Page 01.pub - Institute of Videography

Transcription

also this
month
The official publication of the Institute of Videography
CRB Update the IOV’s
view
By
Ron Lee
Issue 138 - July 2006 - £3.50
Video
Artisan Studying the
Business of
Videography
Cine
Conversion
Enhancer Part Two
By
Kevin Cook
By
Gerald Skingle
INSTITUTE OF
VI DEOGRAPHY
Foreword
Pro-Video Cameras
set to double/treble/
quadruple in price!
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
How does the above headline grab
you? Not exactly what I would call
good news, but it might be a
reality if Thomson-owned Grass
Valley get their own way.
Those from the broadcast
market will remember when
Thomson got their own way before
by persuading the European Union
to impose import duties on
broadcast-spec cameras that
originated from Japan. Some
years down the line this has
resulted in the majority of
broadcast studios being
economically forced to use
Thomson cameras. Well, they’re
at it again – and this time their
target is cameras and camcorders
with CCDs larger than 6mm (1/3”)
– which includes everything from
PD170-size cameras and upwards!
Personally, I’m a pro-European.
I happen to think that a more
integrated Europe is a good way to
ensure that we continue to enjoy
the relative peace and prosperity
we have experienced in the past
60-odd years. Though the Scots
and Welsh might laugh when an
Englishman says this (and I’ve no
doubt the Irish will too), I think the
UK and Ireland have a lot to offer
Europe. We’re a mixture of cultures
that get along together quite nicely
– and that’s a good ingredient to
add to the European mix.
The social session in the bar at
the 2006 IOV Reps Convention in
Co Dublin proved this once again.
I’m not suggesting that the road to
a harmonic Europe should start by
getting them all inebriated - but
then again it might improve some
of the decisions that come out of
Europe’s government. Whilst I
believe in the European ideology,
I’m often knocked from my belief
by some of the results of the
European Commission’s
deliberations. This worries me.
Well, they are about to make
another decision (Feb 2007),
The Cook
Retort
brought about by a
complaint from Grass
Valley against
‘dumped’ imports from Japan. In
particular they seem to want to
target the use of professional-level
cameras in the broadcast
production chain – which, if Grass
Valley’s complaint is upheld, will in
turn result in every user of this
level of camera and upwards (HD,
HDV, DV, DVCAM, DVCPro, etc.)
paying a lot more for their camera
by way of punitive EU import duty
rates on Japanese products.
I could possibly understand
this if Grass Valley were
complaining about a market in
which they had any kind of product
– or even any kind of
understanding or experience of
what these cameras are being
used for. The nearest thing they
produce for our market is their
new ‘Infinity’ camcorder, which
looks absolutely wonderful, but
with a price tag of around £15k
(without lens) it’s clearly aimed at
different applications and budgets
than those of the majority of
professional videographers.
You can read all about it in the
notice of initiation of an antidumping proceeding published by
the Official Journal of the European
Union on 18 May 2006 (http://eurlex.europa.eu/LexUriServ/site/en/
oj/2006/c_117/
c_11720060518en00080012.pdf).
Consequently, the IOV will be
helping to try and stop this by
soliciting our members’ and
industry professionals’ assistance
in a unified campaign. Details of
this will be sent directly in due
course. In the meantime, if you
know who your MEP is, drop him
or her a line and educate them on
what we feel is a grossly misguided
initiative.
Kevin Cook
This Month
FEATURES
14
Mac Move
18
Video Artisan
22
Cine Conversion Enhancer
Mike Hughes talks about the move from PC to Mac
Kevin Cook studies the business of videography
Part two of Gerald Skingle’s guide to building your own
telecine-type system
REGULAR ITEMS
5
IOV News
IOV and Industry News plus Local IOV Meeting reports
12
Mail Box
Reader’s Correspondence
20
Audio File
Phil Janvier’s column on all things audio
25
Classified Ads
Sales & Wants / Products & Services
27
Trade Directory
Subscribing Manufacturers & Suppliers
www.iov.com
Focus Magazine
July 2006
3
Industry News
IOV News
Industry, Technology & Regional News
To CRB or not to CRB that is the question!
Over the past
four years I
have striven to
get
clarification
from the
Criminal
Records
Bureau (CRB)
as to how the
IOV can assist its members in
knowing who needs a
Disclosure and, subsequently,
how to get one. The starting
point was to invite the CRB to
give a presentation to our
members.
The event took place at the
IOV Show in 2003. Mark
Favager of the Liverpool CRB
office gave a presentation to
members at a packed seminar of
almost 200.
The stark conclusion was that
members could not get a
Disclosure on themselves, they
would have to do this through an
employer or organisation that are
registered with the CRB and
could validate applications.
Although some of our
members have already been
through the process of obtaining
a Disclosure because of the
nature of work they’re involved
in, there are many members who
are baffled as to whether or not
they actually need to have a CRB
check or where to get one.
(ROA) 1974. This includes any
organisation whose staff or
volunteers work with children or
vulnerable adults. They are
issued free to volunteers.
in schools should be only done by
the teaching staff who could blur
out images of children in the
video whose parents didn’t want
them to be seen.
A sizeable number of our
members are involved in
producing videos of school plays,
sports days and Nativity’s for
parents to buy. When these sort
of statements come out they
cause teaching staff in many
schools to play safe and ban
videos. Some local councils have
also given a directive to their
education department to stop
videos being taken in schools.
It goes without saying that
we should do all we can to
protect our children, but to stop
making photographic records
would surely deprive future
generations of our history.
The CRB plays a crucial role
in protecting children and
vulnerable adults. Statistics
show that in 2005, CRB checks
prevented 25,000 unsuitable
people from gaining access to
children and vulnerable adults.
But it is vital that those in charge
have a clear understanding of
who needs to have a Disclosure.
Usually videographers when
filming in schools do not work in
isolation or work unsupervised so
they do not need one.
minimum of 100 applicants
each year to meet with CRB
criteria, failure to do so would
result in the loss of registration
and the fee.
The workload in
administering the scheme would
mean employing a person full
time to deal with processing and
validating applications. For these
reasons alone it is not a viable
proposition to register.
The current legislation does
not allow the self-employed or
individuals to apply for a CRB
check on themselves. If you feel
that you need to have a
Disclosure, there are a number of
‘Umbrella Bodies’ up and down
the country to which you can
apply. For more information visit
- www.disclosure.gov.uk.
And finally...
On a final note, if you are asked
Standard Disclosure
to provide a Disclosure it is more
This is primarily available to
than probable it will only suffice
anyone involved in working with
for that one school, employer or
children or vulnerable adults, as
organisation as the CRB does not
well as certain other occupations
endorse portability.
and entry into professions as
Each Disclosure will contain
specified in the Exceptions Order
the date the Disclosure was
to the Rehabilitation of Offenders
printed. Disclosures do not carry
Act (ROA) 1974.
a pre-determined period of
Standard Disclosures show
validity because a conviction or
current and spent convictions,
other matter could be recorded
cautions, reprimands and
against the subject of the
warnings held on the Police
Umbrella or
Disclosure at any time after it is
National Computer. If the post
issued. Organisations are advised
involves working with children or Registered Body
to make recruitment decisions as
In a recent survey on the IOV’s
vulnerable adults, the following
website, a poll revealed that 173 soon as possible after receiving
may also be searched:
their copies of Disclosures.
members would apply for a
There may be instances when
z Protection of Children Act
Disclosure if the IOV became a
a Disclosure issued for one
(POCA) List
registered or umbrella body.
position could be used for
z Protection of Vulnerable Adults
After months of research,
(POVA) List
another job or voluntary position.
letter writing and form filling,
z Information that is held under I’ve come to the conclusion that This would benefit those who
Section 142 of the Education
move frequently between short
it’s virtually impossible the way
Act 2002 (formerly known as
appointments or those who take
things currently stand for the
List 99)
up two positions requiring
IOV to become registered with
disclosures at the same time (for
the CRB.
A ministerial statement was
example, a full-time job and a
Enhanced Disclosure
weekend or voluntary position).
This is the highest level of check made on 2nd February this year
to advise that the CRB proposes
By accepting a previously
available to anyone involved in
regularly caring for, training,
to reduce the number of
obtained Disclosure it may
supervising or being in sole
registered bodies from the
speed up the recruitment
charge of children or vulnerable
current level. This will be aligned process and reduce the cost to
adults. It is also available in
with additional legislative criteria the applicant. Organisations that
So what is the CRB
certain licensing purposes and
that will need to be satisfied to
choose to accept a previously
judicial appointments. Enhanced become, and remain, registered
and what is a
issued Disclosure do so at their
Disclosures contain the same
with the CRB. One of the
own risk.
Disclosure?
information as the Standard
proposals is a threshold of the
The Criminal Records Bureau acts Disclosure but with the addition
number of Disclosures that must
Ron Lee F.Inst.V.
as a ‘one-stop-shop’ for
of any relevant and proportionate be submitted annually.
IOV Arbitration Officer
organisations - checking police
information held by the local
[email protected]
The IOV would need to process a
records and, in relevant cases,
police forces.
information held by the
Department of Health (DH) and
How does this effect
the Department for Education
videographers?
and Skills (DfES). There are two
Over the past couple of years
levels of CRB check currently
there have been damning
available; called Standard and
headline statements such as one
Enhanced Disclosures.
from a leading church minister in
The two CRB checks are
Edinburgh who stated, “All video
available in cases where an
cameras should be banned from
employer is entitled to ask
our schools.” Only last year an
exempted questions under the
article in the Scottish Daily
Exceptions Order to the
express suggested that videoing
Rehabilitation of Offenders Act
www.iov.com
Focus Magazine
July 2006
5
Industry News
EDIUS Pro 4.0 now available
Show and Spell
Grass Valley has announced
EDIUS Pro version 4.0, the latest
version of its realtime,
multiformat video editing solution.
New features such as multicam
support, nested sequence editing,
improved trimming tools and
keyframe support for colour
correction, aim to boost EDIUS
Pro’s reputation as a highly
flexible craft editing solution that
delivers maximum productivity to
video professionals.
To meet the high standards
and fast-paced environments of
broadcast and post production
facilities, including support for
new tapeless acquisition and
storage systems, the new
features found in EDIUS Pro
version 4.0 will also be included
in the company’s EDIUS
Broadcast software solution.
The new multicam feature (see
screenshot) in EDIUS Pro version
4.0 supports up to eight cameras
and provides realtime monitor
preview, as well as a master
channel preview that displays all
eight camera angles. The
multicam feature provides users
with the feel of a live switcher,
but with the flexibility of a
nonlinear editing environment.
