rationale behind the event is to
engage marketeers to start thinking
about the issues surrounding
sustainable development and
responsible marketing.
The event has 12 categories
ranging from Best TV Ad to Best
Direct Mail and two awards will be
given for each category - one for
campaigns whose value is over
£100,000 and one for campaigns
under £100,000. All entries have
a standard fee of £50 per entry
per category. Entrants can enter
as many times in as many
categories as they wish.
Entries must be examples of
work that have been previously
published commercially or have
www.iov.com
been produced in connection with
a marketing campaign on behalf
of the entrant company. Entries
are encouraged from the Marketing
or CSR departments of any UK
company or organisation that has
demonstrated their commitment to
an ethical, sustainable, organic
service or product.
Any entries from advertising,
design or communications
companies representing their
clients are not acceptable,
although these companies may
enter if the work they are
submitting represents
themselves. All entries must
have been broadcast or
published prior to the deadline of
30th September 2006.
For information telephone 020 7833
4791 or visit - www.greenawards.co.uk
- for full details of the categories,
judges and how to enter.
Focus Magazine
May 2006
9
Industry News
Local IOV News
Scotland South
accompanied by some stunning
Nigel told me
By Tony Nimmo
footage followed by a question and
he had one
Firstly, may I say
answer session.
extra item to
thanks to all who
Then after a short coffee break
take back with
attended -
it was hands-on for the rest of the
him and that
especially those
evening. This caused a definite
was a blank
who travelled a
buzz in the room and access to the
cheque! Just
distance. A
camera was also helped by Jim
goes to show
special warm welcome went to
Barclay supplying a second camera
for everyone to have a look at.
how his
knowledge and
Geoff Baxter and Richard Potter.
All I said was ‘JVC Hi Def’ and
Nigel was surrounded for the
demonstration impressed the
we had 20 people eager to see the
rest of the evening and by the time members.
equipment and footage. Nigel Cliff
the meeting was brought to a close
from JVC gave a short educated
the signs of the constant ear
information on the products you
talk about the products and the
bashing were starting to show.
can contact Nigel direct at
technical aspects of Hi Def,
However, as we were packing up
[email protected].
South Wales
Derek introduced the IOV DVD
extremely successful and
& Bristol
and
informative. A number of our
Channel
gave a short talk about the
members took advantage of a
If anyone would like further
Find out about Local
Meetings in your Area...
The IOV holds meetings on a local
basis throughout the year. If you
would like to receive notification by
email of when your nearest
meetings are being held, simply
register on the IOV’s website.
You can then subscribe to
receive automatic emails when new
meeting notices are posted by the
Area Rep. Existing members can
edit their subscriptions using their
normal IOV username and
password.
Full details of how to register and
subscribe can be found in the ‘Using
this Site’ section located in the upper
main menu of the website.
Scotland North
Brian Rae - [email protected]
01224 313137
Scotland South
By Jack Tristram
IOV and laid himself open to
one-to-one chat with George
Our last
questions and answers
after his presentation to sort
meeting was
afterwards.
out their particular problems.
well attended
George Pryce gave us his
He managed to keep our
Tony Nimmo - [email protected]
01555 661541
North East England
Mark Williams - [email protected]
01642 651862
North West England
Phil Janvier - [email protected]
0151 487 9338
S. Yorks, Humberside & Lincs.
with 17
members and 1 guest showing
presentation on capturing
sound for video and introduced
normally noisy crowd quiet
throughout his presentation.
up. I had also apologies emails
us to some different types of
Luckily for Derek he had an
from 4 guests who were unable
microphones and explained
unexpectedly quiet night.
to attend through Illness and
which were the best types to
one who had been called into
use in the various situations,
was they were very pleased
work in his other job.
and prices. He demonstrated
that a member of the
some surprisingly high quality
Executive
Latimer from the IOV
sound from so-called ‘budget’
Committee had taken time out
Bob Langley - [email protected]
0845 606 6593
Executive and George Pryce,
the IOV’s captive sound guru.
mics.
The night proved to be
to visit and that George’s
presentation was first class.
East Anglia & A1 Corridor
Oxfordshire,
M1 Corridor &
get to our next meetings). This
together with a substantial array
NW London
of hardware from Sennheiser and
By Anthony
some Rycote attachments, had
We were visited by Derek
Feedback after the event
the prospect of the imminent
sale of my house so that I
we were
may invest a little equity in much
fortunate to have as our guest
needed microphone upgrades
speaker John Willett, Sennheiser
(don't let my wife know!)
Incidentally, apropos of her
indoors as a possible glitch to my
plans, did you hear recently that
women deserve their reputations
as shopoholics but we should be
grateful that, though they shop
regularly, they are not
necessarily buying expensive
goods. Men on the other hand
tend to buy infrequently but
when in the buying vain buy big
and, not surprisingly, to hide our
guilt buy secretively. “A new car
in the garage? Well, yes, you
see…”.
The good news is
John Willett that the
microphones are a lot easier to
CD editing and mastering (visit
hide. The bad news is trying to
www.circlesound.net).
have hoped for a more
knowledgeable mentor. John
had kindly prepared handouts to
accompany his PowerPoint
presentation (further copies will
be available for those who can
10
May 2006
Focus Magazine
www.iov.com
Midlands
Bill Platts - [email protected]
01733 370922
West London, Middlesex & Herts.
recent meeting
cleanest sound, we could not
North Wales & Borders
Rowland Barker - [email protected]
01490 430507
Emerson Bovell - [email protected]
020 8575 2842
me personally mouth-watering at
always aspiring to record the
Roger Staniland - [email protected]
01652 631237
Jack Tristram - [email protected]
01792 816688
Barnett
For those of us who are
North & West Yorkshire
South Wales & Bristol Channel
At our most
UK Ltd's Technical Applications
Manager.
Jim Panks - [email protected]
0845 838 1519
Oxfordshire, M1 Corridor & NW London
Anthony Barnett - [email protected]
01536 526126
explain to someone who has not
attended a talk by an expert like
small mechanism in your hand
cost £1500 plus! That may lead
to a 'trial'.
John put forward a strong
case for the defence when he
compared the longevity of a
camera in regular use (3 yrs) to
a good microphone (20-30 yrs).
Essex, Herts, N, E & Central London
Zulqar Cheema - [email protected]
01279 413260
West Country
To be announced...
Dorset, Wiltshire & Hampshire
Colin North - [email protected]
01725 511688
Sussex, Berks, Surrey & SW London
Mike West - [email protected]
01903 892951
Kent & SE London
Add to that the years on our lives
Peter Snell - [email protected]
01634 723838
from fewer frustrations with bad
Northern Ireland
sound recording and the
prosecution hasn't a chance.
Mark Quinn - [email protected]
01 835 3389
Hooray!
John also has his own
Republic of Ireland
company - Circle Sound Services -
If you would like to present your
products or services at local IOV
meetings - please contact IOV Rep
Coordinator, Peter Snell, on 01634
723838 ([email protected])
specialising in location recording,
Mark Quinn - [email protected]
01 835 3389
Industry News
West London,
Middlesex &
Herts.
By Emerson
Bovell
Birgitta
representing
Adobe gave us
an introduction to the new
Adobe Production Studio North & West
Yorkshire
By Roger
Staniland
This was
definitely a
meeting that
really shouldn’t
have been
missed by any member of the
IOV.
The evening started with the
showing of some of the IOV
North Wales & Borders
By Rowland Barker
The meeting began by discussing
some ideas for future events.
Areas we thought about were
events on lighting, editing and
the current state of the DVD
market. More on the timetable
offering the latest versions of
After Effects, Premiere Pro,
PhotoShop, Audition, Encore
and Illustrator - all combined
with the new Adobe Dynamic
Link.
After giving us a brief
outline of her involvement in
video, Birgitta showed us some
impressive improvements in
Premiere Pro 2.0 and its
integration with some of the
other products.
The one hour we had for
the presentation after a late
start was not enough time to
do justice to this wonderful
product. After the
presentation, a few of the
members present were
seriously considering
upgrading from their existing
Premiere 6.5 to the new Adobe
Production Studio. My thanks
to Kurt Dallas for providing the
Video Projector and Screen.
Further information about
Adobe Production Studio can
be obtained from the Adobe
website - www.adobe.co.uk. Q
2005 Awards DVD.
It was then the turn of Phil
Wilson to clarify the new
qualifications white paper and
the reasoning behind the
proposal, which, he explained, is
intended to move the IOV
forward into a new era. The
main reason for this is to
reposition the IOV to be at the
forefront of video production
industry.
Phil explained that it was
necessary that the IOV
qualification be acknowledged to
signify excellence in the
production of audiovisual work.
This would open up other areas of
opportunities for members and
finance for the IOV as a whole in
order to promote the
membership.
And then came…. the exam!
I believe this was much enjoyed
by the members present. I
personally found it particularly
invaluable as you then realise
what you don’t know, but it
makes you more determined to
find out more. An incredible
learning tool, and not one to be
missed.
Many thanks must go to Phil
for such a eye-opening evening.
The meeting eventually closed
at about 11.15pm with many
members going home with exam
results, question papers and, I
am sure, many thoughts. Q
for those at the next meeting. If
any members would like to pass
on their expertise on any
relevant subject at a meeting please let me know.
On then to the main event Chris Waterlow and his talk on
the Assessment process. Chris
gave a wonderful insight into the
process that he and the other
members of the panel follow
when assessing submissions from
members.
Not only did he give
examples of how things can be
done badly, but also some of
creative and production
excellence.
Chris also gave us some of
his thoughts and reasons why
the assessment process should
change. All-in-all a fascinating
and enjoyable presentation.
Thanks Chris. Q
Mail Box
Bruges Response
I feel I must respond to the letter
from Ben Bruges in the April 2006
edition of Focus Magazine. Ben
raises the issue of civil partnerships
and videography in a manner critical
of the IOV for not promoting this
service. Whilst this main purpose is to
discuss a potential business
opportunity, Ben also refers to ‘religion
being dragged in as a cover for
bigotry’ and that demands an answer.
I am something very old
fashioned, a God-fearing Christian
man. I believe in God and I believe
in the Bible, where God says what He
means and means what He says.
Two cities, Sodom and Gomorrah,
(Genesis 19) were destroyed because
of homosexuality. In Leviticus 18v22
it is described as detestable and in
Romans 1v27 the Apostle Paul called
it perversion. Quite clearly,
irrespective of the prevailing culture
in Britain, God does not approve.
Now I am not condemning
homosexual people, none of us are
perfect before God, I am simply
pointing out what the Word of God
has to say about it and I’ve given the
references if anyone wants to check
for themselves. Before anyone calls
this bigotry they need to carefully
consider that they are actually calling
God bigoted. In fact He is very
gracious and that is what Easter is all
about, but that’s another subject.
To return to videography,
because of what the Bible tells me I
definitely will not film any civil
partnership ceremonies. Equally I
will not film pornography, which can
be heterosexual activity. Were the
IOV to issue a press release to the
effect that members were willing to
provide video services for civil
partnerships, then I should feel
unable to continue in membership.
Other videographers may well
decide that they will film civil
partnerships. That’s fine, I respect
your choice, but I would ask that
there should not be the implication
that my choice is bigoted, bizarre or
shameful.
Service Beyond Expectation
After trying it out on their stand, I
bought a PAG Orbitor on the first
day of Video Forum recently (the
Tuesday), and was pleased with the
way it felt and how easy it was to
use. I bought it from H Preston as
they are one of their suppliers and
who were also at the show.
I decided to test the unit out
the following day at home with one
of my Sony HDR-FX1 cameras and,
unfortunately, it broke at a rubber
mounting joint. I contacted PAG by
email straight away, knowing that
they would be busy at the show all
week, and did not expect a reply
too soon - plus I was in no rush to
use the kit. At the time I was not
happy.
On the Wednesday I had a
phone call (one of five calls in total)
from Alan Lavender the MD of the
company who was very sorry to
hear that I was having trouble with
this kit. He vowed to make amends
for my trouble, which he did very
quickly indeed and in a big way. I
live on the Isle of Wight and he flew
the spare part to me in person on
Saturday of that week in his own
aircraft - plus he gave me other
spare parts for my PAG lights as
well - plus a newly upgraded belt
for the Orbitor.
The rubber bush has since been
modified and I have a new one of
those as well now.
I cannot speak highly enough
of this company - they are a real
pleasure to trade with. If only
more companies worked this way.
If anyone has this piece of kit and
the rubber mounting bush does
NOT have a red top and bottom
where it screws into the frame and
support arm - please contact Sarah
at PAG and they will sort this out
for you without question I am sure.
12
May 2006
Dennis Cooper M.M.Inst.V.
Encounter Video - Stockport
I’m sure there’s a whole range of
views and standpoints on this subject
- which is why it would be impossible
for the IOV to make any global
statements as to its members’
viewpoint and willingness to accept
such commissions. To give those
that are willing to take these on a
better idea of what to expect - see
the article by Jason Michaelides on
page 22. Ed.
Maurice Gilliam
PAG Comment
The belt that Alan gave to Mr.
Gilliam was just a general idea he
was working on and wanted
someone to try for him. Mr. Gilliam
actually thought the standard belt
on the Orbitor was better anyway.
This is not a modification to the
Orbitor. The rubber bush Mr.
Gilliam mentions is also not an
update. We unfortunately had a
few failures due to the rubber used
by the rubber company and have
been replacing them under
warranty, if they failed.
I have already had one member
enquiring about the ‘modifications’
and where and when can he have
them. I am a bit concerned that IOV
members may get the impression
that the Orbitor they might have just
purchased does not have the latest
or best parts - this is not the case.
Of course, if anyone does have
any problems, with any of our
products, we do go out of our way
to ensure customer satisfaction and
always welcome any queries. I
really don't want to cause any
misunderstandings with your
members, as we value their custom
immensely.
Sarah Lavender
([email protected])
Well done PAG. Ed.
Focus Magazine
www.iov.com
[email protected] - PO Box 625, Loughton, IG10 3GZ, United Kingdom
It is difficult to know where
to start this review having
been confronted with so
much sophisticated
technology within the sleek
black lines of the XL-H1.
The camera supports a range
of selectable shooting and
recording standards - HDV
1080/50i, SDV 50i (with native
16x9 or 4x3 aspect ratios) and
25F (equivalent to ‘Progressive’)
options with each setting. It
records on to MiniDV tape and
apart from the usual LANC
functions can be remotely
controlled in a very
comprehensive manner from a
computer with Canon’s optional
‘CONSOLE’ software.
It also has a comprehensive
array of AV signal connections –
including a coaxial SDI (Serial
Digital Interface) that provides
uncompressed digital output
complying with SMPTE 292M and
259M for use in integrated
studios.