For additional productivity
gains, support for nested
timeline editing lets users work
on sections of a production as
separate timelines and nest them
into a master project for
simplified editing, task separation
and organisation.
EDIUS Pro version 4.0 also
provides support for Windows
Media and includes EDIUS Speed
Encoder for HDV for fast HDV
video output. The new
parameter-based keyframe
support for frame-by-frame
colour correction gives users the
tools to quickly enhance the
quality of their video productions.
Freeing video editors from the
limitations of conventional
editing systems, EDIUS Pro
offers a seamless realtime
workflow supporting all video
acquisition formats with realtime,
multi-track, mixed format HD/SD
editing, compositing, chroma
keying, titling and timeline
'Show and Spell' - directed by
newly qualified IOV member,
Quentin Budworth and written by
Amanda Lowe - tells the heart
moving story of 8-year old Billy
Beresford who has to deal with
the two most difficult situations
known to man - speaking in front
of his class and dealing with the
death of a loved one. Magic
realism, special effects, children,
and animals made the film a real
challenge for director Quentin.
Truly fantastic performances
from Connor Doyle as Billy, and
Pam Wilson as Gran, make this a
must see film.
Show and Spell, a 10-minute
short, was commissioned by
Screen Yorkshire and the UK Film
Council New Cinema Fund. It was
shot on a JVC HD101 in 25 frame
progressive mode, and exported
through the analogue outputs to
DV tape. It was then edited and
graded on Sony Vegas 6. The
film looks and sounds great with
6
July 2006
output capabilities. EDIUS Pro
provides editors with realtime,
mixed format HD/SD editing of
HD, HDV, DV, MPEG-2, lossless
and uncompressed SD video.
EDIUS Broadcast incorporates
all the realtime editing capabilities
in a streamlined interface
designed to help production
professionals get content to air
quickly. EDIUS Broadcast
features EDIUS Pro realtime video
editing software, as well as
support for industry-standard
equipment and formats including:
Panasonic DVCPRO P2, DVCPRO
50 and DVCPRO HD; Panasonic
VariCam; and Sony XDCAM.
Grass Valley offers the EDIUS
NX and EDIUS SP NLE systems
that combine EDIUS Pro and
EDIUS Broadcast software,
respectively, with realtime editing
hardware. EDIUS software
directly supports OHCI FireWire.
EDIUS Pro version 4.0 software
is available now from Holdan Ltd,
the UK & Ireland Distributor for
Grass Valley’s EDIUS product
range, and its authorised
resellers and system integrators
for a suggested retail price of
£399. EDIUS Pro 3 users can
upgrade to EDIUS Pro version
4.0 for a special upgrade price of
£109. EDIUS Broadcast version
4.0 software is also available now
for a suggested retail price of
£549. EDIUS Broadcast users
can also upgrade for £109.
Customers who purchased EDIUS
Pro 3 or EDIUS Broadcast prior to
1st April 2006 are entitled to a
free upgrade to version 4.0.
From August, EDIUS NX NLE
hardware packages will include
EDIUS Pro version 4.0 software.
Also in August, EDIUS SP, EDIUS
SD and EDIUS HD NLE hardware
packages will include EDIUS
Broadcast version 4.0 software.
Customers who purchased any of
these EDIUS NLE hardware
packages prior to 1st April 2006
are entitled to a free upgrade to
the corresponding EDIUS version
4.0 software.
Contact Holdan for further details and
information on the upgrade programme
or any Grass Valley EDIUS products see Nonlinear & Hybrid Systems in
Trade Directory on page 28.
Focus Magazine
www.iov.com
specially composed music and
sound design by Heather
Fenoughty.
Quentin is looking for other
directing work, so if you have a
project that involves children,
animals or special effects - give
him a call!
For further information contact
Quentin Budworth on 01964 562073
or email - [email protected].
Sennheiser parties with Gorillaz
Grammy Award-winners ‘Gorillaz’
pulled off the seemingly
impossible task of performing the
band's multi-platinum ‘Demon
Days’ album from start to finish
during a five-night run at
Harlem's famous Apollo Theatre.
The nightly ‘Demon Days Live’
show, which featured more than
80 guest musicians from the
album, was a huge technical
challenge, but with the
assistance of Sennheiser and the
company's worldwide relationship
manager, Paul Hugo, was a
remarkable success.
Sennheiser supplied a large
quantity of wired and wireless
microphone systems, as well as
IEM setups for the band and their
many guest artists. Performers
included Ike Turner, MF Doom, De
La Soul, Neneh Cherry, Pharcyde's
Bootie Brown, Roots Manuva,
Martina Topley Bird, Dennis
Hopper, Happy Mondays' Shaun
Ryder, the 25-piece Harlem Gospel
Choir, the 25-member Boys and
Girls Choir of Harlem, plus over a
dozen strings from the Juilliard
Academy of Music. Sennheiser
provided 18 channels of SKM 935
G2/EM 550 G2 wireless vocal
microphone systems, 14 channels
of evolution G2 wireless personal
monitor systems, 10 wired e 935
vocal mics, plus a considerable
quantity of instrument
microphones, including Sennheiser
e 609 Silver, e 905, MD 421 II and
MKH70, as well as Neumann KM
184 and TLM 193 models.
"Getting a good selection of
mics and good RF was critical,"
says tour manager Craig Duffy
who had the unenviable task of
moving the dozens of musicians
on and off stage exactly on cue.
"I had to make sure they were all
in the right place at the right
time and make sure that they
could hear themselves.”
Production manager Anthony
Aquilato, who also assisted the
stage manager and over half a
dozen others with the logistics of
coordinating the stage
performers, adds: "There were
mics going on and off stage all
the time." The show at the
Photo courtesy of : [email protected]
Apollo Theatre, only the second
such extended live run by the
band, who had previously only
performed at the Manchester
Opera House in the UK, presented
the Demon Days album in its
entirety with virtually no breaks
between songs.
Aquilato heaps praise on
Sennheiser's Paul Hugo for his
support. "Paul checked
frequencies morning, noon, and
night - we never had one
wireless hit for the whole week.
The show was filmed for DVD,
and when the film people came
in, Paul assisted them with
frequency coordination, too. The
wireless worked flawlessly."
For further details contact Sennheiser
direct - see Radio Microphones in
Trade Directory on page 29.
Industry News
PAG support for Hand-helds
We have a Winner!
PAG has been manufacturing
professional products designed
for the hand-held camcorder
market since 2002. It began
with the introduction of
miniaturised, professionalquality, on-board camera lights
- Paglight M and
Paglight C6 - and
was followed by
power adaptors
that enable
camcorders and
lights to be
powered for greatly
extended periods
from professional
batteries. The range
of products has now
been further developed to include
power, lighting and support
solutions for the new HDV format
camcorders.
PAG has also designed and
manufactured two shouldermounted camcorder support
options - the PAG Orbitor
(pictured) and the PAG X1 - to
suit any hand-held camcorder
and any budget. The PAG
Orbitor is an advanced shouldermounted, camcorder support
system. It provides a balanced
and stable shooting platform for
hand-held camcorders, but also
allows freedom of movement for
a range of professional shooting
techniques. The weight of the
The Land Rover G4 challenge
recently concluded with a win for
South African athlete, Martin
Dreyer. Meanwhile, from a
production perspective, Sony
XDCAM HD has helped make the
challenge a commercial success
with transmission to an audience
of millions around the world.
Sony and its professional discbased high definition cameras
remained at the heart of the
action right up to the dramatic
closing seconds of the four-week
event. For BHP Sport, the UK
crew employed to capture the
event, just completing a
production on time represented
an equal challenge of
resourcefulness and ingenuity,
especially when it came to
managing the constraints of
harsh environmental and filming
conditions like the final stage in
the freezing Bolivian Andes and
moving footage for editing.
Once the professional discs
reached the Land Rover G4
Challenge headquarters, the
team employed one of three
different dual-screen edit
systems and a dubbing suite to
edit the footage together into
final productions. The first suite
was used for competitor market
rushes and was there to meet
the needs of the international
media travelling with the
camcorder is supported and
counterbalanced, enabling hours
of shooting without fatigue.
Freedom of movement is
achieved by a 3-axis mechanism
that enables you to pan, tilt and
roll, smoothly. The
camera feels
weightless and control
of its movement is
effortless, requiring
only the lightest
touch. The weight
of the camera is
supported by a
telescopic
suspension rod that
slots into a beltmounted support pad.
The PAG X1
shoulder-support system is a
simplified and economic version
that enables you to frame with
one hand whilst supporting the
camcorder with the other. Tilting
and panning shots can be
executed smoothly and without
camera shake.
It should be noted that it is
possible to mount a PAGlok
Connector, with a built-in DC
Adaptor, to the rear of certain
camcorders (JVC HD100, Canon
XL-H1), where the battery acts
as a counterbalance to the lens.
For further details contact PAG direct
- see Batteries & Power in Trade
Directory on page 27.
www.iov.com
Challenge as well as media
outlets worldwide. The Costa
Rican competitor also had her
own rushes for local media
coverage. The other editing
suite was dedicated to the
production of video news
releases and on-event promos.
Brad Lawson of BHP Sport said:
“The Challenge is just one the
many future productions where
we’ll use XDCAM HD - it’s just
had such a positive impact on
how quickly and effortlessly we
can pull together our
productions.”
For more information about the Land
Rover Challenge and how XDCAM HD
performed, please visit www.sonybiz.net/g4challenge.
Focus Magazine
July 2006
7
Industry News
HD Cost Revolution
Planet Video Systems has
announced what they claim to be
the world’s first sub-£3500
HD1080 certified complete High
Definition Video Editing solution.
The system comprises an Apple
Dual-Core G5 Powermac, 20” DVI
Formac Display, Final Cut Studio
5.1 Software
(including Motion
Graphics, DVD Studio
Pro and Soundtrack
Pro), BlackMagic
Decklink HD Extreme
1080 PCIe capture
card, and a
revolutionary
1.25Terabyte
HD1080 Certified RAID (based on
a new Silicon Image 3276 port
multiplier eSATA Hard Drive
array) - all at a special
introductory price of £3500.
Assessment Results
Up to 4 RAID bays can be
connected to a single PCIe
controller card, each hotswap
RAID bay can hold up to 8 x
SATA300 drives, with a total
capacity of up to 15 Terabytes
(40 hours of Cinematic 2k 1080
HD). The RAID bays are
connected with
a robust single
eSATA cable to
the PCIe RAID
Controller in the
computer and
are initially
available in a 4,
5 or 8 drive
configuration
(up to 6TB per 8 drive bay).
The 8-bay RAID was tested
recently and has a data read/
write speed of over 490MB/s,
which is more than 4
simultaneous streams of 1080
HD. Each raid controller card
handles up to 20 drives (up to
1225MB/s) giving ‘better than
best’ 10Gbs fibre channel RAID
performance at a fraction of the
cost. This new RAID Technology
is suitable for all forms of video
production (from DV to HD1080)
as well as HD Multi Channel
Audio production, CGI Animation
and Hi Res Graphics.
Planet Video Systems is offering
the Edit Suite Bundle with interest
free credit for up to 2-years, and
will build bespoke configurations to
order. This offer extends to readers
of Focus, quoting this press release,
until 30th October 2006.
(97Wh), V-Mount Li-Ion batteries
and a VL-4S 4-channel
simultaneous charger. These,
along with V-Mount plates for all
cameras and special adaptors for
the sound trolleys, have been
delivered over the last 30months.
During the delivery period
ProVision has been able to take
advantage of the very latest
equipment to include VL-4Si
intelligent simultaneous
chargers. These are now
strategically placed to add full
battery health checks
including data on current
capacity, discharge cycles
and date of purchase.
Adrian Bleasdale, ProVision
Sales and Business Manager
comments: “Our change to the
IDX batteries and
chargers has made
a real difference.
For Heartbeat, we
used to change five
or six of the old NiCad batteries a
day, now we just
change once at lunchtime. The
IDX kits have been working five
days-a-week for two-and-half
years and only now are we
replacing the batteries. Another
reason we really like IDX is for
PowerLink. There’s always the
flexibility to just plug a second
battery on the back and keep
running for twice as long. Also the
chargers are bomb-proof!”
For further details contact Planet
Video Systems direct - see Nonlinear
& Hybrid Systems in Trade Directory
on page 28.
Enduring Drama
Leeds dry-hire company,
ProVision, has finished a
complete switch to IDX
Technology’s ENDURA portable
power systems. Implemented as
a part of its natural replacement
process, Lithium-Ion batteries
now supplant all the original
Nickel Cadmium batteries at the
company. With ProVision
supporting many of Britain’s
most popular TV dramas
including ‘Heartbeat’,
‘Emmerdale’, ‘Where the
Heart Is’, ‘The Royal’ and
‘Cracker’ - the demands
on the batteries are high
and the Yorkshire weather
conditions often arduous.
The final selection was for 40
kits, each comprising four E-80
(82Wh) or, more recently E-10
For further details contact Ortus
Media direct - see Batteries & Power
in Trade Directory on page 27.
Apple Releases Final Cut Express HD 3.5
Apple has released Final Cut
Express HD 3.5, an upgrade to its
solution for video enthusiasts,
schools and small businesses that
runs natively on both Intel- and
PowerPC-based Macs. New in Final
Cut Express HD 3.5 is Dynamic RT
for real-time playback of multistream effects; Soundtrack 1.5;
and LiveType 2.1.
Final Cut Express HD 3.5
provides a complete set of
advanced editing tools for DV
and HDV video formats with
support for multiple video layers,
real-time special effects and
transitions, and colour correction
and matting filters for
professional-looking results.
New Dynamic RT enables users
to view even multi-layered HDV
video in real-time which
dramatically speeds up the
editing process by eliminating the
need to render and re-render clips.
In addition, all effects, transitions
and motion parameters can now
be keyframed, providing complete
8
July 2006
creative control over special effects
that can be saved as favourites for
use in other projects.
Complementing Final Cut
Express HD 3.5 is a new version
of Soundtrack with over 4,000
professional-quality, royalty-free
instrument loops and sound
effects that can be mixed and
matched. New features in
Soundtrack 1.5 include improved
multitrack audio editing and
recording tools with tracks,
busses, outputs and real-time
effects processing just like a
professional recording studio.
Improved single and multiple
take recording provides a way to
record, audition and edit dialogue
or other recorded performances.
Also included in Final Cut
Express HD 3.5 is a new version
of LiveType that lets users add
dynamic animated text and
hundreds of royalty-free
backgrounds and animated
textures - all customisable to
match the look and feel of
Focus Magazine
www.iov.com
projects. New features in
LiveType 2.1 include a new
animated graphics, including 70
new animated objects, 15 new
textures and 60 new
customisable preset effects for
animated text and titles. With
new vector-based LiveFont
technology, animated text styles
like Tremor, Script, Ribbon, Cool
and Blueprint can be scaled to
any resolution including HD.
Final Cut Express HD 3.5 is
available now through the Apple
Store (www.apple.com/ukstore),
Apple’s retail stores and Apple
Authorised Resellers for an SRP
of £199 (incl. VAT). Owners of
previous versions of Final Cut
Express can upgrade to Final Cut
Express HD 3.5 for just £65 (incl.
VAT). Full details and further
information are available at
www.apple.com/uk/finalcutexpress.
For further details contact Apple
Computer UK direct - see Nonlinear
& Hybrid Systems in Trade Directory
on page 28.
The Assessment Panel met for the
latest session on 1st June 2006
when the following qualifications
were awarded:
Master Membership
(Fellowship recommendation)
Quentin Budworth M.M.Inst.V.
(Arnold, East Yorkshire )
Brian Scully M.M.Inst.V.
(Monkstown, Co Dublin, Rep. of Ireland)
Master Membership
James Goodchild M.M.Inst.V.
(Bodelwyddan, Clwyd)
Mark Higham M.M.Inst.V.
(Wilmslow, Cheshire)
Tim Smithies M.M.Inst.V.
(Sheffield, South Yorkshire)
Congratulations to all the above.
There were only 9 entries this time
of which only 3 were weddings!
We are still getting applications
from members who obviously
haven’t read the criteria and some
work is being sent in which is
clearly unsuitable for assessment.
I would suggest that if you
haven’t yet done so, listen to my
interview on the second IOV
Podcast (www.iov.co.uk/podcast)
- it might give members a bit
more of an insight into the
assessment process.
If you are unsure as to whether
your work would be suitable for
assessment, then please get in
touch with your local Area Rep or
another Master or Fellow
member who I’m sure will be
happy to help you.
The next cut-off date for
assessments is 30 July 2006.
Any work not received by that
date will not be included in the
August sitting - no exceptions!
Assessment Administrator
[email protected]
New Area Rep
The IOV is pleased to welcome a
new Area Rep for Northern
Ireland - John Doran.
John has been
involved in video
since leaving school,
being an Audio
Visual Technician in
schools/colleges and
university, and has
an HND in Media &
Communication. He also works as
a freelance cameraman covering
sport, church and event videos
throughout the UK and Ireland.
John attended the Reps
Convention in Portmarnock, Co
Dublin in April and formally
offered his services. Dublin-based
Executive Member, Mark Quinn,
will be helping John to establish
regular meetings, which will be
announced in due course.
John can be contacted on 028 902
00736 / 07939 884635 or by email at
- [email protected].
Industry News
Local IOV News
Find out about Local
Meetings in your Area...
North West
England
system which he hires in for
approximately £75 a day, then
By Phil Janvier
make sure you light your subject
Meeting Report carefully. Preparation is
17th May - We
everything so find out in advance
were privileged
the hair colour of your subject
to welcome Paul
and what they are going to wear,
Molyneux from
in so doing you avoid clashes
the Federation of Small
with the background.
Businesses who spoke on the
Stephan also commented on
benefits of being a FSB member, our professional presentation in
and Stephan Mayer, one of our
general: “It is nice to be
local members made a
important – but it is important to
presentation on chromakey work. be nice! Sometimes we can be
Attendance was
so busy with ourselves that we
disappointingly small for this
forget that we need to enable our
vibrant meeting and those who
clients to be and appear at their
stayed in to watch the cup final
best.”
really missed out!
Stephan’s presentation was
Stephan Mayer of Living
excellent. Before and during the
Media Ltd (07766 077700 /
refreshment break he was
[email protected]) gave pleased to answer a series of
an informative presentation on
hands-on technical questions.
chromakey work highlighting
Thank you Stephan for a great
some key elements: watch out
contribution - I am just sorry so
for hot spots and shadows on
many people missed it.
your colour keyed wall; try to
After the break we welcomed
have your wall evenly lit with a
Paul Molyneux from the
non-reflective surface; make
Federation of Small Businesses
sure that your colour keyed wall
who spoke on the value of being
is six feet away from your
an FSB member and it soon
subject. Stephan recommended
became very clear that the
the DMX 4Bank cool lighting
annual subscription starting at
£100 was worth every penny and
that very quickly, even solo
operators, would benefit from
membership and save money on
services and offers. Membership
enquires can be made via the
website at www.fsb.org.uk or by
ringing 01253 033600 (don’t
forget to quote Paul’s name).
Paul’s presentation was very
detailed but here are a few
things that he pointed out about
FSB membership: 24 hour/365
legal, advice, VAT, etc, hotline;
Tax representative costs up to
£50,000 in dealing with the
Inland Revenue; VAT costs up to
£50,000 in disputes; help in
Employment disputes/Motoring
prosecutions/Health & Safety/
Criminal prosecutions/ statutory
licences/Data protection/Personal
injury, etc. etc. FSB protection
with special insurance rates,
telecom/internet/financial
services/credit cards, etc. etc.
Paul’s presentation was
excellent and I encourage all our
members to join Ron and others
who are already members of the
FSB.
Thanks to Stephan and Paul
for a great night.
Scotland North
extremely well. The bulk of them
got between 70-80% correct.
Not only did it highlight areas of
weakness and strength in our
video knowledge, but some of
the questions generated a lot of
healthy debate about what the
answers should be.
At the end of the session
members were supplied with
their own copy of the exam
paper and were asked to
complete the feedback on each
questions’ relevance to the work
of the professional videographer.
To round the meeting off we
brought along a Sony DSR-450
DVCAM camera and a Z1 HDV
camera for members to have a
play with. Having recently
invested in the Z1, I’ve been
extremely impressed with its
performance and how well
material from the two cameras
match.
Needless to say, another
informative and enjoyable
evening was had by all.
working on and my brief had been
to make a little film about them as
cheaply as possible. This piece of
work was submitted to the
Assessment Panel and I was
awarded Master Membership.
After that, the DVD player
started to give problems but was
eventually persuaded to play Tim’s
disk, which was a corporate
training video for the London
Underground Central Line. Then
the reluctant machine managed to
play new member Dave Wild’s
wedding video which was
submitted to the Assessment Panel
and narrowly failed to get him his
Master Membership.
Tim, Emerson and I agreed with
most of the Assessment Panel’s
comments on Dave’s video and we
also offered him constructive
advice. Emerson had no luck with
the DVD player and it resolutely
failed to play his corporate piece!
There was a lot of discussion,
with questions flying around on
every aspect of these three pieces,
to the extent that the time was
well filled, despite the relatively
low turnout.