The Stable
As the latest in Canon’s XL
product range it embodies pretty
well all the features of the
excellent XL2 plus many
additional functions and, of
course, it is a giant leap into HD.
Indeed, there are so many
features and functions that it
would be quicker to say what the
camera will not do - but that
would make for a very brief write
14
May 2006
up and, certainly, not do justice
to such a beautiful piece of
equipment.
At first glance it looks
identical to the XL2 apart from
the new all-black body and lens.
Those who have got used to the
unusual layout of controls on the
XL2 will be pleased to know that
there is no significant change in
that respect. But there the
similarity ends.
The camera now sports over
60 assorted knobs, buttons and
switches that are key to its
versatility - but this inevitably
creates quite a steep learning
curve (and requires a good
memory) to make use of its
features. Nevertheless splendid
results can be quickly obtained
by using the camera in fully
automatic or semi-automatic
modes.
The standard unit available in
the UK is, of course, designed for
PAL frame rates of 50i and 25F,
however, at extra cost it can be
upgraded at a service centre to
be dual standard - PAL/NTSC. If
the upgrade is carried out the
camera can also operate in 24F
mode to be compatible with cine.
Video or Stills or Both
Canon has taken a feature from
the XM2 and made the camera
capable of still photography as
well as video. There is now a
slot for an SD card (up to 2GB
capacity) and a couple of ‘Photo’
Focus Magazine
www.iov.com
buttons. The aspect ratios of
stills match the selected video
recording formats. Resolutions
range from 640x480 up to
1920x1080 and images are
saved as JPEGs with ‘normal’,
‘fine’ and ‘superfine’ quality. It is
not quite in the same league as
top range dedicated still cameras
but the results are extremely
good and pin sharp - due, in
part, to the excellent Canon
Fluorite 20x lens.
As an added bonus it is
possible to take still photographs
simultaneously with making a
video recording - useful for
storyboarding - and it is also
possible to play a tape and grab
stills from it to the SD card on
the fly.
The SD card can also be used
to permanently store customised
pre-set parameters that control
the camera’s more sophisticated
functions.
The Lenses
Lenses are interchangeable using
Canon’s XL mount. The camera
comes with a 72mm diameter
20x zoom f1.6 auto-focus lens
that focuses down to 20mm on
wide angle and 1 metre on
telephoto. It looks identical to
that used on the XL2 but there
are differences.
It retains all the same
features that include two
switchable neutral density filters
and manual focus and zoom
rings (both servo actuated).
As on its predecessor the
auto-focus can be switched in or
out or temporarily over-ridden by
the manual ring and there is a
switch to select Canon’s
proprietary double stage image
stabilisation system (part
mechanical within the lens and
part electronic).
Auto focus is extremely
positive and the stabiliser gives
the impression that material has
been shot using a Steadicam –
after sudden camera movements
the image gently ‘floats’ to its
new position. The lens also
retains the ability to have preset
focus and zoom positions that
are triggered by a single button
press. The speed of returning to
the preset positions is adjustable
via menu options - very useful
for precise ‘focus pulls’.
Review
It differs from the XL2’s lens in
that it will retain the preset focus
and zoom positions even if
removed from the camera.
There are also features in the
lens that are required to handle
HD and still photo functionality.
A new feature is the ability to
adjust the lens’ back focus (or
‘Flange back’ as it is described in
the manual). Providing that care is
taken in using a suitable subject
the back focus adjustment can be
carried out entirely automatically
and the camera goes through the
sequence of zooming in and out
and adjusting front and back focus
without any user intervention. If
desired, the procedure can also be
carried out manually.
Canon warn that although
previous XL mount lenses will fit
the camera not all the camera’s
functions will be available - a
point worth noting for anyone
considering an upgrade with an
existing set of XL2 lenses.
As one might expect, Canon
offer a range of alternative
matching lenses including a wide
angle and a manual lens that has
end stops on the focus and zoom
rings. There is an optional
mount adapter that allows the
use of Canon’s EF range of still
camera lenses (for ultra
telephoto work). There is also an
optional ‘ratio converter’ that
changes the standard lens’ focal
length to provide the identical
horizontal field of view in 4x3
mode as would have been
obtained when using 16x9 mode.
I have not tried this but
assume it is simply a specially
designed wide-angle converter.
The Image Sensor
and Sensitivity
Each of the three native 16x9
1/3” CCD elements comprise
approximately 1,670,000 pixels
of which 1,560,000 are used
when recording in HDV or DV
16x9 formats and 1,170,000 for
DV 4x3. Compare this with
800,000 for the XL2 and only
470,000 for the XM2!
It is assumed that the ‘unused’
pixels are used in the electronic
stage of image stabilisation. This
means that stabilisation has no
adverse effect on resolution.
‘Green Pixel Shift’ technology is
also employed to enhance
horizontal resolution.
Maximum sensitivity is
specified as 0.4 lux at f1.6 with
+18dB of gain and a shutter
speed of 1/3 second. However,
such a slow shutter speed would
not be generally useful and I
estimate that a more realistic
practical sensitivity would be
around 5 or 6 lux at full aperture
and maximum gain.
The Viewfinder
As standard the camera has a
2.4 inch 215,000 pixel 16x9 TFT
colour electronic viewfinder that
is removable. As with the XL2
the large eyepiece and cup can
be flipped up allowing the finder
to double as a perfectly
acceptable monitor - useful when
working on a tripod in a studio.
New features, to aid focussing,
are options to enlarge a portion
of the display or to apply ‘Image
Peaking’ that enhances edge
contrast. These options can be
switched in and out without
disturbing a recording.
By pre-selecting menu
options a variety of data, framing
and ‘Safe Areas’ can be displayed
plus, in manual mode, the lens’
focus setting in either metric or
imperial measure. A Zebra
Pattern can also be displayed
with 7 setting options from 70
IRE to 100 IRE.
The standard viewfinder can
also be switched to monochrome
mode via a menu option or, if
desired, an optional 1.5” black
and white CRT viewfinder
assembly can be purchased.
www.iov.com
Focus Magazine
May 2006
15
Review
At the rear of the unit are two
XLR inputs that can be switched
to accept microphone or line
level signals - this dual
sensitivity is an improvement
over the XL2 but affects both
inputs as a pair. Slide switches
can introduce 20dB attenuation
to either or both of these inputs
when used with microphones
and, if required, an extra 12dB of
gain can be added via a menu
option. 48V phantom power can
be applied to either or both
inputs.
The camera sports a panel of
bi-directional analogue sockets –
S-VHS (Y/C), BNC and RCA
(composite) for video and two
pairs of RCA sockets for line level
audio. By using the selector
switches it is, for example, possible
to use the XLRs for channels 1 and
2 whilst using a pair of RCA’s for
channels 3 and 4 or, alternatively,
use two pairs of RCA’s for all four
The Audio System
channels - other permutations are
When operating in HDV mode the also possible.
camera supports either 2 or 4
If four XLR microphone level
channel audio and for standard
inputs are needed there is an
DV it will record 2 audio channels optional attachment (MA-300)
that fits on the ‘Advanced
at 48kHz or either 2 or 4
Accessory Shoe’. It does not,
channels at 32kHz. Audio
sampling can optionally be locked however, supply phantom power.
This is the same attachment as
to that of video but by default is
used on the XM2 and XL2.
un-locked.
Recording level indicators are
Most of the audio controls
and selector switches are located displayed in the viewfinder and
repeated on an LCD panel on the
under a hinged cover. These
camera’s left side. The indicators
include level controls for up to
show only a single pair of inputs
four channels, an attenuator for
at a time but these are switch
the standard microphone input,
selectable. It should go without
input selector switches and
saying that there is a mini-jack
switches to select AGC or manual
output for headphones together
control. It is also possible to
with a volume control.
parallel a single channel to its
partner - to direct a mono signal
Other Connections
to both left and right tracks.
The camera sports bi-directional
As well as the standard
IEEE 1394 (four-pin FireWire)
microphone mini-jacks there are
and LANC control sockets and, as
three other pairs of analogue
an enhancement over the XL2, is
audio inputs.
Standard Microphone
The camera is supplied with a
perfectly normal stereo electret
condenser microphone mounted
in a flexible clamp on the end of
the viewfinder assembly and it
plugs into a pair of mini-jacks.
The clamp is designed for a 1”
diameter barrel microphone so,
as I have had to with my XL2s, it
is necessary to lash up a
diameter-reducing tube for
smaller microphone barrels.
A wind noise filter can be
switched in via a menu setting.
The standard microphone is
perfectly acceptable for general
‘wild track’ capture and motor
noise is only obvious in
extremely quiet conditions.
However, the versatility of
the H1 comes into its own when
external microphones and other
audio sources are used.
now equipped with a pair of BNC
sockets providing input and
output of timecode for
synchronising multi-camera
operations.
Other additions (for use in
integrated studios) are BNC
connections for a ‘Genlock’ input
and an HD/SD SDI (Serial Digital
Interface) output capable of
driving 30 metres of cabling.
Also, tucked away (almost
insignificantly), is a mini
‘Component Out’ terminal. The
standard kit includes a cable that
fits this mini connector and fans
out to three RCA plugs.
Flash but No Flood!
The Advanced Accessory Shoe
will also hold, connect to and
synchronise Canon ‘Speedlite’
flash guns (as used on a range of
their SLR still cameras). Yes flash guns!
This at first may seem
strange on a camcorder but it is
reasonably logical considering
that the H1 doubles up as a
pretty good still camera.
However, the shoe on the review
model surprisingly would not
power or control Canon’s own
mini ‘intelligent’ camcorder light
– the VL-3.
Canon UK tell me that this
should not be a problem but I
could not get it to work - even
16
May 2006
Focus Magazine
www.iov.com
though the same lights (I tried
two) work fine on my XL2s and
XM2s.
Internal Battery
The H1 utilises a factory installed
re-chargeable Lithium battery to
maintain the internal clock and
other memory settings.
Unlike on the XL2 it is not
user replaceable. It is charged
and maintained from the
camera’s main battery whenever
one is attached. Should the
Lithium battery lose its charge
through lack of use for several
months it is said that it can take
up to 24 hours to regain a fully
charged state.
Canon advises that the
typical working life of the battery
should be approximately 5 years.
If, however, it should fail
catastrophically - or just start to
lose its charge holding capacity it would have to be a service
centre job to replace it with cost
implications and losing the
camera for a period of time.
Practical Use
& Handling
It’s all very well having an
incredible array of features, but
fundamental questions are
always about what it is like to
use and how well does it work?
Review
As many others have said about
the XL range of cameras - they
take a bit of getting used to.
Firstly they are notoriously ‘front’
and slightly ‘left’ heavy due to
the large lens and viewfinder but
it doesn’t take too long to get
used to a different style of
holding.
The front to back balance can
be improved by attaching the bolton back plate that is designed to
hold an optional twin battery and
charger pack (the back plate
comes with the kit but the twin
battery pack is an optional extra).
This would be at the expense of
adding extra weight.
I have found that the
Sennheiser W-100 radio receiver
clips perfectly on to the plate and
offers a reasonable compromise
– as well as being a perfect
mounting position – close to the
audio inputs.
Using the heavier, higher
capacity BP-970G battery (rather
than the kit’s BP-950G) helps to
offset any imbalance towards the
left. This also has the bonus of
extra recording time that, with
the larger battery, can be over
200-minutes in HDV mode and
240-minutes in DV mode.
The greater hurdle for
anyone new to the XL range is
getting used to the positioning
and functionality of the myriad of
controls - as mentioned
previously there are over 60 of
them plus many menu options!
It must, however, be said that
once they have been learned the
physical controls are quite
convenient to use.
Because of the number of
modes and pre-settable options
it is vital to get into the habit of
doing a very thorough ‘pre-flight
check’ before embarking on a
project.
For example - ensure that
the ‘Tape/Card’ mode switch is
suitably set (for video or stills);
decide whether you are intending
to work in HDV or DV and set the
relevant switch accordingly (an
LED warns if you are set for
HDV). If working in DV mode,
set another switch for 4x3 or
16x9 aspect ratio and then select
50i or 25F (progressive) or, if the
camera has been upgraded to
dual standard, there is a 24F
option. Also, don’t forget to wipe
the SD card if you are planning
to take stills on the fly!
The lens needs to be checked
for auto or manual focus,
stabilisation or otherwise, and
that the focus/zoom pre-set
switch has been set to
‘off’ (unless it is specifically
required).
There still remains attention to
the zoom settings. There are
two zoom rocker switches - one
on the hand grip in the usual
position and one on the carrying
handle. The hand grip rocker
can be switched to provide
variable or constant zoom speeds
(with 16 levels set by a thumb
wheel). The handle rocker only
operates at constant speed and
is preset by the same thumb
wheel. The handle rocker
(together with a duplicate ‘start/
stop’ button - also on the
carrying handle) can be disabled
if required.
If you have previously been
doing unusual things with the
back focus this may need to be
re-calibrated! If HD lenses are
removed they remember their
last back focus setting.
Colour bars can be generated
and recorded with an option to
include a 1kHz tone at levels of
–12dB or –20dB and, if you
really want to, you can also
select automatic ‘fade-in’ and
‘fade-out’ for scenes.
Very great care needs to be
taken in selecting the right
combination of switches in the
When shutter priority is selected
there is a special setting called
‘Clear Scan’ that, in conjunction
with a menu, allows fine control
of the shutter speed to combat
‘beat bars’ when recording a CRT
image (or other strobing
subjects).
Aperture control is by means
of a thumb wheel (that also
doubles for a menu item
selector). The directional sense
of the thumb wheel can be
changed via a menu to suit
personal preference. The shutter
speed is adjusted by means of a
pair of buttons. During
adjustments the speeds and
apertures are displayed in the
viewfinder beneath a useful
‘optimum exposure’ indicator
that shows how close or far away
‘audio department’ - it would be
you are from the best settings.
only too easy to have the wrong
Aperture and shutter speeds
combination of inputs selected if
change in steps that, to an
this was done in a hurry. Such
extent, are smoothed out.
an error doesn’t bear thinking
However, a degree of abruptness
about!
still remains in the recorded
image if changes are made on
the fly. In manual mode the AE
When all else Fails
Shift dial is disabled.
From there on life becomes
Apart from a straightforward
easier. If you want to simply
‘Playback’ mode, three others
‘point and press’ then select the
remain. One is called ‘Spotlight’
fully ‘Automatic’ setting on the
that is supposed to help minimise
main mode select rotary switch
or, if you want to use a degree of the burning out of spot lit
foreground actors on stage, but I
manual intervention, you can
select the ‘Semi-automatic’ mode have never found this to be
and leave the lens on auto-focus. particularly effective on the XL2
and I see no difference with the
You can then override the
automatic functions or tweak the H1. Another is called ‘Night
Mode’ (and is probably best
‘AE Shift’ dial for exposure
avoided), which reduces shutter
compensation (back lighting,
speed and increases gain to try
etc). It has to be said that the
making the best of impossible
auto-focus function is really
effective and positive - with very circumstances. The manual itself
warns that the image could leave
little hunting - but we all know
trails and be blemished!
where we stand on that subject!
The final setting on the mode
Other operating modes provide
selector dial enables the camera
for ‘Aperture Priority’, ‘Shutter
to be externally controlled from a
Priority’ and ‘Fully Manual’. When
computer connected via an IEEE
operating manually you have
complete control over all exposure 1394 cable - referred to later in
settings but auto-focus stays in the this review.
condition determined by the lens
switch.
Superb Image Quality
The camera is definitely aimed at
the professional or very serious
and experienced amateur, with
quality to match, and it is well
worth the learning curve to be
able to benefit from its flexibility
and versatility. Once the use of
its controls become second
nature it is a joy to use.
As you might guess for a
camera with such a pedigree, the
images it produces are absolutely
stunning – not just in sharpness
and resolution but also in tonal
quality. I thought the XL2 was
good but the H1 is in a league of
its own! Indeed, the means of
display that I have at my
disposal cannot really do justice
to its performance! What more
can one say? )
www.iov.com
Focus Magazine
May 2006
17
Review
Other Functions
This review has concentrated on
the camera’s more day to day
features but there is much more
besides and a lot hidden within
the menu system - indeed too
much to cover here.
All the AV connections are bidirectional (both analogue and
FireWire) which means that the
camera can double as a versatile
recorder from either DV or
analogue sources. Analogue
video input will, however, only be
recorded in SDV format. A menu
option will also allow the camera
to operate as a ‘through
connection’ analogue to DV
converter.
Many of the other hidden
menu options are best left
unchanged unless you know
precisely what you are doing.
Canon have gone to great
lengths building in image
processing options to permit high
quality video to film transfer.
There is an option to shoot in
24F mode but this is only
available after a service centre
upgrade.
If it is necessary to make
changes for special applications
they can be programmed in to a
pair of ‘Custom Preset’ buttons.
Examples include adjustments to
skin tone detail plus highly
technical matters relating to the
video signal quality - gamma,
knee, black level, pedestal,
coring, colour gains and phases
plus the ability to tweak six axes
of the RGB colour matrix.
For more information on
some of the more complex
features and a detailed
specification go to
www.canon.co.uk/
Images/14_349972.pdf .
devices via an IEEE 1394
connection. As soon as the
FireWire cable was connected
Windows recognised and
identified the camera with no
difficulty - but then to my
surprise demanded that I should
install a driver for the device. A
quick rummage through the kit’s
packaging proved that no driver
had been supplied and, anyway,
why should one be necessary?
There had been no problems
using the XL2 in identical
circumstances!
A hunt through the manual
made no reference to any special
driver being necessary, however
it did refer to Canon’s ‘CONSOLE’
software that requires an
upgrade to SP2 to ensure that
the ‘AV/C Subunit’ protocol is
I was not able to check if any
similar interfacing problem exists
for Mac users so I contacted
Simon Beer of Production Gear
(one of the camera’s
distributors). He assured me
that he has experienced no
problems when using a Mac but
could not throw any light on the
Windows issue.
Having committed to SP2 I
downloaded the trial version of
the CONSOLE software - mainly
out of curiosity. Basically it
takes over control of all the
camera’s functions via the
FireWire connection in a much
more comprehensive manner
than the LANC route - providing
that the camera’s mode switch is
set to ‘External Control’.
It controls start and stop
the 14-day trial version from:
http://consumer.usa.canon.com/
ir/controller?
act=DownloadDetailAct&fcategor
yid=326&modelid=12152 .
Summary
When reviewing equipment or
software I hunt for problems and
bugs because these are often
overlooked in manufacturers’
glossy brochures, but in the case
of the XL-H1 I have been pretty
well beaten.
Technically the camera is
superb with incredible flexibility both in functionality and
connectivity. It should be pretty
future proof, for a while anyway,
and the images it produces can
only be described as immaculate.
The upgrade option to make it
dual standard (PAL/NTSC) could
be extremely useful – albeit at
extra cost.
Although it takes quite a bit of
experience to make best use of its
advanced features, the automatic
modes are kind and forgiving and
provide an easy way of getting
into the more sophisticated
functions and controls.
The only negatives I was able
to find are relatively trivial - the
apparent inability to use a camerapowered continuous light (unless
there was a fault on the review
model) and the non-replaceable
internal battery. For Windows
users it seems essential to operate
under XP SP2 but that should not
be a problem for most people. It
is, however, not clear if there
might be an interfacing problem
installed for the software to work recording, focus, zoom, colour
with some Windows installations.
balance, gain, AE Shift, aperture
properly. Assuming that there
A sensitivity of 6 lux with
and shutter speed plus all the
might be a connection I bit the
practical shutter settings is not
more complex signal processing
bullet and applied the SP2
brilliant for use in difficult lighting
features already mentioned. On
upgrade to my test system and,
situations - but professional users
the computer screen it displays a
lo’ and behold, everything came
will have ways and means of
replica of the viewfinder image
right without any more requests
getting around this. The real
for a driver. Capturing into Edius plus a magnified version to aid
crunch comes with the price, which
focussing together with a vector
then went without a hitch.
is likely to be in the £5k to £6k
scope display and video
The AV/C Subunit issue is a
bracket - but there is an awful lot
waveform. The latter can be
little unsettling because, from
of functionality to be had for the
selected from any line in the
various Internet forum
money! Although it is classified as
discussions, it appears that quite image and, if required, display as
a consumer product, Canon will
an RGB ‘Parade’. It also allows
a few Windows users are
initially only be making it available
the received image (including
experiencing the same problem
through a limited number of
audio) to be recorded direct to
with HD cameras of various
professional distributors.
the hard drive and will play back
makes – even when using
For more information contact
Computer Interfacing Windows XP SP2! It is difficult to files from the drive.
Canon UK on 08705 143723 or
After recording some HD material determine whether this is a
CONSOLE is a very clever and do a search using the American
I thought the next stage would
potentially useful asset costing
Windows or a Canon problem.
section at www.canon.com,
be purely academic as I prepared
around £350 - and it also
Some people think it may be
where there is a PDF of the
to capture it into Edius 3.5 - but
associated with the version of the functions with the XL2.
complete manual (bear in mind
I was in for a surprise.
Unfortunately for Mac users it will it’s describing the NTSC version).
msdv.inf driver and whether the
I run under Windows XP Pro
only run under Windows XP SP2. Currently there is not a full
Windows installation was ‘clean’
SP1 (being one of those
Space does not, however, permit manual on the UK site.
or an upgrade. I have asked
dinosaurs who dislike SP2) and
Canon if they can throw any light more to be said about it in this
have never previously had any
review - but, if you already own
on this issue but, at the time of
Mike Hughes M.M.Inst.V.
problems interfacing with AV
an XL2, it is worth downloading
writing, have not had a reply.
Pic Productions
18
May 2006
Focus Magazine
www.iov.com
Graham Stein gets to grips with Wacom’s Intuos A3 graphic tablet
With Illustrator, as the name
suggests, it was very good at
producing illustrative pieces
when using the pen tool, paint
brush, symbol sprayer, the warp
tool and especially the mesh tool
(which allows you to place a
mesh into a shape then add
colour and manipulate it to
produce exceptional
illustrations).
Cutting Video
Then there are Illustrator’s
Firstly, Final Cut Pro. This took
brushes,
like Calligraphic,
some getting used to, having
Animal, Artistic, etc. Also,
been used to a mouse, but I
because Photoshop and
found that it allowed me to do
Illustrator are so compatible,
everything a mouse did. The
(symbiotic in fact), this means
small advantage it did have was
the rocker button on the pen that there are many effects that can
be applied in Illustrator that you
Out of the Mouse Trap allowed me into the contextual
find in Photoshop - and this is
menus just that bit easier and
Now, having used a mouse for
where the pen again comes into
quicker. This may save time if
the past 16-years and never
its own giving that degree of
you're in a hurry.
having used a tablet before, it
greater accuracy and control.
The one thing it did allow for
took a little getting used to,
This may be a personal point
with
slightly
increased
accuracy
especially when moving the
of view, but having been an
was working with masks and
cursor across the screen. When
Illustrator with an airbrush in the
mattes for compositing.
using a mouse you can lift it up
middle 80's before computers
However,
with
DVD
Studio
the cursor will stay in its
and software took over, this kind
position. You can then reposition Pro there wasn't much difference
between a mouse and the pen as of compatibility and control as if
the mouse and continue. With
using a physical airbrush, pen,
this programme doesn't require
the tablet the cursor would
brush or pencil was comforting much in the freehand
always jump to where the pen
especially knowing that if a
department.
The
same
was
also
touched (or was held just above
mistake was made it was easily
the tablet), so I continually found true of InDesign as this is just a
corrected.
page makeup programme.
myself trying to find the cursor
on the screen.
Entering the
To open a folder or hard drive Painting Pictures
you tap twice on the icon - and
Where the Intuos tablet did shine Third Domain
once to open folders in the open
was in Photoshop, Illustrator and Now we come to Carrara. This is
window. There was also a small
a 3D animation program like
Carrara.
rocker-type button on the side of
Maya and Lightwave. This is also
In Photoshop there was a
the pen. If you clicked the end
where the pen and the tablet
greater feeling of freedom and,
furthest from the nib it would
came into it’s own, especially
to a larger extent, a degree of
give you contextual menus and
when creating spline and vertex
control - especially with the
the other would allow you to
objects.
freehand lasso tool, brush and
select multiple items. This could pencil tool, clone stamp tool, the
Splines allow you to draw a
all be done without physically
2D shape and extrude it into a
eraser tool and the others that
touching the pen to the tablet 3D shape. Vertex objects allow
you can use freehand. This was
and worked within 6mm of the
also true when using layer masks you to create or import and alter
surface.
and drawing paths in Photoshop. 3D shapes or metaball objects -
This is my first time testing
equipment for the IOV and
having to produce a write-up
for it, so here goes. I was
given the task of testing
Wacom’s Intuos A3 Tablet,
and being A3 in size found
that I had to clear my desk of
mouse and keyboard to make
room.
It came with the usual pen
and USB connection and CD's that
contained information documents
and drivers, but using a Macintosh
I found that I didn't need the
drivers and just plugged straight
in and away I went.
20
May 2006
Once these operations had been
mastered - which took about half
an hour - I was then able to start
testing its Pros and Cons using
Final Cut Pro, DVD Studio Pro,
Livetype, Motion, Photoshop,
Illustrator, InDesign, Carrara 5
and Corel Painter Essentials
(which came with the tablet).
Focus Magazine
www.iov.com
allowing you to create things like
animals or peoples’ faces - or fire
or flowing water effects - which
require a high degree of
manipulation.
The Corel Painter programme
that came with the Wacom tablet
was also best used with the pen.
The main effects that were
available in this program needed
that element of freehand ability
to give the user the feeling of
painting with gouache, oils,
water-colours, etc.
Though not tested, I can also
imagine that this piece of
equipment is a god-send for
those who use CAD programmes.
Conclusion
The only downside that I noticed
was that, even with Photoshop,
Illustrator, Carrara - and the
others like DVD Studio Pro,
Livetype, Motion and InDesign you still needed a keyboard to an
extent. This is because, in most
of the programs, to change to a
different tool it was much quicker
to use the keyboard shortcut rather than moving the cursor to
change the tool. Also, even in
Carrara, to be able to create type
you still needed a keyboard.
Now, if Wacom could build in
a touch sensitive extended
keyboard at the top of the tablet
so you could type and delete and
perform one key tool changes
(after all - there’s enough
room!), that may just tip the
balance for me personally. I
would then have the best of both
worlds - without having a
crowded desk!
Graham Stein
Pelantya Productions
“Fight! Fight! Fight! - Oi! Shrimp!
Top field, 1.30… I’ll ‘av ya!”
The recent exchange of views
regarding Civil Partnerships
has reminded me of the
glorious heydays of primary
school lunchtime fisticuffs
challenges. Whilst providing
entertaining reading (as well
as the odd snort of derision),
I thought it was a shame that
the debate was the only
coverage Civil Partnerships
were getting within the IOV.
Now, I’m not going to
venture an opinion on whether
the IOV should have made a
proactive statement about the
new law or not – my personal
view shall forever remain locked
within the hidden recesses of my
mind for fear of reprisals.
Instead I will attempt to
articulate my own experiences
and expectations as a
professional who was seeking to
grab a slice of a new market.
Once Upon a Time in a
Land not so far away…
Early in November last year, the
office of Rewind Films received a
telephone call from Modern
Commitments asking us to
exhibit at their event a couple of
weeks away at the Business
Design Centre in Islington,
London. It was a very hard sell
with promises of advertising in
every tube station and 15,000
visitors to the ‘UK’s first Gay
Wedding and Lifestyle show’.
“100% Gay, 100% Style” was
the tag.
The cost was extortionate –
the same price for two days, as
the National Wedding Show in
Earl’s Court was for three days –
but as I say the sell was a hard
one. There were going to be the
best of the best exhibiting there
– and it was the Pink Pound,
man! Double-income, no
22
May 2006
dependants, highly exuberant
lifestyles – didn’t I know that the
‘gay’ have money and want to
spend it? And with tens of
thousands of gay couples in
London alone, how could I not
afford to get in there just before
gay weddings were formally
legalised? Finally, the day all
homosexual couples were waiting
for was arriving and as a
dynamic new company I needed
to be there! I would be the only
videographer at a show that was
to be attended by Elton John’s
AIDS foundation amongst other
high profile guests. Vive La
Revolution!
Furthermore, Modern
Commitments was organising the
first Civil Partnership in Bromley
to take place on 21st December,
the day the Act came into force,
and wanted us to film it. I was
flattered (correct buttons
pushed, Mr. Salesman).
Now, Bromley was the
subject of a bit of a furore some
months before when the local
council initially refused to allow
same-sex ceremonies to take
place in any of its buildings. Only
the threat of legal action by the
Mayor of London caused them to
back down (www.london.gov.uk/
view_press_release.jsp?
releaseid=5805). Therefore the
press interest around the event
was to be immense and great
exposure for my company!
I must film this ceremony!...
And, apparently I must do it for
free. Alarm bells really should
have gone off at this point. But
did I fall for it? Of course I did.
or registrars needed and the
notice that has to be given.
A Civil Partnership is a legally
binding union between two
people of the same sex. The
union is consolidated when the
two participants sign the Civil
Partnership Schedule in front of a
registrar and two witnesses.