So it became a very enjoyable
evening, because it’s fascinating to
see the work of others and talk
about how they approach a
project.
By Brian Rae
At our May
meeting I
updated the
members on the
matters arising
at the recent
Reps Convention.
We then went on to sit the mock
core competencies exam.
This proved to be a most
useful exercise - and I have to
say that our members did
West London,
Middlesex &
Herts.
By Gillian Gee
It was a quiet
meeting with
only four in
attendance.
The theme was that everyone
would bring along an example of
his or her work for the group to
view and then discuss. My effort
was the first to be shown on the
large screen via a video projector.
It was a short piece about a young
band in the recording studio,
making their first single. It ran for
the length of the song they’d been
10
July 2006
Focus Magazine
www.iov.com
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
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.
Jim Panks - [email protected]
0845 838 1519
North & West Yorkshire
Roger Staniland - [email protected]
01652 631237
North Wales & Borders
Rowland Barker - [email protected]
01490 430507
Midlands
Bob Langley - [email protected]
0845 606 6593
East Anglia & A1 Corridor
Bill Platts - [email protected]
01733 370922
South Wales & Bristol Channel
Jack Tristram - [email protected]
01792 816688
West London, Middlesex & Herts.
Emerson Bovell - [email protected]
020 8575 2842
Oxfordshire, M1 Corridor & NW London
Anthony Barnett - [email protected]
01536 526126
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
Peter Snell - [email protected]
01634 723838
Northern Ireland
John Doran - [email protected]
028 902 00736
Republic of Ireland
Mark Quinn - [email protected]
01 835 3389
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])
Mail Box
[email protected] - PO Box 625, Loughton, IG10 3GZ, United Kingdom
HD Customer Awareness
I didn’t think it would take long for
videographers to start
differentiating themselves by
promoting their ability to shoot in
HD. I was at a business exhibition
recently where a competitor was
claiming - ‘True Hi-Def motion
pictures from as little as £1,500’.
On their stand was a Sony Z1.
Sure, the Z1 does shoot in HDV
- but this is far from the true HD
available from HDCAM and alike.
Customers will start to compare
things to material shot for Sky and
BBC - and believe me, they are not
going to be using a Z1.
The HD shift has already
started - and the World Cup has
already pushed many thousands of
end users down the HD route
(although most will be watching
something less than HD in its full
glory of 1080i). To give you some
idea, Sky have not been able to
keep up with demand for their Sky
HD boxes. Once the BBC get in on
the act it’s going to hit us full on.
I’ve also had at least one
wedding enquiry asking if we can
produce Hi-Def. Yes - of course we
can - but when asked how they
thought they were going to view it
they had no answer.
The only thing holding back the
flood at the moment is the delivery
mechanism. I understand Sony
have PCs with Blueray recorder/
players in them - but until they
release these as standalone units or the HD-DVD or Blueray set-top
boxes - the production chain will
not be complete.
Getting back to the individual
at the beginning of my letter, I
asked him the very same question “How are you going to supply the
customer with a usable copy of the
programme?” After a couple of ers
and ums, he admitted ‘Hi-Def’ was
a headline to catch attention - and I
can’t blame him for that. I can
remember when the first digital
cameras came about and all of a
sudden everyone was promoting
the fact that they could ‘shoot
digital’ - but were giving the final
production out on VHS.
Come on manufacturers - give
us the complete solution so we can
all honestly promote HD to our
clients - and give it to them!
Paul Jaffe - Esher
Its kind of there now - though Paul
is right in highlighting the different
flavours of HD and the varying
resolutions of screens.
Having recently visited Sony
UK’s HQ - and seen the desktop
and laptop systems with Blueray
recorders built-in, it seems the
answer is almost there. You can
now shoot, edit and burn a HD disc
and give it to your client. Once
Sony have launched PlayStation 3
(hurry up!) they’ll then be able to
play it back. Ed.
Forthcoming
IOV Events
Calendar...
July 2006
11th - N. & W. Yorkshire Meeting
‘Presentation by Vinten’
For details contact:
Roger Staniland 01652 631237
11th - Dorset, Wilts & Hants Meeting
‘WALLDO practical - with actors & BBQ?’
Colin North 01725 511688
12th - North Wales & Borders
‘Camera Manufacturers Night’
Rowland Barker 01490 430507
13th - SE London & Kent Meeting
‘Mock Assessment Night’
Peter Snell 01634 723838
18th - S. Wales & Bristol Channel Meeting
‘Subject to be confirmed’
Jack Tristram 01792 816688
20th - W. London, Middx & Herts Meeting
Emerson Bovell 020 8575 2842
25th - Scotland South Meeting
‘Subject to be Confirmed’
Tony Nimmo 01555 661541
26th - Scotland North Meeting
‘Risk Assessment and the New IOV DVD’
Brian Rae 01224 313137
27th - North East England Meeting
Mark Williams 01642 651862
27th - Essex, Herts & N. E. London Meeting
‘Lighting for Video’
Zulqar Cheema 01279 413260
August 2006
10th - SE London & Kent Meeting
Peter Snell 01634 723838
15th - S. Wales & Bristol Channel Meeting
Jack Tristram 01792 816688
17th - W. London, Middx & Herts Meeting
Emerson Bovell 020 8575 2842
29th - North East England Meeting
Mark Williams 01642 651862
29th - Scotland South Meeting
Tony Nimmo 01555 661541
30th - Scotland North Meeting
Brian Rae 01224 313137
31st - Essex, Herts & N. E. London Meeting
Zulqar Cheema 01279 413260
12
July 2006
Focus Magazine
www.iov.com
Being a long time PC user and
a ‘Mac Virgin’ it was with
some trepidation that I
undertook this review. It was
also a baptism of fire to be
confronted with not only the
MacBook Pro but the preinstalled Final Cut Studio
suite. The latter comprises five
major application packages –
Final Cut Pro 5, DVD Studio Pro,
Motion 2, Soundtrack Pro and
Compressor (the last four
packages, and conclusions, will
come in part two).
The system was on loan for
only a fortnight and the prospect
of becoming fully familiar with
the five packages (as well as
getting to grips with the Mac
itself) was daunting to say the
least. However, it seemed an
excellent opportunity to
investigate the ease, difficulties
and benefits that might be
experienced by anyone
considering a switch from PC to
Mac, as well as covering some of
the more interesting features of
the Final Cut package.
The MacBook Pro
Hardware
The computer has at its heart the
new Intel Core Duo processor
and runs under the OS X (Tiger)
operating system. The review
model had the 2.16GHz
processor installed together with
1GB of RAM and a 100GB serial
14
July 2006
ATA hard drive. Graphics for this
model is provided by an ATI
Mobility Radeon X1600 with
256MB of RAM driving a
15.4” (diagonal) wide screen that
has a native resolution of 1440 x
900. A 17” model is available
with a resolution of 1680 x 1050.
As well as having a DVD+/- RW
drive there are two USB 2.0 and
one FireWire 400 ports plus an
ExpressCard/34 slot and wireless
and Ethernet interfaces. A good
quality Web-Cam is also
contained in the lid. All this is
enclosed in a case no more than
1” in height and weighing around
5.6lbs.
Visually its silver finish makes
it an extremely attractive
machine having a very high
quality ‘feel’. A couple of
sensible novelties (to me,
anyway) were the ambient
sensing backlit keyboard and the
power supply cable’s magnetic
connector. The latter jumps into
making a connection when
placed near the computer’s
power socket. Apple has
adopted this type of connection
to prevent danger or damage
caused by tripping over power
leads – the lead would simply
pull away from its socket.
The review system arrived
without any printed manuals and
my only sources of guidance
were the installed PDF help files
that amounted to over 4,000
Focus Magazine
www.iov.com
pages for the five applications! I
am, however, assured that
anyone purchasing the boxed set
of software will receive printed
manuals.
Converting from the PC
As a ‘newbie’ to the Mac I was
very surprised how easy it was to
get started – in the absence of
manuals this had to be done
purely by intuition, but my prior
experience with PCs was a great
help. Within a few minutes I was
able to navigate the system’s file
structure and find the
applications. This says a lot
about the Mac’s user-friendliness
and should be a great incentive
for anyone thinking of
converting. I was initially
somewhat thrown by having only
one ‘mouse’ button on the
laptop. I very soon decided to
use a conventional USB mouse.
This made life much easier
because both buttons and the
scroll wheel functioned very
much like on a PC.
The Mac’s equivalent to the
PC’s taskbar - the ‘Dock’ - sits at
the bottom of the screen and
contains quick start icons for
common utilities and applications
together with the waste bin. It
also acts as a holding point for
applications that are temporarily
minimised. Initially this dock
took over a significant area of
the screen and it took me a while
to realise that I was able to
control its size and hide it
(equivalent to the PC’s ‘Not
always on top’) by using
preferences contained in the
‘Finder’s’ drop down menus that
always run along the top of the
screen whenever an application
is not running.
The Finder’s drop down
menus control all the
fundamental operations and
settings of the computer and
include the system’s on-board
‘Help’ PDF document comprising
around 140 pages.
The system’s help document
is very well written and
presented but does not cover
more than the very basics. Due
to the small screen size, reading
very soon became a strain on the
eyes and I have to say that the
15.4” screen is not ideal for
displaying small print. It was a
real chore having to scroll pages
if the text was enlarged so I very
soon temporarily gave up
reading!
After some trial and error I
found that a diminutive
magnifying glass in the top right
corner of the screen gave access
to a very powerful search feature
called ‘Spotlight’ with which it is
possible to find just about
anything (together with its path)
stored on the hard drive.
I am not exaggerating when I
say that within an hour or two I
began to feel at home without
having any detailed knowledge of
the OS X operating system or the
machine’s architecture. This
feeling of confidence remained
with me and I can now well
understand why Mac addicts say
that one can ignore how the
system works and just get on
with the job in hand.
The MacBook Pro has a DVI
output for an external monitor
and is supplied with a short DVI
to VGA converter cable. For the
sake of my eyesight I plugged in
an external 17” LCD display and
to my great surprise this was
accepted as a second display
without any need to alter
preferences or mess around with
drivers. It was simply a ‘plug-in’
job and lo-and-behold I had a
dual display. Running with dual
screens to follow on-board help
documents turned out to be
essential whilst carrying out my
investigations.
Generally speaking I found
that the 15.4” screen was a
strain to use and I am sure that
the 17” version of the MacBook
would be a preferable option unless portability is a major
concern.
Whilst I would have loved to
spend more time exploring the
MacBook as a piece of hardware, I
was up against a tight timescale.