There is no official wording and
there is no required ceremony; in
fact, if the couple wish to have a
ceremony at all, they have to
agree it with the registrar in
advance. This differs to a
Wedding Ceremony, civil or
otherwise. A wedding is
solemnised when the couple
repeat their vows – the “I Do/I
Will” part (or variation thereof) is
the actual solemnisation of the
marriage. Even if they never
sign the register afterwards, they
are still officially married.
Although they have now
allowed Civil Partnerships, the
government does not support
gay ‘Marriage’ and, as such, the
ceremony cannot take place in a
religious building, or be blessed
by a religious personage whilst at
the premises of registration.
This is why we’re not really
supposed to call a ‘Civil
Partnership’ a ‘Wedding’ or
‘Marriage’ as a ‘Wedding’ is the
ceremony to form a ‘Marriage’.
The Government expects
between 11,000 and 22,000
people to be in a civil partnership
by 2010. This represents
between 1% and 2% of total
legal unions if the numbers of
marriages in the last four years
of figures continue at the same
rate (1,124,623 in 2001 to 2004
- www.statistics.gov.uk).
A Little Group of Facts
to Supplement our Tale On with the Show
There are very few differences
between applying for a Civil
Partnership or for a traditional,
heterosexual Civil Wedding
service. The legal requirements
are the same, as is the number
Focus Magazine
www.iov.com
15,000 visitors! Celebrities
everywhere! Hmm… Without a
doubt the exhibitors far
outweighed the visitors and the
only celebrity present was a Delboy impersonator (although he
was very good). Where were all
the exuberant homosexuals with
fat wallets and nothing on their
mind but an awesomely huge
party? Not at the Business
Design Centre, that’s for sure.
So the show was a write-off.
A few potentially good business
contacts were made; other than
that nothing was gained but a big
lesson in advertising spending
caution.
To be fair, Modern
Commitments were just as
disappointed as the rest of us –
they had really big ideas for the
show but it just didn’t work.
They say they did all the
advertising – so why weren’t
people flocking through the
doors? ‘100 Gay, 100% Style’
have anything to do with it
maybe?
Well, I lost out there. But it
happens sometimes and I still
had the kudos of filming the
Bromley ceremony amongst a
great media horde.
Celebration or Circus?
The way the media frenzy was
being described to me by the
event organisers on the one hand
excited me, but on the other
worried me. At the heart of all of
this, two guys were cementing
their love for each other by
entering into a legally binding
union (Oh, damn it – a marriage.
As was said in the IOV forum
tirade - “If it walks like a duck…”)
Sky News, NBC News and all
the local media wanted their
headlines, but the couple just
wanted to get married - and I
just wanted to film it well and
give them a wonderful lasting
memory of their big day.
Or maybe they wanted the
show? Maybe these two guys
were the flamboyant,
spendthrifts I was told I would
meet at the Modern Life Expo.
Well, I met them the week
before the event…
Article
immediately hit upon a few
obvious conundrums. Rewind
Films always records the whole
day from bridal preparations
through to when the music stops.
Strike one – bridal preparations.
Err… which one’s the bride?
Well, obviously neither is a
bride, but which one shall I film
getting ready? Are they even
going to be apart in the morning
at all? Will one of them wait at
the bottom of the aisle and the
other one come in or will they
enter together? Will there even
be an aisle? Who gives who
away? Do I call them groom and
groom or just the ‘happy couple’?
Who’s giving speeches? Are
Every page of the site has a
there best men or chief
photo of an impossibly hunky
bridesmaids or both? Ushers?
male in a Jean-Paul Gaultier pose Bridesmaids? Page boys? Flower
or a beautiful lesbian couple
girls? You get the idea.
locked in an amorous embrace. I
Well, twenty minutes later I
was about to enter the land of
had my time with them and did
my best to reassure them that I
the beautiful homosexuals at
was there to record their day and
last. A pub full of Hollywoodnot to be part of the imposing
handsome men and Angelina
camera gang. Although I would
Jolies snogging in every corner.
use the final edited DVD as part
Err… well… no, it wasn’t.
of my showreel, beyond that I
What I did enter was a local
pub that was plain in every way. wanted nothing from them. And
It was filled with so much smoke as far as traditions and etiquette
were concerned, I just came
and dressed in such dank décor
that I really should have seen old right out and asked how they
had planned it.
men nursing pints of bitter
They decided there and then
playing dominos in every corner.
After coughing (discreetly) a few that they were to be called the
times and adjusting my vision to ‘happy couple’. They had already
decided that they would be
see through the haze, I looked
getting prepared together in the
around hoping to pick out my
morning, arriving at the pub
new clients.
together, going to the registry
Pitt and Clooney? Not
office together, walking down the
exactly, no. Huddled together
aisle together and generally not
with the inter-faith minister who
leaving one another’s side.
was to be conducting their
reception ceremony were two
utterly ordinary guys. Two guys The Day Cometh
who looked very nervous.
Well, the huge media frenzy
They were running late – a
turned out to be two interviews
newspaper photographer was
the day before and a short local
waiting for them, I was waiting
radio spot on the morning of the
for them, the owner of the pub
ceremony, although there were
wanted Jamie to start his shift
about four photographers there
soon and the boss of the
for most of the day snapping
launderette was calling Rogan to away constantly.
see when he was coming back to
So, no national media for my
work. Add into the mix the
logo to appear in and no hobfashion-designer-cum-event-conobbing with BBC producers that
ordinator from Modern
would end in swapping business
Commitments, and the poor
cards and promises of ‘doing
couple were looking more and
lunch’. But by then I was
more like scared rabbits every
relieved that was the case,
minute.
despite the lost opportunity to
demonstrate to a wider audience
just what Rewind Films is capable
A Blank Page in the
of. I just wanted to do the job I
Rulebook
love and give Jamie and Rogan a
While I was awaiting my turn I
memory to treasure forever.
started to run through a typical
So I went along to the
wedding itinerary in my head and
interviews and filmed them, as it
The Crown & Anchor
This is the local gay pub - where
Jamie and Rogan hang out and
where I was to meet them. A
quick Google search tells me
where to find it. It has its own
website – www.gaybromley.com.
Subtle!
was all part of their experience,
despite the extra time it
involved. It certainly added an
extra dimension to the shots –
filming the filmers...
Wednesday 21st December
started at the Crown & Anchor
for a pre-ceremony buffet-type
thing at 12pm. Once again I
crossed the threshold of ‘the only
gay pub in Bromley’ but this time
found the happy couple pretty
relaxed and enjoying a drink with
their friends (and looking very
dapper). On from there to the
Bromley Registry Office for the
Civil Partnership ceremony itself,
which was laid out just as with
heterosexual weddings allowing
for my usual two-camera setup.
A room full of friends and
family welcomed in Jamie and
Rogan, as did a beaming
registrar who seemed genuinely
proud to be conducting the
service.
The ceremony was again
pretty conspicuous in its
similarity to heterosexual civil
services, although there were
sniggers from most guests and
barely suppressed guffaws from
many when the registrar spoke
about taking each other’s rings
and how they bind the couple
together… I for one was glad of
the stabilising capabilities of my
503 tripod countering my own
mirth-driven shakes.
From there a Mercedes (looks
good on film) took the newly
registered couple, and a Number
9 Bus (brilliantly original and
allowed all kinds of cool shots)
took the guests to the hotel.
Here, the inter-faith minister
conducted a very unusual but
extremely moving blessing
ceremony, and then on into the
main room for the ‘wedding’
breakfast. The toastmaster
announced in every VIP and
after dinner speeches were
given by both grooms and both
best men. The cake was cut,
the room cleared and the party
began. There was the usual
plethora of interesting shots to
be had – all made even better
by the fact it was a wonderfully
sunny day.
Ah – that’s more like it!
There were certainly more
amorous attentions on the dance
floor than at all the heterosexual
weddings I have filmed, but
nothing more than that until we
were treated to a flamboyant,
over-the-top, overtly gay cabaret
act. ‘3XS’ stole the show for an
hour or so – a triple act including
two transvestites.
Filming these guys was a real
experience, and when I
commented on how long one of
the guys’ legs were he rebuffed
with: “Thanks sweetie – anytime
you want to get between them…”
Never had that offer before!
And they all Lived
Happily Ever After
Heterosexual weddings will
always have their Jordans and
Peters. Civil Partnerships will
always have their Eltons and
Davids.
To all intents and purposes there
are no differences between the
two types – both are at their core
a declaration of love and
commitment between two
people. 68% of weddings were
non-religious in 2004
(www.statistics.gov.uk) and that
number is rising every year so
the religious argument will soon
be a defunct one.
Every ‘wedding’ is individual
for one reason or another. It’s
what makes this job so much
fun.
Jason Michaelides
Rewind Films Ltd
www.rewindfilms.net
Notes: More information on
Moderen Commitments can be
found on their website www.moderncommitments.co.uk
www.iov.com
Focus Magazine
May 2006
23
Roxio isn’t a name or brand
that I have noticed before –
but it comes straight from the
SONIC stables, the leader in
digital media software.
SONIC must have been the
first serious DVD authoring
package that I ever looked at,
and at the time you would
paid around £5,000 for an
authoring set-up. SONIC still
provide a vast array of highend applications for creative
professionals, so I was keen
to see what Roxio MyDVD 8
Premier was capable of.
captured video. Before I had
spotted this, I was capturing to a
drive with only 2.9 gig left on it,
so for a 15-minute test piece, I
was asking for trouble.
One of the effects of using
the wrong drive (apart from not
having enough space) is that the
drive also become very sluggish.
This lead to the picture being out
of synch and intermittent loss of
sound. As a test, I dragged the
saved file over to another drive
and played it. The result
confirmed that the capture was
not intact. So I re-captured the
footage to the correct drive
A Lot of Bang
which solved the problem.
for your Buck
Creating a DVD Menu
Costing less than £50, Roxio has background is fairly simple. You
a very intuitive way of doing
either choose a background or
things. I’ve worked with various use your own artwork. There is
packages and the ones I loath
also the facility to ‘Extract Image
are the ones where nearly every
from Production’ so that you can
decision you need to make is
use it on the menu pages, etc. If
made for you – such as where
you are lazy and want to spend
the menu/chapter icons will be
more money – you can download
placed on the menu/chapter
additional menu styles (5 for
pages.
£17.17).
For me, Roxio was like using
For an extra £10 you can
a desk-top publishing package,
have the Creator 8 suite which
where you had more-or-less full
includes MyDVD 8 and allows you
control of how you want it to look
to compile 50 hours of music on
and how you want to set up any
a DVD; compress an entire 9GB
technical issues.
DVD to 4.7GB; and quickly
restore your system with BackUp
First Steps
MyPC - amonst other things.
First of all, Roxio will either
Since I visited the SONIC
import footage from another
website, I have had emails from
package or you can capture
SONIC offering discounts on all
straight into Roxio. In the
their Roxio products. Free
capture window you have
product and driver updates plus
information such as how much
tips, etc. are available once
‘time recorded’ and ‘time left on
registered. So well worth a visit.
drive,’ and in brackets ‘how
many gigs’ are left on the drive.
Very useful for me, as I quickly
Options and Settings
realised that I hadn’t set up
Roxio enable you to change all
which drive it should be
the project settings that you
capturing to.
would expect, such as PAL/NTSC
The ‘Modify’ button allows
4:3/16:9, encoding settings,
you to change the drive to which pixel ratios, interlaced/
folders are used to store the
progressive, etc. And on that
Inputs/Outputs
Video:
AVI, DV-AVI, MPEG-1/2, DivX, WMV
Video disc formats:
Audio:
MP3, WAV, WMA, Dolby Digital AC3
Graphics:
JPG, PNG, TIFF, BMP, GIF
Input-only:
Audio: audio CD, AAC, M4A, MP4
24
May 2006
Video: MPEG2-HD, IFO/VOB,
DivX-HD, XviD, DVR-MS, TiVo,
ASF, AVI, DV, MOV, QT
DVD, Video CD (VCD), Super
Video CD (SVCD), Mini DVD
subject of interlaced verses
progressive, the default was
interlaced and the result was
very visible. Two of my monitors
have a 100Hz refresh rate which
tend to make a bad picture look
better, particularly on titling.
Monitoring on an old TV allowed
me to see it as some clients may
see it. I was horrified and
quickly changed the setting to
‘progressive’ which solved the
problem.
appropriate part of the timeline,
the playline/hairline moves to
that point. You can move clips
around as you wish and edit
chapter points with ease. One
feature I didn’t find was the
‘Undo’ button, so I had to use
the ‘Edit / Undo’ in the pull-down
menu. I never resorted to using
the manual at all because the
pull-down menus and icons give
you a great idea of the
capabilities of this software.
Even if you have edited your
programme on your favourite
state-of-the-art (lots of bucks)
editing program, but at the DVD
creation stage feel that you have
maybe got your brightness/
Editing your material with MyDVD contrast ratios a little out, there
is no need to go back to your
8 is simple and has a surprising
array of tools and effects. Bearing editing system. Roxio does it
right here, as well as saturation
in mind the cost of this software,
levels.
it is the best that I have seen.
When it comes to burning it
The player controls and jog/
to DVD, you can name the disk
shuttle wheel make it easy to get
around. I’m used to compressing and watch a progress window
showing the preview.
the time duration of an audio clip
– but compressing video footage
Conclusion
to fit a certain time requirement
on a low budget DVD authoring
My overall impression was that it
piece of kit is a bonus.
processes the encoding fast and
You can also add text/
efficiently giving the user a good
overlays, and position them
range of control on each project wherever you wish with
and comes at a very reasonable
‘professional’ tools like show/hide cost. I’m sure that when I have
TV safe zone.
read the manual, I’m going to
get a lot more out of this
product. Have a look at the web
In Control
site and check it out!
I like to use shortcuts and Roxio
What’s next? Well, I’m
allows you to do that while you
looking at its big sister - SONIC
edit on the timeline - plus use
rubber-banding to edit the audio. DVDit Pro 6 (£229:00) - which is
You can grab the playline/hairline a professional DVD authoring
software.
and move along the timeline
back and forth for accurate
Steve Wright
editing, adding FX, overlays, text
TV2DAY
and music.
Notes: More details are
If you click the mouse on the available from www.sonic.com
Minimum System
Processor and Memory
Requirements
For real-time MPEG-2 capture
and burning: 1.6 GHz Intel
Pentium 4 or equivalent; 256MB
RAM (512MB rec.);
1024 x 768, 16-bit colour
graphics card and 16-bit
Windows-compatible sound
card; 1GB HD space for
program plus 1GB for every 5minutes of video.