I must, therefore, apologise to
experienced Mac users for not
covering the OS X system in any
depth. I can, however, say that
(subject to the small screen size)
it was a pleasure and highly
intuitive to use.
Review
As an on-board help document it
did, however, go a bit over-thetop so that when one searched
Running FCP 5 was simply a
on a subject there were so many
matter of navigating to the Mac’s references that it was difficult to
‘Applications’ folder and doubleknow which one would be most
clicking on the FCP icon. As the
relevant. In my opinion it is
software was pre-installed I
unfortunate that the manual
regret that I cannot comment on omitted to include practical
the ease (or otherwise) of
‘worked examples’ that would
installing it. However, from what have been more helpful for a
I had already gleaned about the
newcomer like myself. It was for
Mac’s ease of use I expect that
this reason that I turned to the
there are no problems. I do,
Internet and found the previously
however, understand it is
mentioned Los Angeles FCP User
essential to be operating under
Group website.
Having obtained a working
the OS X (Tiger) system and that
(but superficial) knowledge of
care must be taken if it is
necessary to upgrade (see the Los how to use the Mac, all my
‘techie’ computer concerns were
Angeles FCP User Group website dispelled once FCP was running.
www.lafcpug.org/tutorials/
I rapidly had the feeling that I no
basic_tiger_upgrade.html). For
longer had to worry about the
new Mac users (and maybe
computer itself and to avoid
existing ones) I can thoroughly
recommend this site for guidance doing things that might throw
error messages or cause crashes.
and tutorials.
I could concentrate solely on the
FCP 5 will handle any video
application in hand from a
format that is compatible with
creative point of view. Only once
Quicktime CODECs. Those that
did I make the system hang
are native include DV, DVCAM,
when I was attempting a
DVCPRO and the HD variants. It
realtime edit from a multicam set
will import these and also material of HD clips. Apart from that one
recorded on Panasonic P2 cards
hiccup I have now had first hand
either via FireWire or by directly
experience of the Mac’s
copying from the P2 card. I used renowned reputation for stability!
a Canon XL2 as a source of DV
material and a Sony Z1E for HDV
FCP 5’s Features
and experienced no problems.
I am not able to compare FCP 5
Due to my inexperience with
with its previous versions so,
FCP (and over-enthusiasm to
therefore, I have to view it as it
get ‘stuck-in’) I initially lost the
stands. My usual NLE system is
first few capture attempts
Premiere Pro 2 so it is only
because of my failure to set the
natural that I use that as the
destination path correctly.
baseline for any comparisons.
Fortunately, ‘Spotlight’ came to
The default user interface
my rescue and I managed to
superficially has a similarity to
find and move the lost files to
their rightful place. My
fundamental mistake (but
maybe excusable) was in not
reading the on-board manual
that comprised over 1,800
pages!
There was no time to
thoroughly read and digest this
‘magnus opus’ but I have to say
that, from the sections I did
read, it is extremely well written
and most comprehensive.
Indeed it is much more than a
manual on FCP as it covers, in
great depth, the principles and
techniques of video production
from the most elementary, to
broadcast standards. It is a
veritable encyclopaedia in its own
right and I only wish I had had a
printed version to thumb
through. The same has also to
be said about all the FCP Studio
applications’ manuals.
Getting into
Final Cut Pro 5
that of Premiere but is less
daunting in appearance. It
comprises four major panes plus
a toolbar and audio level display,
as well as a set of selfexplanatory pull-down menus.
Supplementary floating panes
can be opened for special
operations - audio mixing, clip
trimming, etc. Like everything
else I had come across on the
Mac it was extremely intuitive to
use and there was hardly any
need to refer to the manual in
order to carry out
straightforward editing
operations.
Just like Premiere, clips are
imported or captured by options
in the File pull-down and are
shown in the ‘Browser’ that
equates to Premiere’s Project
pane. The Browser shows a
listing of the clips, the order of
which can be adjusted to create
a rough storyboard sequence. It
also doubles as a display for the
in-built filters and transitions - of
which there are many. Clips can
be double-clicked or dragged
from the Browser into the
‘Viewer’ pane where in and out
points are set after previewing
with either conventional play
buttons or a jog-shuttle slider.
The selected clip can then be
simply dragged from the Viewer
onto the timeline in the desired
position or three point editing
can be carried out by selecting
corresponding in and out points
on the timeline. Alternatively,
complete clips or a group of clips
can be dragged direct from the
Browser to the timeline.
www.iov.com
By default FCP opens with a
single video track but if it is
necessary to stack a clip on a
higher level it can simply be
dropped into the blank space
above an existing track. A new
track is then automatically
created together with any
corresponding audio tracks. This
is a very useful shortcut method.
However, like many features in
FCP, there are alternative ways
of creating and deleting tracks
using commands and menus.
Another neat feature is the
way in which a clip can be
inserted into or used to replace
part of an existing clip in a
timeline sequence. A fine line
divides each video track into
upper and lower zones.
Dropping a clip above the line
creates a split in the existing clip
and the new clip is inserted
whilst shifting everything to the
right. Dropping it below the line
replaces any existing material on
the track without shifting.
As is the modern trend any
transitions are applied to a single
track (I was unable to find any
option to carry out AB editing).
It is just a matter of selecting a
suitable transition in the Browser
and dragging and dropping it on
to the appropriate edit point. If
required the transition point can
then be fine tuned by using a clip
trimming window.
Audio cross dissolves are
handled in a similar fashion and,
as usual, audio levels (and
panning) are adjusted by using
rubber bands on the timeline’s
audio tracks. )
Focus Magazine
July 2006
15
Review
of use in certain circumstances, it
carries out video speed changes
without affecting the pitch of
audio.
Keyboard Shortcuts
Just about any function or
operation can be assigned to a
keyboard shortcut and, naturally,
the system is pre-configured with
a default set. These can all be
user modified and used to create
a set of ‘pop-up’ graphical panes
showing the designations. My tip
would be to display the panes
and do ‘screen grabs’ prior to
printing them out for future
reference. This, however, was
not too useful for me because
the screen layout is for a
conventional keyboard having a
numeric pad and does not equate
to a laptop’s layout.
Handling Effects
To apply an effect it is simply
dragged and dropped from the
Browser’s library on to the clip in
question. This applies to both
video and audio effects. All the
effects one could wish for are
available and each has a
comprehensive set of properties
that can be adjusted and, if
necessary, key-framed. Once an
effect has been applied it can be
previewed in the Viewer, so
changes can be seen whilst the
parameters are changed.
FCP 5 has a feature (that I
believe is new to this version)
called Dynamic RT. This
automatically determines the way
in which preview rendering is
handled depending on the power
of the computer. It does its best
to offer a realtime preview and, if
necessary, automatically reduces
the quality of the display to cope.
If it has to make such a
compromise this is indicated by a
number of different coloured bars
over the affected sections on the
timeline. The bar turns to red if
realtime viewing is totally beyond
the system’s capacity - in which
case it is necessary to force a
render. When a forced render was
necessary I found it pleasantly fast
and no worse than I experience
with Premiere Pro on a 3GHz PC
system.
Time prevented me from
exploring all the built-in effects
but everything I have ever
wanted to use appeared to be
available (motion, colour
correction, distortion, sizing,
keying, etc.) plus many that are
16
July 2006
not available in Premiere. In
particular I was delighted to see
an option to automatically burn
timecode into the visual image something I have only previously
seen in Edius and have often
needed when sending off-line
samples to clients.
I had recently been working on
a project in Premiere that required
a considerable amount of ‘Green
Screen Keying’. Due to the fact
that the material had been
recorded on location without ideal
lighting it had taken a lot of time
and trial-and-error to get a
reasonable result and to minimise
fringing effects. I, therefore,
thought it would be interesting to
use the same original material to
see if FCP faired any better. The
keying interface is graphical and,
although unusual, is very easy and
friendly to use. The keying colour
can be selected and then tweaked
by dragging bounding lines over a
palette whilst watching a display of
the result. One or two other
parameters can then be applied to
adjust edge transitions between
the overlay and background.
Within a few minutes of using this
interface I had a near perfect
result. The usual fringing caused
by using the DV format was barely
perceptible and certainly better
than I had been able to achieve in
Premiere. It was also a much
quicker process.
Speed changes can be
applied with smooth acceleration
and deceleration - something
that hitherto has required a very
time consuming and fiddly
workaround. When creating a
slow-mo effect it interpolates
frames and adds frame blurring
that gives a virtually flicker free
result. Although it would only be
Focus Magazine
instantaneously cut at that point
and the new view is displayed in
the Canvas pane - just as if a
switcher was being used in a live
broadcast. The resultant
sequence on the timeline ends up
MultiCam Editing
by being the original individual
A major feature of FCP 5 is its
sequences with straight cuts
ability to synchronously handle
and edit sequences from multiple between them. These can then
cameras. This can reduce editing be refined by trimming or having
transitions applied. As well as
time appreciably for, say, a
switching between video sources
church service recorded from
several vantage points. It makes in this manner it is also possible
to select which audio source is to
it possible to carry out edits just
be used.
as if one was switching between
Although it is very simple to
cameras in a live broadcast
make a rough cut in this ‘realtime’
situation.
manner, it requires a considerable
FCP really excels in this
amount of dexterity and
respect as it will handle up to
knowledge that the material to
128 source clips - not that
arrive from the newly selected
anyone is likely to go much
monitor is going to be suitable.
beyond three or four (unless
However, one can also work at a
recording the Olympics!). This
compares against Premiere Pro’s slower and controlled pace by jogshuttling to find a good cut point
ability to handle just four.
and then selecting the new angle.
The procedure turned out to
After working in DV mode I
be simplicity itself when using
tried the technique with four HDV
FCP - and much easier to set up
clips and they all played in sync
than in Premiere.
on the mini monitors, however, it
Sequences from individual
cameras are stacked on separate was on this occasion that the
system hung just as I tried doing
timeline tracks and markers
a cut on the fly. I tried this
applied to identify ‘sync’ points
on each clip. The relevant tracks again after re-booting the system
but was unable to repeat the
are selected and with a single
crash so I am not sure whether I
click on the ‘Make Multiclip’ pull
was pushing the boundaries or it
down they are turned into a
was just a bit of ‘finger trouble’!
Multiclip sequence in the
FCP captures HD without any
Browser. It is then only
format change or re-compression
necessary to create a new
and thereafter handles all
sequence on the timeline and
internal editing functions natively
drag and drop the Multiclip
in HD format. Whilst this
sequence into it.
ensures that there is no
The Viewer then changes to
generation loss it is, obviously,
display a matrix of mini monitor
going to require considerable
screens - the number depending
computing power - particularly to
on the number of sequences
get frame accurate edits when
contained in the Multiclip. The
adjustments have to be made to
Viewer will display 4, 9 or 16 of
these monitors and play up to 16 GOP structures.
clips simultaneously. If more are
required they can be scrolled into Total Integration
the Viewer.
I had been told that one of the
When the Multiclip sequence
best points about the Mac is that
is played on the timeline all the
everything stems from the same
mini monitors play in sync. I
company so, apart from there
experienced no problems when
being a single source of support,
using four sources of DV but I
separate pieces of applications
suspect that if many more are
software tend to work together
used the functionality will be
more slickly than on a PC. This
dependent on the power of the
certainly is true as far as the FCP
computer. One can then do
Studio suite is concerned.
editing ‘on the fly’ by simply
FCP integrates perfectly with
clicking on the required monitor
the suite’s other packages view. The timeline track is
Motion 2; Soundtrack Pro; DVD
Studio; and Compressor. Also
Motion and Soudtrack Pro are
reciprocally compatible with FCP
- enabling animated sequences,
titles and specialised soundtracks
or sound effects to be generated
and taken into FCP projects
without intermediate actions or
format changes.
These packages - as well as a
general summary to this review
will follow next month.
Mike Hughes M.M.Inst.V.
Pic Productions
www.iov.com
Part One - Business or Pleasure?
I thought it was about time
that I updated my views on
the business and craft of
videography. The last Video
Artisan series ended in June
2003 (which concentrated on
the core businesses of
Wedding, Corporate and SIV)
– and there has been so much
that’s happened since then
that the whole subject needs
revisiting. So, over the next
few months I’m going to reexamine the whole Video
Artisan series.
One of the dictionary
descriptions of an ‘Artisan’ is, “a
skilled worker who practices
some trade or handicraft”.
Whereas the word ‘Practice’
implies that someone is engaged
in the act (even professionally
when used in conjunction with
‘trade’), it doesn’t automatically
mean they are making a living
from it – which is enforced by the
use of ‘handicraft’. Say
handicraft to most people and
they think of things like cross
stitch or pottery – and whilst
these relate to skilled use of the
hands, they are again not
automatically associated with a
money making venture.
18
July 2006
This is why I think ‘Artisan’ is a
most suitable description of what
those involved in videography
are. Even those who operate
considerable full-time businesses
– at some point in their
videography they will be
practicing their craft, not only for
the benefit of the business, but
also because it’s a creative and
enjoyable pastime. This is also
one of the best ways to get your
head around the technology - by
playing with it.
To kick off this new series I’m
going to look at that extremely
grey area of whether it’s Business
or Pleasure. If you’ve got it
absolutely right it will probably be
a combination of both.
I’m sure there are many
reading this who have
experienced this scenario…
When asked what they do for a
living their enquirer has
responded with envy, or at least
a comment about it - “not being
a proper job”. Of course, they
are not aware of all the normal
drudgery that goes with any
business – but when compared
with someone having an
extremely physical, boring,
unpleasant or dangerous job –
Focus Magazine
www.iov.com
by Kevin Cook
the challenge of realising their
creative ideas – be that on
canvas or the screen.
You also can’t get away from
the
fact that the tools for
A Means to an End
creating consumable video
To many videographers the
programmes are pretty much
business or income is purely a
available to anyone these days.
means to an end. By this I mean
Cameras are cheap and nearly
that it funds what is essentially a
every computer now comes with
hobby. They do weddings or
the ability to create professional
other productions purely to buy
looking content and then output
the toys they like to play with,
that to DVD or share it with the
and in order to make the films
world via the Internet. There
they really want to make. I don’t
probably was a time when
see this as a negative – as long
pigments, paint brushes and
as they are not undermining
canvases where only available to
those who are trying to actually
the privileged few - and it was
earn a living by undercharging
probably only the privileged few
for what is often a professional
who had enough spare time to
standard of work.
enjoy such pursuits – but those
There are of course those
times passed many, many years
opportunists who turn out dross
ago. Videography has now
and still charge for it (some of
almost passed into this phase –
whom call themselves
and with the exception of the
‘professionals’) – and like most of
few, most people in our society
the industry I see these as the
have access to the tools and the
real villains. These are the ones
time to enjoy it.
responsible for maintaining the
perception that all videographers
are cowboys – when this is
Making Movies
clearly not the case.
I think it’s also interesting to
note that some of the best video
Purely a Play-thing
programmes that I have seen
have been those of an amateur
Then there are those who have
nature – or at least those
no desire to earn money or
produced without a commercial
subsidise their hobby. To them
incentive as the main objective.
videography is a creative vent –
I think this probably comes about
and there is absolutely nothing
because we all perform better
wrong with that in my mind. To
when we are enjoying what we
give a comparison there are
do. This can be seen quite
probably many hundreds who
clearly if you look at the rise of
simply enjoy watercolour
the ‘Indie’ (independent) film
painting compared to the few
market. Whereas a good
who earn an income from it.
proportion of them are producing
Videography is the same – and
films as a stepping stone to
can be a very rewarding way to
greater things (the road to
express your creativity.
Hollywood), there is an equal
Some may well have dreams
amount who are producing short
of someone else enjoying their
and long films purely for the fun
work so much that they are
of it – or at the most to win a
prepared to pay for it – but to
most the enjoyment comes from prize at a film festival or two.
earning a living from making
movies appears on the surface to
be a pretty desirable occupation.
Article
I think this is probably one of the
most interesting sectors of the
videography community – and is
in some part driven by the
success of films like ‘The Blair
Witch Project’ or ‘Open Water’.
These, and others, have been
held up as examples of how a
really low-budget (sometimes
called no-budget) film can reach
a mass audience and in some
cases generate substantial
income for those who produced
it. Of course, there is very little
in the way of headlines about the
marketing machines behind
these films, or the control the
film studios had over the final
content. All that is noted is the
cost of production against the
box office receipts – which in the
above examples was quite
astronomical.
Apparently (and here I go
extending the phenomenon), The
Blair Witch Project estimated
production cost was about
$25,000. The movie grossed
over $248 million worldwide –
which makes it one of the most
profitable motion pictures of all
times in terms of the ratio of
production costs to box office
receipts (the exception being
‘Deep Throat’, which cost about
the same to make and grossed
about $600 million – but that’s
another story).
Movies are being made for
fun all the time as witnessed by
the plethora or amateur cine/
video clubs dotted across the
land. Enthusiastic and often
crafted individuals (who
sometimes also spend their
working life in the industry)
create content purely for the
pleasure and challenge. Looking
down at them says more about
you than it does about them.
The Pen vs the Screen
I’ve said this in previous articles,
but another common cause of
someone getting into creating
videos is the interest in the
subject – rather than the actual
act of making films. SIV (Special
Interest Video) producers are
quite often those who want to
document their understanding of
a specific subject, not necessarily
filmmakers. It’s not always
about making money either –
with many getting their reward
from others seeing them as a
leading light in their given field.
It wasn’t until recent years
that making films about your
interests has become a
possibility – again made viable
through the availability of
cheaper creation tools. Until now
the only avenue open to most
people was to write a book about
the subject. Whilst this is easier
to generate the content (if you
are knowledgeable about the
subject and can easily put this
into words) it is probably much
harder to create the finished
product (i.e. a book) to a
professional standard. As most
good films start with the written
word it’s a relatively simple step
to turn this into a video. The
hard part is knowing the subject.
And, more importantly, the
attractive thing about publishing
a video as opposed to a book is
that they can be produced on
extremely small runs and still
look as though they were
professionally produced. This
isn’t always the case though!
Back to the Bucks
In the beginning of this month’s
article I said that if you’ve got it
absolutely right you’ll be both
enjoying your videography and
earning money from it at the
same time. This is pretty much
the nirvana that we are all
aiming for – regardless of what it
is we are doing. There is also
the joy which comes from when
others appreciate our work – but
then again there is no better sign
of appreciation than when
someone is prepared to put their
hand in their pocket for the
privilege of owning your work.
Videography does represent a
viable business proposition and I
happen to think the opportunities
are expanding year on year.
Every day will see someone
making the leap from pure
hobbyist, to part-time pro - or
from there on to a full-time
business pursuit. Their paths are
not always the same, and the
triggers which make these steps
happen are infinitely variable –
but the common bond is nearly
always a desire to spend more
time practicing their skills, trade
or handicraft. If the by-product is
a sustainable income then you are
pretty much living the dream.
Next month, I’m going to
cover those early stages of going
professional (either part or fulltime) and what it means in
reality. Future issues will cover
all the stages of building the
business – though to developing
that all important exit strategy.
In the meantime, don’t forget
that you are supposed to be
having fun with it!
Kevin Cook F.Inst.V.
www.iov.com
Focus Magazine
July 2006
19
Microphones (Part 1)
Dynamic
Decent microphones are an
essential part of our
videography kit and in many
ways we take them for
granted - we chuck them into
our camera bags and drag
them out whenever we need
them, relying on them to
produce crystal clear sound
time after time. Still, even a
good microphone can produce
poor results when it is used in
the wrong context or
environment, so it is essential
that we know what different
types of microphone are
available to us and why some
perform better in some
situations more than others.
A microphone is an
instrument, or transducer, that
changes one form of energy into
another form of energy; in the
case of microphones, sound
waves into electrical signals. The
microphone in videography is
usually the first device in the
recording chain on route to your
camera or audio recorder, and
that chain can include a variety
of items, such as mixers,
transmitters and receivers, noise
gates and limiters, graphic
equalisers, digital enhancers and
effects boxes - not to mention
your computer. The quality of
your recordings will vary
according to the environment
that you are in, elements such as
the design of the microphone; its
placement, ambient noise and
weather will all have an effect.
Therefore, it makes sense to
know that the overall sound of
your audio recording is no better
than the weakest link in the path
your audio signal travels. Do not
let a cheap or unsuitable
microphone ruin your project!
Microphone design has
matured greatly over the years
and the quality they are able to
reproduce at times can be
stunning, but while technology is
always improving what we have,
in principle, the general design of
microphones types has remained
fairly static.
The dynamic microphone is the
most widely manufactured and
used of all the types of
microphone that are available to
us. They are moving-coil, which
is simple a loudspeaker in
reverse, and can be very durable
and immensely cost effective.
They vary in price from the low
budget mass-produced item,
which can often sound terrible, to
the reasonably expensively
priced item that can have
incredible quality. Dynamic
microphones are able to cope
with extremely high sound
pressure levels at very short
distances and are often used for
close up work on drum kits!