Operating System:
Microsoft Windows XP Home/Pro/
Media Center Edition (Service
Pack 2), Windows XP Pro x64
Recordable media formats:
Edition, or Windows 2000
Supports all popular formats: CD-R/
RW, DVD+R/RW, DVD-R/RW, DVDR DL, DVD+R DL, DVD-RAM Image
(Service Pack 4 or later) - plus
Focus Magazine
www.iov.com
Microsoft Windows Media Player
10.0 or later and DirectX 9.0c
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Sales & Wants Rates
All adverts are listed here and at
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months.
IOV Members
£17.63 Inc. VAT per item
(per 25 words or part thereof)
Non Members
£23.50 Inc. VAT per item
(per 25 words or part thereof)
Cameras/Camcorders
DSR300 Sony DVCAM
With Fuji Lens - Quick release plate camera bag manual -head drum
788hours, includes 4 Batteries & 1DSM
battery belt with chargers. Sale includes
Sennhieser ew112 radio reciever & plug
on transmitter with microphone also
Manfrotto tripod etc. Sale is due to
closure of wedding video business offers
around £2800 please.
Contact Keith: 01343-812955
[137]
Email: [email protected]
Sony DSR300AP Camera Kit
With Fuji 12:1 Lens. 230 Hours - As New.
Sony battery charger, tripod and dolly,
soft case included. TOA Radio Mic
System.
£3,000 for all.
Contact Tom: 00353 5521785
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[137]
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JVC DV5000E camera
Fujinon 14x lens, tripod plate & manual.
Superb picture quality, 527 hours, tested
July 2005. £2000
Contact Martyn: 01978 350122
[137]
NLE System & Camera
Pinnacle DV500 Plus, with Premiere 6 in a
PIII system built by Siren. Fully WKG
and reliable. Supplied with a Canon XM1
- low hours usage - excellent condition
and with case etc. £1,500.
Contact Norman: 01925 411349 [138]
Sony DSR 300 Camcorder
Complete with 14X Fujinon Lens. Good
condition with only 264 head hours. Also
Anton Bauer Lifesaver dual charger and
one Digital Trimpac battery.
£2850 ono
Contact Colin: 01992 461858
[137]
Sony DSR250
Mint Condition. Comes with Hawkwoods
100W batteries x 2 plus charger, also
Portabrace CTC3 carry case. Used as a
backup camera. Very low head hours (19
hrs total). Bargain at £3,700.
Contact Tim: 01962 860882
[135]
Sony TRV 950
3CCD camcorder, mint condition, only 4
times used as back-up
camcorder. Original cost £1,500. Will
sell for £700 ono.
Contact Mr. Uddin: 07957 108251
or 07830 383081
[135]
Sony PD150
Sony DVCAM PDX10
Retiring - Complete kit for sale
3 chip camera Very low hours (about 30
Sony DSR 250 very low hours, 2 batteries
with IDX v-lock housing, charger & tripod
plate. Sennheiser W100 radio
mic. Sennheiser ME66 with K6 module
incl. carry case plus Rycote Softee &
extension lead. IDX X3 LED Lite (brand
new). Manfrotto 503 tripod complete
with case. Manfrotto 522 remote
handle. Tripod dolley. KATA professional
case for camera & accessories.
Complete kit £4400 (cost new £6473)
Contact Colin:
07860 333444 or 01623 409704
Email: [email protected] [134]
Excellent condition & low hours. Three
hours. Tripod Plate. Very Good
batteries and wide angle convertor £1095
Condition. £3300.00
Contact Mark: 01625 523237
Contact Alastair: 01789 765893 [134]
[135]
head hours) Almost mint condition with
box and all supplied accessories. I have
had a part-ex offer of £750, hence offers
over that amount. 1 week only to decide.
Contact Chris: 01252 662427
[134]
JVC GY-DV5000e DV Camcorder Kit
Ex-demo unit. 121 drum hours.
FUJINON S16X7.3BRM-SD. "Pro Bag"
carry bag. 3 x Pag Digital NMH60 Time
battery. PAG AR Series 2 charger.
Compact switch mode PSU.
£3995 inc VAT.
Contact Lee: 01458 252522
[134]
JVC-JY-HD10 HDV Camcorder
Stunning HDV 720 x 1280 pictures from
this compact camcorder ideal second
camera to use with the JVC HD100/01.
Records in SD too. Just over 12 months
old. Only run 15 tapes. Boxed inc many
accessories. 2 x batts and editing sofware
too. Full spec at http://
www.jvcpro.co.uk/item/index_html?
item=JY-HD10 £1300.00
Contact Alastair: 01789 765893
[134]
Panasonic AG-DVC200
3 CCD Camcorder 3 CCD DV Camcorder,
Full size tape for over 3 hours recording.
16x Fujion Lens. Two IDX Endura 50
Batteries and twin charger. Low
Computer & NLE Products
Adobe Encore DVD 1.5 software
New with user guide - not required due
to system upgrade with pre-installed
Adobe products
offers around £180.00
Contact Kevin: 07802 691686
[136]
Casablanca Prestige
80GB HD, DVD burner, excellent
condition only completed 4 weddings and
a truck show, boxed, £1195.00.
Contact Alan:01782 560060
Mobile: 07788 793114
Matrox RTX100 / Multicam software
Matrox RTX100 (hardware only) £300. United Media Multicam 2-camera
software (for Premiere Pro) - £100
(http://www.unitedmediainc.com/home/)
Contact Rob: 07919 885210
Continued…
Call 020 8502 3817 or order on-line at www.iov.co.uk
www.iov.com
Focus Magazine
May 2006
25
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SALES & WANTS
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Computer & NLE Products Cont...
Miscellaneous
COMPLETE PC EDITING SYSTEM AND
SOFTWARE
3MHZ PENTIUM4 WINXP SYSTEM, 1GB
RAM, 256MB GRAPHICS, AUDIGY2
SOUNDCARD, SONY DUAL-LAYER DVD, 3
HARDDRIVES, SPEAKERS,
PROFESSIONAL SOFTWARE. INCREDIBLY
FAST AND RELIABLE.
£1270 + VAT.
Contact Beverly: 01622 204801
[134]
DVD Duplication Equipment
Two drive DVD Producer II Protégé.
Includes Protégé II automation station
with two 8x DVD+/-R recorders,
Everest II PRINTER, STANDARD Dell
Control Centre and Producer software
suite including QuickDisc 2 and
software developer’s kit. Input
capacity up to 300 DVD/CDs. The
Everest II Printer is a first class
quality printing system. Price £6,000
plus Vat.
Contact Chris Male 01425 625020
[138]
JVC Monitor
JVC BM H1400 14 inch professional
monitor with component/YC/composite
in and out £250
Contact Paul: 01269 860649
[136]
Data Video SE800 Mixer and Camera
Cable Kit
New totally unused Datavideo SE800
Vision Mixer and Camera Cable kit still in
original packaging. Would prefer to sell
this complete with 300 meters of
EEE1394 Cable and connections. For
further information visit:
www.miragedigitalvideo.co.uk/se800.pdf
or email me.
Contact Andy: 01253 596900
[137]
Tripod and Monitor
Vinten 10, 2 Stage tripod with head, 2
pan bars, spreader, soft case, plus dolly
with cable guards & track locks £1,500
(MRP £ 3280). Sony PVM -902ME 9"
Monitor £500. All equipment is in good
condition.
Contact Don: 020 8769 6425
Recorders/Players
Sony DSR 20P VCR
Firewire in/out YC in/out. Composite in/
out 350 hours private use. Takes mini
and large DV/DVcam Tapes. £850
Contact Paul: 01269 860649
[136]
JVC BD-X200E DVD RECORDER
"NEW" Creation of DVDs in real time. All-inone solution with no PC required
Easy one-time creation of customised menu,
that can feature corporate logo & name,
department, own background images and
colours. Simple creation of DVD chapters.
Automatic creation of thumbnails for chapters
and titles which can be edited Professional
compression engine provides top class audio
and video. Comprehensive range of digital
and analog I/Os Compatible with NLE
systems. PRICE AT A BARGAIN £990.00
INCLUDING VAT & DELIVERY
[134]
Contact George:
[email protected]
Sony UVW 1800
Plus Aluminium flight case good
condition, T1:982-T2:94-T3:65 £2000
plus vat
Contact John: 01279 414737
[134]
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Total Training DVDs
Adobe AE 6.5 (standard) - £175. Adobe
Audition 1.5 - £100. Adobe Encore 1.5 £100. Adobe Premiere Pro 1.5 - £125
Entire set - £400
Contact Rob: 07919 885210
Teletest OZL1702 7" monitor & Optex
beachtec dual XLR adapter.
Teletest OZL1702 7" monitor. 4/3 - 16/9
swichable. Takes Sony NP-F series
battery and mains.(Neither
included) includes good quality Teletest
case/rain jacket. Used once, so in "as
new" condition. £500 ono. Optex
beachtec dual balanced XLR adapter.
Suitable for any camcorder with a stereo
mini jack 3.5mm audio input. Bought in
error, never used, £200 ono.
Contact: Alan 01655 883137
[136]
DVD/CD Disc printer with 2 disc caddy
Matisse Gold. Good as new in original box
£150. Full details tel.
Contact Roger: 01737 279889
or mobile: 0794 1250072
[135]
WANTED
Sony DSR PD150P/PD170P or similar 3
chip camera.
Also reasonable priced tripod. Cash paid,
can collect.
Contact John: 07746-462695
[136]
Casablanca
Late model
Contact John: 00353 85 7244810
DVCAM Back end for Ikegami camera
New or nearly new.
Contact Jamie: 01527 861911
Call 020 8502 3817 or order on-line at www.iov.co.uk
26
May 2006
Focus Magazine
www.iov.com
SALES & WANTS
Commemorative Video & DVD Cases
Animation & Graphics
Planet PC
The Old School, 690 Bradford Road,
Birkenshaw, West Yorkshire BD11 2DR
Tel: 01274 713400
Web: www.planetdv.net
Batteries & Power contd...
Westgate Developments
Derby House, 11 Rosebery Road, Langley
Vale, Epsom, Surrey KT18 6AF
Tel: 01372 800404
Web: www.westgatepower.com
Audio Equipment Supplies
HHB Communications Ltd
73 - 75 Scrubs Lane, London NW10 6QU
Tel: 020 8962 5000
Fax: 020 8962 5050
Web: www.hhb.co.uk
MediaAtlantic
PO Box 5050, Derby DE23 8ZW
Tel: 0870 161 5050
Fax: 0870 161 5051
Web: www.mediaatlantic.com
RPA
6a Juno Way, London SE14 5RW
Tel: 020 3183 0000
Web: www.riverproaudio.co.uk
Soundgenie
Unit 2, Heybridge Enterprise Centre, The
Street, Heybridge, Maldon, Essex CM9 4NN
Tel: 01621 843200
Fax: 01621 843201
Web: www.soundgenie.co.uk
Soundkit
12 Earle Place, Canton, Cardiff CF5 1NZ
Tel: 02920 342907
Fax: 02920231235
Web: www.soundkit.co.uk
Total Audio Solutions
3 Woden Court, Park, Saxon Business Park,
Hanbury Road, Bromsgrove, Worcs. B60 4AD
Tel: 01527 880051
Web: www.totalaudio.co.uk
Authoring Video To DVD
DVDIY
Unit 4, Balksbury Estate, Upper Clatford,
Andover, Hampshire SP11 7LW
Tel: 01264 336330
Web: www.dvdiy.com
Hattrick Studios
P.O.Box 8, Whetstone, Leicester LE8 6WX
Tel: 0116 2234 119
Web: www.hattrickstudios.co.uk
Planet PC
Tel: 01274 713400
Samron Technologies
6 Middle Place, Rotherham S65 2HH
Tel: 01709 511819
Web: www.samron-tech.com
Batteries & Power
DS Video Facilities
Unit 27, Metro Centre, Britannia Way,
Coronation Road, London NW10 7PR
Tel: 020 8965 8060
Web: www.dsvideo.co.uk
Hawkwoods Ltd
Briscall House, Wotton Road, Ashford,
Kent TN23 6LW
Tel: 01233 638715
Web: www.hawkwoods.com
IDX Technology Europe Ltd
34 Taunton Road, Metropolitan Centre,
Uxbridge, Middlesex, UB6 8UQ
Tel: 020 8813 1666
Fax: 020 8813 1777
Web: www.idx.tv
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
Camcorder Power
Rhino Power & Light Ltd
Pinewood Studios, Pinewood Road, Iver Heath,
Buckinghamshire SL0 0NH
Tel:01753 651444
Fax:01753 651334
Web: www.rhinopower.tv
Camera Lenses & Filters
IDX Technology Europe Ltd
34 Taunton Road, Metropolitan Centre,
Uxbridge, Middlesex, UB6 8UQ
Tel: 020 8813 1666
Fax: 020 8813 1777
Web: www.centuryoptics.com or www.idx.tv
South London Filter Ltd
3 Richbourne Terrace, London SW8 1AS
Tel: 0207 735 1900
Fax: 0207 820 1718
Web: www.camerafilters.co.uk
Camera Soft Cases & Bags
CP Cases Ltd
Worton Hall Ind. Est., Worton Road, Isleworth,
Middlesex TW7 6ER
Tel: 0208 568 1881
Fax: 0208 568 1141
Web: www.cpcases.com
TVcases
9 Elmsdale, Wightwick, Wolverhampton,
West Midlands WV6 8ED
Tel: 07976 369776
Web: www.tvcases.co.uk
Karina Krafts
Complex 7, 34 Nelson Road, Ystrad Mynach,
Hengoed, Mid Glamorgan CF82 7BP
Tel: 01443 815595
Fax: 01443 862204
Web: www.karinakrafts.com
RPA
Tel: 020 3183 0000
Warehouse Video Services
Burnside, Horton Road, Staines, Middlesex
TW19 6BQ
Tel: 01753 689400
Fax: 01753 689401
Web: www.warehouse-video.co.uk
Computer Hardware & Software
CVP Imaging Solutions Ltd.