They are also helpful when used
close up to the face for vocal
work in noisy environments,
particularly live music. Shure
manufacture probably the most
famous dynamic microphone in
the world - the SM58. It can be
seen on almost every live staged
event and it is very durable. I
am told that each microphone
has to be able to stand a one
metre drop test - I have certainly
dropped them from higher than
that, accidentally of course,
without any sign of damage or
loss of signal quality. I often use
the SM58 in schools where my
microphones are in danger of
being knocked over by energetic
children. Prices vary for the
Shure SM58 depending on
availability and demand, but you
should be able to pick one up for
somewhere around £70 - £95
including VAT.
20
July 2006
along the path of an
XLR microphone
cable. Therefore, it is
worth remembering
that operating a
condenser
microphone will
require a power
source - be that a
battery or ‘phantom
power’. Most onboard camera
microphones are of
the condenser variety
and receive their
power via the camera. If you are
purchasing a new mixer for your
kit remember to get one that
provides phantom power as
standard - it will cost you more
but it is worth every penny!
There are two other main
types of microphone - the Ribbon
and the Piezo-electric. Ribbon
microphones are similar in some
degree to their dynamic cousins,
but while they can produce an
excellent sound quality, they are
very sensitive to shock and you
must be very careful when
handling them or overloading
them with excessive sound
pressure. Piezo-electric mics are
traditionally very strong utility
microphones but of poor sound
quality - these are the type of
microphone that are typically
used in telephones. There are a
few notable exceptions such as
when piezo-electric microphones
are fastened to the vibrating side
or plate of a musical instrument,
such as a guitar or string
instrument, and in this case they
can produce a very high quality
audio signal.
All of the dynamic and
Condenser
condenser microphones in the
The condenser microphone works
above photograph I have used in
on an electrostatic principle
a live audio setting. The
rather than the electromagnetic
dynamic microphones, that is the
principle employed in the
Shure SM 58s and 57s (standard
dynamic microphone; as a result
and beta) and the Sennheiser
it can produce an extremely high
421, have a tendency to look like
quality output. However, this
ice-cream cones, but then the EV
comes at a price as condenser
ND 468 doesn’t, so you can
microphones are not as robust as forget that rule! The condenser
their dynamic relatives and they
microphones, the AKG CK 91,
need a power supply to operate.
Shure SM81, Shure SM91 and
In some designs the power
the EV RE20 are slimmer or
supply you provide is a
sleeker and, to be honest, look
replaceable battery, in others the less tough - but they do produce
microphone receives its power
great results.
Focus Magazine
www.iov.com
Practical Applications
Whenever you turn up at a
location to shoot remember that
dynamic microphones respond
best to being close to the sound
source that you are recording, in
that they can deal very
effectively with high levels of
sound pressure and that they are
very robust. Knock a dynamic
microphone over and you can,
more often that not, just pick it
up and use it again - knock over
a condenser microphone and you
will, most probably, have to buy
a new one. Condenser
microphones usually produce a
higher quality recording, though,
as long as they are not
overloaded - and that makes
them an essential, if relatively
expensive, part of your kit.
Phil Janvier M.M.Inst.V.
first attempt at a shaft allowed
the film sprocket to slide on and
off it readily; tightening the grub
screw locked the sprocket to the
shaft but pushed it off centre.
The result was obvious, vertical
The 12:1 Worm and
jitter when the captured video
Wheel Reduction Drive was replayed. I tried the film
The essential considerations of
sprocket in different angular
the construction I adopted for
positions on the shaft but this
the drive body was to reduce to a either increased or decreased the
minimum any variation of film
amplitude of the jitter but did not
frame-to-frame alignment. Both eliminate it.
the worm and wheel gears are
I tried using an electronic
error table correction method to
made of the engineering plastic,
modify the number of drive steps
Delrin, and do not require
for each of the 12 film frame
lubrication. The body of the
advances per revolution of the
drive was also machined from a
output shaft - but again it did not
solid piece of Delrin, the thick
eliminate the jitter. This was
side walls provide rigidity and a
partly due to a lack of
good area of bearing for the
methodology and measurement
output shaft, the end web aids
skill on my part to create an
rigidity, the motor mount web
accurate correction table. I
was only thinned until the motor
eventually decided after
shaft extended sufficiently
calculating the required accuracy
beyond the output shaft.
of the film sprocket that it must
be a press fit on the 5mm section
of the shaft and the 5mm and
6mm sections of the shaft must
be concentric. I succeeded in
making an acceptable shaft at
the third attempt.
In retrospect it may have
been easier to buy the gear
wheel with a non-standard 5mm
bore but that pre-supposes that
The drive frame is directly fixed
the film sprocket would be a
to the faceplate to keep the
press fit on a 5mm shaft. The
output drive shaft overhang short shaft is purposely made over
and so limit any flexure of the
long to aid assembly of the two
shaft under load variation, e.g.
position collars and gear wheel
when a film splice is pulled
and to allow a second attempt at
through the gate. The output
machining the 5mm section.
shaft bores in the side walls were
At this point the method of
measurement I had been using
drilled slightly undersize and
indicated I had reduced the jitter
then finished with a reamer to
near to the theoretical capability
ensure the required fit as a
of a 200-step motor, i.e.
bearing.
576/200 = 2.88 pixels, by using
The output drive shaft is
a revised error correction method
6mm to suit the gearwheel bore
but without recourse to the use
but the film drive sprocket
of micro-stepping the motor.
required a press fit 5mm shaft.
I established that I could
Remember shaft is cheap,
remove the remaining jitter and
gearwheels are expensive, but
film camera movement of the
film drive sprockets now only
original capture by use of video
come from old film viewer/
processing software, Virtualdub
editors.
and Gunnar Thalin’s Deshaker
It took me several attempts
filter. I have also started to use
to make a good output shaft. My an improved method of jitter
Continuing from last month,
Gerald outlines the final
stages of building your own
telecine-type system...
22
July 2006
Focus Magazine
www.iov.com
measurement using Scenalyzer
in conjunction with Xnview. This
should allow the greater accuracy
needed to create the error
correction table when using
micro stepping. Essentially this
involves using the still picture
export facility of Scenalyzer to
create a sequence of 12 BMP
images, one image taken at each
drive sprocket position. Each
image is then viewed in Xnview
at maximum zoom of 1600% and
the Display Colour Information
tool, which includes pixel position
information, is used to locate the
witness point.
I reduced the zoom on my
video camera so that the image
included the film sprocket holes
and I could use the horizontal
edge of the hole as my witness
point. During my web search,
others have suggested that using
the inter-frame border, as the
witness point is better. My logic
is that the sprocket hole is the
witness point the cine camera
should have used and the interframe border should have a
consistent vertical displacement
from it. If the displacement
distance fluctuates either in the
short or long term it is due to the
cine camera mechanism causing
poor registration.
For any registration errors
generated from this cause and
for smoothing out hand held cine
camera film takes, I use
corrective measures in my post
capture processing.
operational position by friction
alone, as the force from the selfstraightening action of the film is
small. I have retained manual
winding of the film at this stage.
General Arrangement
The photograph below shows the
initial positioning of the video
camera platform (VCP) and film
transport mechanism (FTM) on
the baseboard.
Film Path
The use of smooth plastic coated
surfaces for the baseboard and
VCP enables the relative position of
VCP to the FTM to be easily
adjusted and then secured using
Blu-tack. After several sessions of
making captures and comments
from others on the results
obtained, I arrived at some basic
requirements for a working
arrangement. The prime
requirement was the necessity to
establish and maintain good optical
alignment and focus at all times.
The VCP is now securely held
in position by the 8 fixed pillars
with their jackscrews. The
photograph below shows the
jackscrew arrangement. The
jackscrews facilitate fine
adjustment and firm holding of
the VCP.
The film is fed from the lower
reel via guide rollers, up through
the gate, around the film drive
sprocket for about 90º where it is
retained by a pressure roller, via
a further guide roller, to the
take-up reel at the top. The roller
guide, gate and film sprocket
geometry was replicated from
the original viewer/editor from
which the parts were taken. The
pressure roller should not touch
the film sprocket but leave a film
thickness gap between them.
I made the pressure roller
easily retractable to facilitate film
loading. It is held in the
A metal strip has been added to
help maintain alignment of the
video camera more securely than
by using the tripod mount screw
alone. Operation of the camera
controls when using it in the
manual mode is still not ideal.
Article
Software - Film
Alignment in the Gate
For film alignment in the gate I
use WinDV because of the large
screen display it provides. A
simple program written in
Euphoria is used to control the
parallel printer port and stepper
motor drive electronics to set the
initial alignment of the film frame
in the gate.
DV Capture
For DV capture I use Scenalyzer
run under a VBScript inspired by
a thread on Doom9’s forum
which gave me the insight as to
how a program can be controlled
by VBScript. I adapted his
program to control Scenalyzer’s
Stop Motion capture facility.
A simple program written in
Euphoria is used to control the
parallel printer port and stepper
motor drive electronics and is
called from within the VBScript.
Basically the VBScript opens
Scenalyzer through to its Stop
Motion capture window, it then
loops: Step (1) It tells
Scenalyzer to take a video image
of the film frame in the gate,
Step (2) It then runs the
Euphoria program to advance the
film one frame. Steps (1) and
(2) are repeated until the set
number of frames has been
captured.
The script then saves the
captured video file and closes
Scenalyzer down. The number of
frames captured is set to be a
multiple of 12 so that the film
sprocket wheel always starts a
capture session from the same
position. This ensures that the
stepper motor is at a full step
position with detent torque,
and that the error correction
table is applied in the correct
sequence to reduce to a
minimum the frame-to-frame
registration error.
Post Processing Deshaker
I use Virtualdub and Gunnar
Thalin’s Deshaker filter to
remove any remaining vertical
jitter caused by inaccuracies of
the film frame to frame
registration caused either by
the original film camera, the
transfer transport mechanism
described or poor stabilisation
of the film camera when
filming.
I find it preferable to use
the filter on a single scene as
the disturbance caused at
scene transitions or film splices
seems to persist for several
frames beyond them.
Colour Correction
Colour correction of the red cast
on most old films, my own are
from 1962/3, is still a problem.
The fading of the blue and green
dyes in the emulsion over time
apparently causes the red cast. I
still need a better correction
method.
Change Frame Rate
I then use AVIsynth to change
the frame rate from the original
filming rates of 16fps or 18fps to
video rate using MVFlowfps, from
Mano and Fizick's excellent
Mvtools which is frame served to
Virtualdub to produce the PAL
25fps AVI file I require for final
editing in Adobe Premiere 6.5.
Automation of post DV
Capture Processing
To automate the task of
processing each stop motion
capture file individually I adapted
Eric Phelps VBScript tool to create
a Virtualdub ‘jobs’ file. The jobs
file created applies identical video
processing settings to all chosen
video file types in a directory.