Priory Mill, Castle Road, Studley, Warks. B80 7AA
Tel: 01527 854222
Web: www.creativevideo.co.uk
Hybrid Media Production & Distribution
7 Birches House, 245 Birchfield Road,
Redditch, Worcestershire B97 4LR
Tel: 01527 544883
Web: www.hybridmedia.co.uk
MediaAtlantic
Tel: 0870 161 5050
Fax: 0870 161 5051
Planet PC
Tel: 01274 713400
Quad Logic (Apple Video Expert)
Unit 46, Station Road Workshops, Kingswood,
Bristol BS50 4PJ
Tel: 0117 970 1550
Fax: 0117 970 1440
Web: www.quadlogic.co.uk
XS Computers Ltd
196 Kilmarnock Rd, Shawlands, Glasgow G41 3PG
Tel: 0870 747 6484
Web: www.xscomputersltd.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
CD & DVD Recordable Media
MediaAtlantic
Tel: 0870 161 5050
Fax: 0870 161 5051
Microboards Technology Ltd
7 Harriott Drive, Heathcote Industrial Estate,
Warwick CV34 6TJ
Tel: +44 (0) 870 350 3581
Web: www.microboards.co.uk
Multi Media Replication Ltd
Tel: 01264 336330
Web: www.replication.com
RPA
Tel: 020 3183 0000
SkyCom UK Ltd
Suite 17, 2nd Floor, Fifty7 Frederick Street,
Hockley, Birmingham B1 3HS
Tel: 0121 236 2594
Web: www.sky-com.co.uk
Chromakey Supplies
Bristol UK Ltd
Unit 3, Sutherland Court, Tolpits Lane,
Watford WD18 9SP
Tel: 01923 779333
Fax: 01923 779666
Web: www.bristolpaint.com
Planet PC
Tel: 01274 713400
Copyright Free & Commissioned Music
AKM Music
PO Box 3199, Kenilworth CV8 2ZP
Tel: 01926 864068
Web: www.akmmusic.co.uk
Chris Worth Productions
27 Stainesway, Louth, Lincolnshire LN11 0DE
Tel: 01507 601546
Fax: 01507 601546
Web: www.chrisworthproductions.com
Holdan Ltd
Unit 2 Waterside Business Park, Waterside,
Hadfield, Glossop, Derbyshire SK13 1BE
Tel: 0845 1304445
Web: www.holdan.co.uk
Motcombe-Relf Music
PO Box 254, St Peter Port, Guernsey, Channel
Islands GY1 4LH
Tel: 01481 257804
Web: www.royaltyfree.cd2.com
Smartsound powered by Datavision
Russell Farm, New Road, Maulden,
Bedfordshire MK45 2BG
Tel: 01525 406886
Web: www.smartsound.co.uk
Trackline Music Services
68 Alton Street, Crewe, Cheshire CW2 7QB
Tel: 01270 665750
Web: www.trackline.com
Dimming Equipment
LCC Photon Technik
Watt House, Pirbright Road, Normandy,
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Web: www.lcc-lighting.co.uk
www.iov.com
Dimming Equipment contd...
Photon Beard Ltd
Tel: 01525 850911
Tel: 01372 800404
Dolly & Track Systems
PEC Video Ltd
65-66 Dean Street, Soho, London W1D 4PL
Tel: 020 7437 4633
Fax: 020 7025 1320
Web: www.pec.co.uk
Drapes
LCC Photon Technik
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
DTV / Nonlinear Training
Priory Mill, Castle Road, Studley,
Warwickshire B80 7AA
Tel: 01527 854222
Symbiosis (FCP & DVD Studio Pro)
47 The Parade, Royal Priors,
Leamington Spa CV32 4BL
Tel: 01926 436930
Fax: 01926 885936
Web: www.symbiosis.com
Duplication Services
Double Vision
The Studio, Half Key Farm, Malvern,
Worcestershire WR14 1UP
Tel: 01886 830084
Fax: 01886 833783
Web: www.doublevision-videos.com
Media Heaven Ltd
Unit 12, Castleton Close, Armley Road, Leeds LS12 2DS
Tel: 0113 244 3550
Web: www.mediaheaven.co.uk
Media Matters Technology Ltd
12-14 Somerset House, Hussar Court,
Waterlooville, Hampshire PO7 7SG
Tel: 0870 870 1123
Fax: 0870 870 1124
Web: www.mediamatterstechnology.co.uk
Tel: 01264 336330
MVS Video
Alkham Valley Road, Folkestone, Kent CT18 7EH
Tel: 01303 891468
Web: www.mvsvideo.com
Penridge Multi-Media
The Barn, Rashwood Meadow, Droitwich Spa,
Worcestershire WR9 0BS
Tel: 01527 861911
Web: www.penridge.com
RPA
Tel: 020 3183 0000
DVD & CD Applications
Media Heaven Ltd
Tel: 0113 244 3550
Tel: 01527 861911
Focus Magazine
May 2006
27
DVD & CD Replication Services
Equipment Dealers contd...
Field Production Cases
24-7 DVD Ltd
1 Ravenscourt Park, London W6 0TZ
Tel: 020 8748 2247
Fax: 020 8237 1247
Web: www.24-7dvd.co.uk
Intelligent Television and Video Ltd
ITVV House, Norwood Street, Scarborough,
North Yorkshire YO12 7EQ
Tel: 0800 137423
Fax: 0800 0265050
Web: www.itvv.net
Media Heaven Ltd
Tel: 0113 244 3550
Tel: 0870 870 1123
Fax: 0870 870 1124
Web: www.mediamatterstechnology.co.uk
Tel: 01264 336330
Tel: 01527 861911
Samron Technologies
6 Middle Place, Rotherham S65 2HH
Tel: 01709 511819
Web: www.samron-tech.com
Gearhouse Broadcast
Unit 12 Imperial Park, Imperial Way, Watford,
Hertfordshire WD24 4PP
Tel: 0845 820 0000
Fax: 01923 691499
Web: www.gearhousebroadcast.com
Griffin Media Solutions
53 Regent Place, Hockley, Birmingham B1 3NJ
Tel: 0121 212 0044
Web: www.askgriffin.co.uk
H. Preston Professional Video
103 Worcester Road, Malvern, Worcester WR14 1EP
Tel: 01684 575486
Fax: 01684 575594
Web: www.hpreston.co.uk
LEQ Ltd (Lightweight Equipment)
Room 156, Pinewood Studios, Pinewood Road,
Iver Heath, Buckinghamshire SL0 0NH
Tel: 01753 651444
Fax: 01753 651444
Libra Professional Broadcast
Chester House, 91/95 Alcester Road, Studley,
West Midlands B80 7NJ
Tel: 01527 853305
Web: www.libraprobroadcast.co.uk
MVS Video
Tel: 01303 891468
PDC Digital Solutions Ltd
Palmerston Studios, Palmerston Road,
Barry CF63 2YZ
Tel: 01446 722503
Mobile: 07971 642269
Web: www.pdcdigital.co.uk
PEC Video Ltd
65-66 Dean Street, Soho, London W1D 4PL
Tel: 020 7437 4633
Fax: 020 7025 1320
Web: www.pec.co.uk
Proactive UK Ltd
1 Eastman Way, Hemel Hempsted HP2 7DU
Tel: 01442 253313
Fax: 01442 260913
Web: www.proav.co.uk
PROKIT
111 Power Road, Chiswick, London W4 5PY
Tel: 020 8995 4664
Fax: 020 8995 4656
Web: www.prokit.co.uk
QAV Ltd
2 The Mount, Station Yard, Longstanton,
Cambridge, Cambridgeshire CB4 5DS
Tel: 01954 262100
Fax: 01954 262101
Web: www.qav-ltd.com
Symbiosis
47 The Parade, Royal Priors,
Leamington Spa CV32 4BL
Tel: 01926 436930
Fax: 01926 885936
Web: www.symbiosis.com
T2 Direct
Bridge House, Royal Quay, Park Lane,
Harefield, Middlesex UB9 6JA
Tel: 01895 855655
Fax: 01895 822232
Web: www.t2direct.com
TouchVision
6 The Riverside, Farnham, Surrey GU9 7SS
Tel: 01252 823850
Fax: 01252 711702
Web: www.touchvision.tv
MVS Video
Tel: 01303 891468
DVD Duplication Equipment
Tel: 0870 870 1123
Fax: 0870 870 1124
Web: www.mediamatterstechnology.com
Microboards Technology Ltd
7 Harriott Drive, Heathcote Industrial Estate,
Warwick CV34 6TJ
Tel: +44 (0) 870 350 3581
Web: www.microboards.co.uk
Tel: 01264 336330
Tel: 01527 861911
Planet PC
Tel: 01274 713400
RPA
Tel: 020 3183 0000
SkyCom UK Ltd
Suite 17, 2nd Floor, Fifty7 Frederick Street,
Hockley, Birmingham B1 3HS
Tel: 0121 236 2594
Web: www.sky-com.co.uk
Equipment Rental
Editing & Facility Hire
Activelight
Coppins, West Road, Stoney Common,
Stansted, Essex CM24 8NQ
Tel: 01279 414736
Web: www.activelight.co.uk
Equipment Dealers
Calumet Pro Video
93-103 Drummond Street, London NW1 2HJ
Tel: 020 7380 1144
Web: www.calumetphoto.co.uk
Priory Mill, Castle Road, Studley, Warks. B80 7AA
Tel: 01527 854222
28
May 2006
Kitroom Monkey Limited
Ealing Film Studios, Ealing Green,
London W5 5EP
Tel: 0845 166 2597
Mobile: 07739 806807
Web: www.kitroommonkey.co.uk
RPA
Tel: 020 3183 0000
Equipment Service & Repair
MVS Video
Tel: 01303 891468
Focus Magazine
www.iov.com
Grip Equipment
LCC Photon Technik
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Insurance Companies
Aaduki Multimedia Insurance
2d Cranmere Road, Oakhampton,
Devon EX20 1UE
Tel: 0845 838 6933
Fax: 0845 838 6944
Web: www.aaduki.com
AUA Insurance
De Vere House, 90 St Faiths Lane, Norwich NR1 1NL
Tel: 01603 623227
Fax: 01603 665516
Web: www.aua-insurance.com
Golden Valley Insurance
The Olde Shoppe, Ewyas Harold,
Herefordshire HR2 0ES
Tel: 0800 015 4484
Fax: 01981 240451
Web: www.photographicinsurance.co.uk
Towergate Camerasure
Funtley Court, Funtley Hill, Fareham, Hants. PO16 7UY
Tel: 0870 4115511
LCD Monitors
MediaAtlantic
Tel: 0870 161 5050
Fax: 0870 161 5051
Lighting
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
David Lawrence Lighting
Unit 7, New Lydenburg Commercial Estate, New
Lydenberg street, Woolwich, London SE7 8NF
Tel / Fax: 020 8858 2820
Web: www.studiolighting.co.uk
Desisti Lighting (UK) Ltd
15 Old Market Street, Thetford, Norfolk IP24 2EQ
Tel: 01842 752909
Web: www.desisti.co.uk
Gekko Technology Ltd
Deer Park Business Centre, Stoneleigh Deer
Park, Stareton, Warwickshire CV8 2LY
Tel: 07005 942686
Fax: 024 76 531844
Web: www.gekkotechnology.com
Ianiro UK Ltd
Unit 7, Walkers Road, Manorside Ind. Est.,
North Moons Moat, Redditch, Worcs. B98 9HE
Tel: 01527 596955
Fax: 01527 596788
Web: www.ianiro.com
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
Lighting contd...
Tel: 01372 800404
LCC Photon Technik
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Mini Cams & Special Facility Cameras
Extreme Video
Alexander House, 7-13 Rose Lane, Norwich NR1 1PL
Tel: 01603 630555
Web: www.evgroup.co.uk
Nonlinear & Hybrid Systems
Adobe Systems UK
3 Roundwood Avenue, Stockley Park,
Uxbridge UB11 1AY
Tel: 020 8606 1100
Fax: 020 8606 4004
Web: www.adobe.co.uk
Apple Computer UK Ltd
2 Furzeground Way, Stockley Park East,
Uxbridge, Middlesex UB11 1BB
Tel 020 8218 1000
Fax: 020 8218 1310
web: www.apple.com/uk/pro
AT Computers (Apple Centre Glos.)
48 Barton Street, Tewkesbury, Gloucs. GL20 5PR
Tel: 01684 291112
Web: www.atcomputers.co.uk
Avid Technology
Bucks. SL0 0NH
Tel: +44 (0)1753 655999 Fax: +44 (0)1753 654999
Web: www.avid.co.uk
Canopus Europe
Unit 4, The Duran Centre, 14 Arkwright Road,
Reading, Berkshire RG2 0LS
Tel: 0118 921 0150
Web: www.canopus-uk.com
CVP Imaging Solutions Ltd
Priory Mill, Castle Rd, Studley, Warks. B80 7AA
Tel: 01527 854222
Datavision Limited
Russell Farm, New Road, Maulden,
Bedfordshire MK45 2BG
Tel: 01525 406886
Web: www.datavision.co.uk
Edirol Europe
Studio 3.4, 114 Power Road, London W4 5PY
Tel: 0870 350 1515
Web: www.edirol.co.uk
Holdan Ltd
Tel: 0845 1304445
Hybrid Media Production & Distribution
7 Birches House, 245 Birchfield Road,
Redditch, Worcestershire B97 4LR
Tel: 01527 544883
Web: www.hybridmedia.co.uk
In-Deep
15 Abrahams Road, Henley on Thames,
Berkshire RG9 2ET
Tel: 0870 350 2450
Web: www.in-deep.co.uk
MVS Digital (Sony Vegas)
Unit 23, Wordsworth Business Centre, 21
Wordsworth Road, Perivale, Middlesex UB6 7LQ
Tel: 0845 456 0801
Web: www.mvsdigital.com
PDC Digital Solutions Ltd
Palmerston Studios, Palmerston Road,
Barry CF63 2YZ
Tel: 01446 722503
Mobile: 07971 642269
Web: www.pdcdigital.co.uk
Planet Video Systems
33 Bournehall Avenue, Bushey, Hertfordshire
WD23 3AU
Tel: 020 8950 1485
Web: www.planetaudiosystems.co.uk
Nonlinear & Hybrid contd...
Planet PC
Tel: 01274 713400
Siren Technology
178 Radcliffe New Road, Whitefield,
Manchester M45 7RG
Tel: 0161 796 5279
Fax: 0161 796 3208
Web: www.sirentechnology.co.uk
Ulead
PO Box 835, Canterbury, Kent CT2 7WE
Tel: 01227 379481
Web: www.ulead.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
Outside Broadcast
MVS Video
Tel: 01303 891468
Portable Power
Rhino Power & Light Ltd
Buckinghamshire SLO ONH
Tel:01753 651444
Fax:01753 651334
Web: www.rhinopower.tv
Studio Lighting Design
Video Accessories
LCC Photon Technik
Watt House, Pirbright Rd, Normandy, Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Photon Beard Ltd
Tel: 01525 850911
Composite Video Ltd
Unit 15, Liongate Enterprise Park, 80 Morden
Road, Mitcham, Surrey CR4 4NY
Tel: 020 8687 9700
Web: www.compositevideo.co.uk
DVStuff
PO Box 389, Maulden, Beds. MK45 2WG
Tel: 01525 406886
Web: www.dvstuff.co.uk
Holdan Ltd
Tel: 0845 1304445
Keene Electronics
Old Hall, Unit 9, Mills Bus. Pk, Station Road,
Little Eaton, Derby DE21 5DN
Tel: 01332 830550
Web: www.keene.co.uk
Lektropacks
Unit 6 Metro Industrial Centre, St. Johns Road,
Isleworth, Middlesex TW7 6NL
Tel: 08700 711 911
Fax: 020 8560 8050
Web: www.lektropacks.co.uk
MVS Video
Tel: 01303 891468
Tape Stock
MVS Video
Tel: 01303 891468
Tel: 01527 861911
RPA
Tel: 020 3183 0000
That’s A Wrap Sales
The Boreen, Condor Road, Staines, Middx. TW18 1UG
Tel: 0871 222 0808
Fax: 01784 465639
Web: www.taw.eu.com
Warehouse Video Services
Burnside, Horton Road, Staines, Middlesex
TW19 6BQ
Tel: 01753 689400
Fax: 01753 689401
Web: www.warehouse-video.co.uk
Post Production Software
New Media AV
(Avid distributor)
25 Basepoint, Caxton Close, East Portway
Industrial Estate, Andover, Hampshire SP10 3FG
Tel: 08456 446663
Web: www.nmav.com
Planet PC
Tel: 01274 713400
The Carpark
(Red Giant Software distributor)
7 Lissadell Drive, Magherafelt, Co Derry,
Northern Ireland BT45 5AR
Tel: 028 7963 2614
Web: www.thecarpark.net
Radio Microphones
Soundkit
12 Earle Place, Canton, Cardiff CF5 1NZ
Tel: 02920 342907
Fax: 02920231235
Web: www.soundkit.co.uk
Total Audio Solutions
3 Woden Court, Park, Saxon Business Park,
Hanbury Road, Bromsgrove, Worcs. B60 4AD
Tel: 01527 880051
Web: www.totalaudio.co.uk
Wireless Mics. & Ears
Unit 2, Heybridge Enterprise Centre, The
Street, Heybridge, Maldon, Essex CM9 4NN
Tel: 01621 843200
Web: www.wirelessmics.co.uk
Royalty Free Media
Holdan Ltd
Tel: 0845 1304445
Studio Facilities
Picture It Studios
The Studio, 50 Church Road, London NW10 9PY
Tel: 020 8961 6644
Web: www.picit.net
Teleprompting
PortaPrompt
Lane End Road, Sands, High Wycombe,
Buckinghamshire HP12 4JQ
Tel: 01494 450414
Web: www.portaprompt.co.uk
Tripods & Camera Supports
Hague Camera Supports
Mile End Road, Colwick, Nottingham NG4 2DW
Tel: 0115 987 0031
Web: www.b-hague.co.uk
Libec Europe
Unit 7, Walkers Road, Manorside Ind. Est.,
North Moons Moat, Redditch, Worcs. B98 9HE
Tel: 01527 596955
Fax: 01527 596788
Web: www.ianiro.com
Louma UK
Tel: 020 8959 3082
Web: www.verycam.com
Manfrotto Tripods
Distributed by DayMen International
Tel: 0870 420 5113 (Customer Services)
Web: www.manfrotto.co.uk
Miller Fluid Heads (Europe) Ltd
Unit 21, Ford Lane Business Park, Ford Lane,
Nr Arundel, West Sussex BN18 0UZ
Tel: 01243 555255
Fax: 01243 555001
Web: www.millertripods.com
Vinten
Western Way, Bury St Edmunds, Suffolk IP33 3TB
Tel: 01284 752121
Web: www.vinten.com
Video Editing
Hattrick Studios
P.O.Box 8, Whetstone, Leicester LE8 6WX
Tel: 0116 2234 119
Web: www.hattrickstudios.co.uk
Planet PC
Tel: 01274 713400
Video Manufacturers
Holdan Ltd
Tel: 0845 1304445
JVC Professional Europe
JVC House, JVC Business Park, 12 Priestley
Way, London NW2 7BA
Tel: 020 8208 6200
Web: www.jvcpro.co.uk
Panasonic Broadcast Europe Ltd
West Forest Gate, Wellington Road,
Wokingham, Berkshire RG40 2AQ
Tel: 0118 902 9200
Web: www.panasonic-broadcast.com
Pioneer GB Ltd
Pioneer House, Hollybush Hill, Stoke Poges,
Slough, Berkshire SL2 4QP
Tel: 01753 789789
Fax: 01753 664001
Web: www.pioneer.co.uk
Sony Broadcast & Professional UK
The Heights, Brooklands, Weybridge,
Surrey KT13 0XW
Tel: 01932 816275
Web: www.sonybiz.net
Video Measuring & Signal Processing
HAMLET VIDEO INTERNATIONAL LTD
Maple House, 11 Corinium Business Centre,
Raans Road, Amersham, Bucks. HP6 6FB
Tel: 01494 793763
Web: www.hamlet.co.uk
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Welcome!
Voiceover Services
Colin Days Overnight Voiceovers
The Old Rectory, Ombersley, Worcs. WR9 0EW
Tel: 01562 822222
Web: www.voiceover-uk.co.uk
First Person Digital Media
40 Viaduct Drive, Wolverhampton,
West Midlands WV6 0UX
Tel: 01902 772455
Web: www.firstpersondigitalmedia.com
Geoffrey Annis
261 Boothferry Road, Hessle, East Yorkshire HU13 0NG
Tel: 01482 647461
Web: www.voiceovers.co.uk/geoffrey.annis
www.iov.com
Call Kevin Cook (Sales)
on +44 (0) 20 8502 3817
Kevin Cook
IOV Focus Limited
PO Box 625
Loughton
IG10 3GZ
United Kingdom
Focus Magazine
May 2006
29
David Howles M.M.Inst.V.
Phil Janvier M.M.Inst.V.
Thomas Jones M.M.Inst.V.
Ron Lee F.Inst.V.
Lee Mannering M.M.Inst.V.
Van Martin M.M.Inst.V.
Mirage Digital Video Productions *
Gordon Moore M.M.Inst.V.
Jeffrey Mortimer M.M.Inst.V.
Jason Naylor M.M.Inst.V.
Mark Newbolt M.M.Inst.V.
Peter Parker M.M.Inst.V.
Geoff Proctor M.M.Inst.V.
David Royle M.M.Inst.V.
Steven Smith M.M.Inst.V.
Ken Stott M.M.Inst.V.
Carl Stredder M.M.Inst.V.
The Graham Fenton Experience *
Peter Thornton 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.
1a
1b
2
Kevin Winn M.M.Inst.V.
Andrew Blow M.M.Inst.V.
Broadcast Media Services *
John Goodwin M.M.Inst.V.
Chris Goulden M.M.Inst.V.
Philip Groves M.M.Inst.V.
Lynne Hamilton M.M.Inst.V.
Nick Kirk F.Inst.V.
Geoff Knight F.Inst.V.
Adrian Medforth M.M.Inst.V.
Ben Newth M.M.Inst.V.
Alfred Overy M.M.Inst.V.
Gordon Simpson F.Inst.V.
Mike Walker F.Inst.V.
Robin Walters M.M.Inst.V.
Philip Wilson F.Inst.V.
4
3
19
5
6
7
10
8
9
13
14
11
15
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...
Corporate, Industrial & Commercial Video Services
Wedding & Celebrational Video Services
Freelance Camera Operator
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
01847
01224
01382
01764
Danny Hart M.M.Inst.V.
Trevor Jenkins M.M.Inst.V.
Guy Kinder M.M.Inst.V.
Wendy Love F.Inst.V.
Graham Mackay M.M.Inst.V.
Douglas Miller M.M.Inst.V.
Lee Mulholland M.M.Inst.V.
Ken Neil F.Inst.V.
Tony Nimmo M.M.Inst.V
Pro-Create.Co.Uk *
Jonathan Robertson M.M.Inst.V.
Paul Russell F.Inst.V.
Steve Towle M.M.Inst.V.
Michael Ward M.M.Inst.V.
Graeme Brown M.M.Inst.V.
Jack Buchanan M.M.Inst.V.
Jim Closs M.M.Inst.V.
Alex Crosbie M.M.Inst.V.
01563 542195
020 8551 9399
0131 221 1697
0141 954 0840
01236 730770
01555 860382
01294 217382
0141 779 3915
01555 661541
0141 587 1609
0131 476 5432
01563 523424
0131 561 6280
0141 644 1136
01577 865000
0141 643 1651
0131 667 2086
01555 663023
Midlands (Area 6)
AB
P
01388 605386
0191 270 9063
01325 241821
07786 705066
01661 844542
01429 824177
0191 549 3675
0191 252 7354
North West England (Area 3)
Chris Abram M.M.Inst.V.
Matthew Aindow M.M.Inst.V.
Graham Baldwin M.M.Inst.V.
Mark Barnes M.M.Inst.V.
Dave Barrow M.M.Inst.V.
Roy Beaumont Swindlehurst M.M.Inst.V.
David Brindley M.M.Inst.V.
Philip Chrystal M.M.Inst.V.
Dennis Cooper M.M.Inst.V.
Paul Cragg M.M.Inst.V.
Chris Dell M.M.Inst.V.
Trevor Draycott M.M.Inst.V.
Jack Ebden M.M.Inst.V.
Steve Edwards M.M.Inst.V.
Nick Farrimond M.M.Inst.V.
Jimmy Goodinson F.Inst.V.
Gavin Gration M.M.Inst.V.
Peter Hinkson M.M.Inst.V.
John Hodgson M.M.Inst.V.
30
May 2006
AKN
AB
ABKN
ABCD
ACKN
ABCJK
01524 736573
0151 722 6692
01204 843549
01257 264303
01706 879717
01254 830823
01254 679625
01772 458300
01204 604840
0161 427 0661
01204 847974
01772 622522
01772 705876
0161 428 9646
01942 703166
01254 830823
01204 576826
07930 431662
AB
ACFGIKM
ABCJ
ABCK
ACFGKL
ACDFGIKN
ABC
BK
AB
ABCG
ABCDEFHIKMN
ABC
ABCFGJ
AB
ABC
Chris North M.M.Inst.V.
Mike Payne M.M.Inst.V.
Gillian Perry M.M.Inst.V.
Roger Perry M.M.Inst.V.
Michael Shaw M.M.Inst.V.
Chris Smith M.M.Inst.V.
VegaTV & Media Solutions Ltd*
Jackie Williams M.M.Inst.V.
Simon Hammond M.M.Inst.V.
Stephen Hart M.M.Inst.V.
ICE *
David Impey F.Inst.V.
David James M.M.Inst.V.
Colin Jones M.M.Inst.V.
Bob Langley M.M.Inst.V.
Michael Leach F.Inst.V.
Matthew Leech M.M.Inst.V.
James Mackenzie M.M.Inst.V.
Brad Miles M.M.Inst.V.
Adrian Moore M.M.Inst.V.
Simon Page M.M.Inst.V.
Jim Panks M.M.Inst.V.
Bill Platts M.M.Inst.V.
Robert Scarfe F.Inst.V.
John Suckling M.M.Inst.V.
Malcolm Wooldridge M.M.Inst.V.
John Worland M.M.Inst.V.
Hedley Wright M.M.Inst.V.
Blue Slate*
Bernard Coe 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.
John Lambert M.M.Inst.V.
ABN
ABFILMN
ABC
ABCK
AB
ABCKL
BCKN
01492 543246
01902 377882
01743 355725
01743 891286
0151 342 8184
01978 358522
01352 755397
01948 780564
01490 430507
01588 650456
01978 350122
01952 605213
01530 836700
01283 567745
01676 541892
01676 541892
01782 746553
01386 830128
0870 080 1961
01455 848199
01386 47013
01527 878433
01926 864800
01926 497695
01782 514942
07837 276475
0845 606 6593
01902 893068
0121 308 1227
01902 342154
0116 275 2100
01283 515861
ABCJKN
BCKN
ABCFIKN
ACEGLMN
ACFJKLNR
AGI
ABCFHK
ACDFGHJKLMN
AIKMNR
ABCHJK
AB
ABCHKN
ABCGIKN
ABCFG
ABCFGHK
CK
ABCGIJKM
ACFKM
ABL
AIMN
ABCFGHKLN
ABCFHIK
ABCHKN
AC
A
ABKN
B
ABCKN
ACDKMN
ABCFKM
ABCFGJKM
ACFGJKLMN
ABJ
ABCK
AJMO
BC
B
A
AB
01362 693569
01775 822200
01733 370922
01508 570600
020 8517 6752
01449 720282
01206 241820
07836 595859
01733 232232
01223 441137
0800 970 6159
01603 630555
01603 260280
01473 257595
01449 614378
01603 610566
ABCEKLN
CDKN
ABCDGK
ABCN
N
AB
ABCKN
ACGJKLNP
ABC
ABCGJKLN
A
ACFGKMN
AB
South Wales & Bristol Channel (Area 8)
ABCFHJKN
ACHIKN
AB
ABCFGHJKLMN
ABCFGHJKLMN
ABCNP
ABCK
AGJKMN
ABCK
B
01535 646444
01274 595421
01274 690110
01943 870431
0113 224 4800
07952 713793
07979 914996
01723 890610
0113 218 9298
0113 261 1688
01423 755397
01924 249700
01924 864613
01756 798335
0113 263 2496
01759 369811
01484 684617
01422 844392
East Anglia & A1 Corridor (Area 7)
North East England (Area 2)
Peter Watkinson M.M.Inst.V.
Neil Wood-Mitchell M.M.Inst.V.
Michael Bell M.M.Inst.V.
Roger Brown M.M.Inst.V.
Andrew Charlton M.M.Inst.V.
Andrew Crinson M.M.Inst.V.
Glenn Huntley M.M.Inst.V.
Brian Jenkinson M.M.Inst.V.
Ian Brown M.M.Inst.V.
Philip Burton M.M.Inst.V.
Colin Campbell M.M.Inst.V.
George Duncan M.M.Inst.V.
Gareth Harrison M.M.Inst.V.
Keith Howard M.M.Inst.V.
Ian Jackson M.M.Inst.V.
Terry Ladlow M.M.Inst.V.
Christopher Lawton M.M.Inst.V.
Simon Marcus F.Inst.V.
Antony Meade M.M.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.
Iain Rogerson M.M.Inst.V.
Mike Wade F.Inst.V.
Gail Allaby M.M.Inst.V.
John Ford Evans M.M.Inst.V.
George Fenney M.M.Inst.V.
David Gold M.M.Inst.V.
David Jones F.Inst.V.
Graham Kay M.M.Inst.V.
Richard Knew F.Inst.V.
Tudor Owen M.M.Inst.V.
Christopher Smith F.Inst.V.
Rowland Barker F.Inst.V.
Cam 3 Video *
Martyn Chidlow M.M.Inst.V.
James Edwards M.M.Inst.V.
Peter Eggleston F.Inst.V.
895899 ABC
782777 ABCDJKMN
520437
655655 ABCK
Scotland South (Area 1b)
01482 782187
01522 754901
0115 955 3989
01246 850963
01430 431634
01526 353225
01246 852969
07836 702502
01472 811808
01964 503771
07984 629968
01405 704381
01724 720111
01924 515100
01482 441007
01430 422697
North Wales & Borders (Area 5)
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.
Colin Sinclair M.M.Inst.V.
Mark Stuart M.M.Inst.V.
Ron Carmichael M.M.Inst.V.
Iain Johnston M.M.Inst.V.
ABCK
ABCK
AKN
North & West Yorkshire (Area 04b)
12
Scotland North (Area 1a)
ABCDE
ABCDGN
BN
ABCG
ABCKN
ABFKLM
ABCDFHKLMN
ABCK
B
S. Yorkshire, Humberside & Lincs. (Area 04a)
18
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
01706 657835
0151 487 9338
01744 603799
01744 29976
01254 393683
0161 902 9000
01253 596900
01706 215914
0161 487 1200
01942 891466
01928 733225
01772 611590
01706 221928
01942 244903
0161 797 6307
01282 414073
01282 619085
01253 884100
01706 812008
01704 531576
01768 899936
0161 928 7361
01704 232116
Colin Riddle M.M.Inst.V.
Alan Torjussen F.Inst.V.
Jack Tristram M.M.Inst.V.
Alan Vaughan M.M.Inst.V.
Chris Wheatley M.M.Inst.V.
Glyn Edwards M.M.Inst.V.
Steve Hart 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.
01437
029 20
01792
01453
01242
01443
01568
01242
029 20
01792
01792
01656
01646
769635
666007
816688
835422
579712
838715
620644
674462
520599
520450
776121
650249
651555
ACGJKLN
AFGLMN
ABC
ACFGN
ABCDN
BC
ABCK
ABCDIKN
ABCFK
ABCN
ABC
ABCK
West London, Middlesex & Herts. (Area 9)
KLN
BC
ABCN
ACFK
ABCKM
ACGKLN
ABCN
ABCHJKN
Alan Benns M.M.Inst.V.
Adam Carroll M.M.Inst.V.
Tim Healy M.M.Inst.V.
Mike Henson F.Inst.V.
Michael Lawson M.M.Inst.V.
Stuart Little M.M.Inst.V.
Anthony Myers M.M.Inst.V.
Brian Royer M.M.Inst.V.
Sam Spence M.M.Inst.V.
ABC
ABCKMN
Oxfordshire & M1 Corridor (Area 10)
01253 892177 B
Focus Magazine
Gillian Gee M.M.Inst.V.
Derek Gobbett M.M.Inst.V.
www.iov.com
020 8943 2666
07768 014503
01895 672890
01494 438904
020 7932 1190
020 8347 9567
020 8958 9838
020 7514 9923
020 7738 4162
01753 553312
07762 021566
ABCEKMN
AJM
ACFGKLN
BCK
ABK
Hamish Maclean M.M.Inst.V.
Gordon O'Neill M.M.Inst.V.
John Snelgrove F.Inst.V.
Jennifer Swift M.M.Inst.V.
Don Barnes M.M.Inst.V.
Anthony Barnett M.M.Inst.V.
David Blundell F.Inst.V.
Roger Coe M.M.Inst.V.
Dave Collins M.M.Inst.V.
Driving Standards Agency*
First Sight Video*
Ken Franklin M.M.Inst.V.
01582
01494
01442
01367
01604
01536
01234
01604
01908
01234
01993
01993
596935
786611
250088
870640
756576
526126
764883
403481
522157
744060
878252
868479
AM
ABCDJ
AB
AJKL
ABCK
AB
AB
ABC
E. London, Essex & Hertfordshire (Area 11)
Colin Pethurst M.M.Inst.V.
Kresh Ramanah M.M.Inst.V.
Peter Robinson M.M.Inst.V.
John Rose M.M.Inst.V.
Iain Wagstaff M.M.Inst.V.
Gillian Walters M.M.Inst.V.
Peter Walters M.M.Inst.V.
Roger Wilshaw M.M.Inst.V.
Andreas Andreou M.M.Inst.V.
Ross Campbell M.M.Inst.V.
Zulqar Cheema M.M.Inst.V.
David Chevin M.M.Inst.V.
Albert Clack M.M.Inst.V.
Fred Curtis M.M.Inst.V.
David Durham M.M.Inst.V.
Rick Fiore 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.
Alan Legg M.M.Inst.V.
Tony Lench M.M.Inst.V.
Anthony Manning M.M.Inst.V.
Hugh Morris M.M.Inst.V.
01992 461858
020 8521 3322
01702 232669
01375 483979
01376 556417
01708 724544
01708 724544
01462 701770
020 8440 0770
01376 344353
01279 413260
020 8502 7232
01462 629212
01708 343123
020 8281 7041
01702 293003
01206 793315
01462 892638
01707 655895
020 8502 6198
020 7193 4060
01702 525353
020 8923 6068
020 8220 6955
BC
ABCHK
ACKN
ABCN
B
A
ABCFKN
ABJKNO
ABN
ABCKN
ABCDKLN
BC
ABCH
ABCGK
ABCFGHIKL
ABC
B
BJ
ACE
ABCGN
AFKL
West Country (Area 12)
John Port M.M.Inst.V.
Paul Svendsen M.M.Inst.V.
John Bentley M.M.Inst.V.
Mark Brindle M.M.Inst.V.
Pip Critten M.M.Inst.V.
Chris Ellery M.M.Inst.V.
Mike Last M.M.Inst.V.
01803 214414
01404 881608
01258 450850
01271 891140
01752 361210
0117 910 9704
0117 979 2858
01752 510999
01803 290999
ACGHIJ
ABGI
ACDJKMN
ABC
ABCHJN
AB
ABCDFHIJKN
Dorset, Wiltshire & Hampshire (Area 13)
Graham Mew M.M.Inst.V.
Colin North M.M.Inst.V.
Jeremy Payne M.M.Inst.V.
Steven Salmon M.M.Inst.V.
James Smith M.M.Inst.V.
Henry Allen 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.
Paul Cascarino F.Inst.V.
Nick Curtis M.M.Inst.V.
Jon Durrant M.M.Inst.V.
Steve Feeney M.M.Inst.V.
Stewart Guy M.M.Inst.V.
Brian Harper M.M.Inst.V.
Greg Hawkes M.M.Inst.V.
Otton Hulacki M.M.Inst.V.
Ray Joyce M.M.Inst.V.
Patrick Kempe F.Inst.V.
Kazek Lokuciewski M.M.Inst.V.
David Lovett M.M.Inst.V.
Tim Martin M.M.Inst.V.
Ernie McKenna M.M.Inst.V.
01256 397387
01725 511688
01202 417084
01489 798132
01202 488140
01929 552035
01793 612299
01202 718522
01590 623077
01202 512449
01666 860574
01794 324147
01225 866474
01962 622549
01256 850142
01225 866348
0800 0433126
01308 423095
01202 692008
01590 675854
0118 965 6322
01425 615626
01985 212863
01373 832763
BCKN
ABCN
BCK
BC
ACIKMN
ABL
ABC
ABCD
ABCHIKMN
B
ABCKN
ABCDFIKMN
ABCKM
ABCFGKLN
ABCJKN
ACGKN
ABCGHK
ABCDEFGIJKN
ABJ
AGIJN
ABCKN
Surrey, Berkshire & Sussex (Area 14)
Laurie Joyce M.M.Inst.V.
Robin Kay M.M.Inst.V.
Carole McQuarrie-Watson 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.
Ines Probst M.M.Inst.V.
Simon Reed M.M.Inst.V.
Take One Productions *
Gerald Thornhill M.M.Inst.V.
David Watson M.M.Inst.V.
John Watts M.M.Inst.V.
Barry Weare M.M.Inst.V.
Mike West M.M.Inst.V.
Mark White M.M.Inst.V.
Wild Productions*
David White M.M.Inst.V.
Nigel Bates M.M.Inst.V.
Noriko Brewster M.M.Inst.V.
Matthew Derbyshire M.M.Inst.V.
Leo Ferenc M.M.Inst.V.
Paul Finlayson M.M.Inst.V.
Peter Flint M.M.Inst.V.
Focal Point Television*
Brian Hibbitt M.M.Inst.V.
Neil Hodgson M.M.Inst.V.
Martin Hooper M.M.Inst.V.
Peter Howell M.M.Inst.V.
0118 947 8333
023 92 255108
01903 730549
01252 821623
01489 581397
01983 612704
01903 810148
01737 373992
01428 652832
01403 256255
01444 881391
01903 730549
07850 965291
01628 528682
01903 892951
023 92 837677
01372 379069
01372 360145
07966 416339
020 8661 7703
01323 430800
01825 873533
01372 273527
023 92 649946
01483 811999
01344 777010
0118 961 9981
023 9225 0618
01483 765605
Kent & SE London (Area 15)
Keith Larby M.M.Inst.V.
Roger Lowe M.M.Inst.V.
Neil Missing M.M.Inst.V.
Roger Missing M.M.Inst.V.
Michael Moore M.M.Inst.V.
Barrie North M.M.Inst.V.
Dave Parkhouse F.Inst.V.
Kevin Pert M.M.Inst.V.
Peter Snell M.M.Inst.V.
Brett Allen F.Inst.V.
Vince Babbra M.M.Inst.V.
Ben Bruges M.M.Inst.V.
John Chilton M.M.Inst.V.
Colin Fowler F.Inst.V.
Brian Harvey M.M.Inst.V.
Michael Hughes M.M.Inst.V.
Stephen Kane F.Inst.V.
01959 542544
01795 410957
0870 787 9170
0870 787 9170
01634 220839
01322 526653
01634 295101
01233 664737
01634 723838
020 8851 0105
01634 720321
07976 550592
07766 052138
01732 840768
01732 454593
01892 652379
01959 576255
01795 424248
ABL
ABCFGIKMN
AB
ABC
ABCK
B
ACFGM
ABCGHKN
AB
AB
BC
B
ABMP
B
ABCJKM
ABCEFIJ
AJN
ABLK
ABCKLN
ACFKMN
ABC
BCKN
ACFKM
ACFHKN
ABCK
ABCDHK
ABN
ABCDEK
ACFKLMO
ABCHKM
BCD
ABCFGJKLN
ABCIKN
ABCGIK
ABJKN
ABCGIK
Channel Islands (Area 16)
David Le Brocq F.Inst.V.
Peter Laine M.M.Inst.V.
Laurie Stewart M.M.Inst.V.
01534 723166
01481 200026 ACGJKM
01534 485785
Northern Ireland (Area 18)
Frazer Smyth M.M.Inst.V.
028 9267 1958
Republic of Ireland (Area 19)
Tom Fortune M.M.Inst.V.
Michael Lynch M.M.Inst.V.
Keith Malone M.M.Inst.V.
John Murphy M.M.Inst.V.
Andrew Cummins M.M.Inst.V.
John Daly F.Inst.V.
* indicates Corporate Member
00353 552 1785
00353 21 733 2240
00353 87 681 4208 ABCKN
00353 93 35933
00353 1 212 3887
00353 1 495 3937 CM
Phil Wilson highlights the importance of proper training for the wedding videographer
I heard recently from my
friend Kris Barrass of Barrass
TV Crews that Discovery
Home and Health have recommissioned the 7 live
weddings programme of last
year. Frankly, I am somewhat
surprised because as far as I
could see from a production
point of view it was a disaster
from beginning to end with
the production company
seriously underestimating the
resources necessary to cover
a wedding (I hope they do
not read Focus magazine!).
The crew at the wedding I
was covering comprised two
cameramen, a sound recordist, a
producer, a presenter and a ‘man
with a van’. It started to go
wrong at the very beginning
when all seven wedding venues
were to record an opening teaser
approximately 30-minutes before
broadcast.
With our wedding at
Molyneux, the home of
Wolverhampton Wanderers, our
opening consisted of a funky (for
funky read hand-held, tilting,
zooming moving all over the
place) shot of a statue outside
the ground and the presenter.
Naturally, this involved around
10-seconds at the front of the
piece and a few seconds after it,
all of which was beamed back to
the studio.
To our horror the studio
obviously did not have time to
edit it prior to broadcast and it
went out exactly as we had shot
it, including the presenter turning
her back on the camera
afterwards. All of the other 6
venues suffered the same
treatment (or lack of it) and it
looked amateurish.
Worse was to follow,
however, the ‘man with a van’
was overworked laying cables all
over the football stadium so we
could film the brides arrival
outside, the wedding ceremony
inside and then another piece by
pitch-side.
There was confusion between
our producer and the studio as to
when we were live and as a
cameraman I was not getting the
right audio feed through my
headphones. In truth, the actual
wedding ceremony went
smoothly but after that came the
biggest embarrassment.
Steve Bull, a famous Wolves
player was waiting in the tunnel
to present our happy couple with
champagne. It was meant to be
a surprise so when we did the
rehearsal we were going to
exclude the Steve Bull bit.
Unfortunately communication
with the studio was so bad that
when we started our rehearsal
the studio thought it was the real
thing and started broadcasting us
live. To cut a long story short I
was shooting Steve Bull hiding in
the players tunnel with the studio
yelling in my earphones to - Go!
Go! Go! - and my producer at
pitch-side yelling - Stay! Stay!
Stay!
The rehearsal went badly, the
presenter swore and the viewers
were treated to both the
rehearsal and the actual event
one after the other.
www.iov.com
After shooting ended came the
inquest and it became apparent
that all seven teams had suffered
similar problems and even the
base camp shoot had been
problematical with make up
artists wandering on during live
broadcasting and crew getting in
shot at odd times.
Hopefully, this year, the
production team will have
learned from their mistakes and
will not underestimate what it
takes to film a wedding well.
The Moral of the Story
Filming weddings is difficult
enough without having the
complications of a live broadcast,
and anyone who goes into it illequipped either in the sense of
equipment, experience or
aptitude is asking for trouble.
One of the reasons that the
overall quality of wedding videos
is poor is that these are often the
stepping stones for the
inexperienced part-timer wanting
to break into full-time
videography. It is a case of the
least experienced people doing
the most difficult work.
I guess this was a long
winded way of saying how
important it is to get yourself on
to the VideoSkills Wedding
workshop!
Phil Wilson F.Inst.V.
Notes: More details on the
VideoSkills workshops can be
found on www.videoskills.net.
Focus Magazine
May 2006
31

Page 01.pub - Institute of Videography

Transcription

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