The first adaptation of his
VBScript was to handle the two
pass requirements of Gunnar
Thalin’s Deshaker filter and
selection of the Virtualdub
‘configuration’ (.vcf) file for each
pass. The second adaptation was
to handle the AVIsynth frame
server (.asv) file type into
Virtualdub and save the output
file with the normal (.avi)
extension.
output drive shaft, baseboard,
video camera platform, and film
transport structure, were all
made from salvaged materials.
I did require the use of my
lathe to reduce the diameter of
one end of the output shaft to
5mm to fit the transport
sprockets. The other items were
made/obtained from my scrap
box materials.
The software, Adobe
Premiere and Scenalyzer, I
already had, the rest - Vbscript,
Euphoria, Virtualdub and
AVIsynth - are free from the
Internet. Film cleaning solution
and a micro fibre cleaning cloth
to apply it (£8) were obtained
from The Widescreen Centre.
Matt black paint,
photography shops do not seem
to stock it now, but my local car
accessories shop had a suitable
substitute (£4). Total cost for
two Quartz halogen lamps and a
ceramic lamp holder (£10).
The grand total for items
purchased was £148. Had I
located the Routoutcnc driver at
the start of building the drive
system or resisted the
temptation to experiment to
increase the fps capture rate and
test micro stepping I would have
been near to budget. Cost of a
new Astrosyn motor type
MY3488-02A is (£12).
Conclusion
My build your own (DIY) telecinetype system works and provides
me with a quality, flicker free
transfer of 8mm film to video.
Cost
More importantly it taught me, at
The stepper motors were free, all the age of 68, the great benefit
salvaged from old equipment
of using the web for researching
that had been scrapped. The
subjects and how generous
viewers and a projector were
people are with freely sharing
free. These provided the
information, their knowledge and
transport drive sprockets, film
programs.
gates, film guide rollers, 240V to
My thanks to all those at the
6V transformer, 6V 10W bulb,
sites
referenced and the many
holder and housing with
others I visited and consulted.
condenser lenses, and winding
My particular thanks go to: Ian
arms.
The PSU for the stepper drive Broomhead of SRB Film for
several useful discussions on the
electronics was salvaged. The
lenses were effectively free since optical arrangements I used and
his knowledge of registration
I have had 25-years use from
them. The Quasar stepper motor problems with our clockwork and
drive electronics were purchased other cine cameras; Mike Gaylor
ready built (£30) rather than as
of Routoutcnc for discussions on
the cheaper kit (£15). The
chopper drives and micro
Routout stepper motor chopper
stepping; and Simon Hunt of
and micro stepping drive was
Astrosyn who provided the
purchased ready built (£43). The information of an equivalent
lens coupling ring and stepping
stepper motor.
ring were purchased new (£27)
But still, since I broke my
from SRB Film. The four start
budget, Alan Sugar would say:
12:1 worm and wheel reduction
“You’re fired!”
gears were purchased new (£26)
from HPC Gears. The 6mm
© Gerald Skingle C.Eng, MIEE
www.iov.com
Websites for
Reference
z www.moviestuff.tv
z www.super-8.be/s8_Eindex.htm
z http://super8todv.free.fr
z http://homepage.mac.com/
onsuper8/diytelecine
(Good reference page)
z http://avisynth.org.ru/
mvtools/mvtools.html
(Mvtools site. Download at
bottom of page)
z www.cs.uiowa.edu/~jones/
step/micro.html
z http://neil.fraser.name/
software/lpt
(Useful Euphoria program)
z www.rapideuphoria.com
(For programming &
documentation download)
z www.rapideuphoria.com/
contrib.htm
(For user-contributed programs)
z www.scenalyzer.com/main.html
z www.xnview.com
z http://forum.doom9.org/
showthread.php?
s=a0e5c28d241dd0a86e3c6b84a
5123a5e&postid=352316
(Example VB script to control
Scenalyzer)
z www.microscopy-uk.org.uk/
mag/indexmag.html?http://
www.microscopy-uk.org.uk/mag/
artmay03/dwrevlens.html
z http://windv.mourek.cz
z www.virtualdub.org
z www.avisynth.org
z www.euclidres.com/apps/
stepper_motor/holdingTorque.html
z www.srbfilm.co.uk/index1.html
z www.ericphelps.com/scripting/
samples/VirtualDub/index.html
z www.routoutcnc.com
z www.hpc-gears.co.uk
z www.guthspot.se/video/
deshaker.htm
z www.widescreen-centre.co.uk
z www.astrosyn.com
Focus Magazine
July 2006
23
CLASSIFIED SECTION
CLASSIFIED SECTION
CLASSIFIED SECTION
CALL KEVIN COOK ON 020 8502 3817 FOR MORE DETAILS
Equipment & Service Suppliers
This space could be yours…
Contact Kevin Cook - 020 8502 3817 [email protected]
SALES & WANTS
Sales & Wants Rates
All adverts are listed here and at
www.iov.co.uk for up to three issues/
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
Sony DVCam DSR 250
Battery Power Belt - Radio Mics - 800
Series Mic - Tri Pod with dolly -Leads etc.
All in excellent condition. £2700 ono.
Contact Matt:
[email protected]
[140]
JVC DY-90 Digital S D9 camera
Only 90 hours from new comes with
Fujinon 16 B.R.M. 3,900 pounds
Contact Paul: 01269 860649
[140]
Email: [email protected]
Panasonic Mini Cam
With 12.5 & 6mm lens and camera
control unit. £850.
[140]
DVCAM Equipment
Sony DSR-400P Camcorder with Canon
19X Lens. As New Boxed, 12 months old,
33 Tape hours used. £5300 ONO. DSR40P DVCAM Recorder. Used but in
Excellent physical and working order.
£1400 ONO
Contact: Bala 07810-543146 day
020 8952 0599 evenings and Weekends.
[140]
Sony Z1
Low hours, plus Sony microphone, 0.8
WA attachment, shoulder support,
Portabrace case £2850. (London)
Contact Christoph: 07768 818643
Email: [email protected] [139]
SALES & WANTS
SALES & WANTS
CALL 020 8502 3817 OR ORDER ON-LINE AT WWW.IOV.CO.UK
Due to retirement…
The following kit is offered for sale.
Panasonic AGDVC200 camcorder with
Cannon 18x Lens(200 drum hours) 2x Pag
5ah infolithium Batteries & Charger,
Paglight, Portabrace rain jacket & Tamrac
Soft Case. £2,900.00. Vinten Pro-Touch
Heavy duty tripod & Bag with adjustable
spring for perfect balance suitable for
cameras from 3-10kg, and incl Libec zoom
control arm. Cost £1100 accept
£550.00. Sony DHR1000 DV recorder very
light use £700.00. Sony VX2000 DV
Camera used as standby, very light use.
£900.00 All boxed with manuals.
Contact John: 01224 702263
3 Chip Panasonic DVX100
With low head hours this professional mini
dv camera has been used to the win 1st
place in a previous IOV best corporate video
competition. In very good condition
complete in its original box. Extras include
x 3 of the highest capacity long lasting
Lithium Ion batteries [5400 Ah each] and 2
chargers. This camera is particularly good
at shooting in low light conditions, has a
natural wide angle of view & includes XLR
inputs for professional sound recording. I
am looking for £1,650 + vat + postage for
the camera and £390 + vat for the extra
batteries and additional charger.
Contact Simon: 0113 261 1688
[139]
JVC GY-DV5100E
Mint condition. Fujinon S17x6.6 lens,
Tripod plate. IDX P-V Mount Battery
Plate, Manual, Only 27 drum hours.
£3250 ono. Possible part ex
[139]
Contact John: 07746-462695 (London)
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 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
Or 00353 8634858171.
[137]
Sony DSR 300 Camcorder
Complete with 14X Fujinon Lens and
Manfrotto tripod. 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]
Computer & NLE Products
Wacom Intuos 3 Pen Tablet System
Unwanted gift - still boxed - only a week
old - Price £180. Perfect for graphic
artists, photographers and digital media
professionals. With wireless mouse
Contact Sid: 07711900801
[140]
New Sonic DVDit 6
Unresistered copy of sonic DVDit 6
RRP £199.99 - Selling for just £150.00
ONO. DVDit 6 is powerful software for
creating professional-quality DVDs on
your desktop. Its flexible and intuitive
user interface and powerful toolset
(including the eDVD web content
integrator) enable complete
customization of the authoring
environment and produces a finished
project that meets Hollywood authoring
standards. Click here to find out more...
Contact Andrej: 01223 573449
[139]
SALES & WANTS
Canopus Edius NX card
With Edius Pro 3 Software Brand
New cost new £695 offers over £275
including Postage
Contact Bob:
01438356409/07860522032
[139]
Apple Mac G5, Final Cut Studio,
Matrox hardware, Premiere Pro and
Total Training CD/DVD's
Due to re-location… Apple Power Mac G5,
dual 2gig processor, 2.5gig RAM, 160GB
hard drive, DVD±RW (+R Double layer),
Gigabit Ethernet, MacOS X 10.4. Less
than a year old, probably had no more
than 20 hours use. Original box and all
contents will be supplied. £1600 new,
£1,200 ono. Final Cut Studio. Brand new
and never been used, CD's are still in
their shrink-wrap.
£900 new, £650 ono. Matrox RT.X100
supplied in original box with all original
cables (audio and video breakout, DV1394), manuals and CD's including Adobe
Premiere 6.5, Sonic Solutions DVDit! LE,
Ligos GoMotion and Pixelan Video
SpiceRack Lite. Again, used but less than
20 hours I expect - perfect condition.
£300. Premiere Pro upgrade. Boxed
retail version with manual, as good as
new. £50 Matrox Parhelia 128MB. Triple
RGB, Dual DVI, TV output. AGP 4x.
Supplied in original box with all original
contents, perfect quality, as good as new.
£100. Total Training for Adobe Premiere
Pro - 3 DVD set £50. Total Training for
Adobe After Effects - 4 DVD set £50.
Total Training for Adobe Photoshop 7 - 3
CD set, all unopened - Free to good home
- that's how I got them off a fellow IOV
member!
Contact Rich: 07811 010121
Continued…
Call 020 8502 3817 or order on-line at www.iov.co.uk
www.iov.com
Focus Magazine
July 2006
25
CLASSIFIED SECTION
CLASSIFIED SECTION
CLASSIFIED SECTION
CALL KEVIN COOK ON 020 8502 3817 FOR MORE DETAILS
Voice Over Services
Insurance
This space could be
yours…
Contact Kevin Cook
020 8502 3817
This space could be yours…
[email protected]
Contact Kevin Cook
020 8502 3817 [email protected]
SALES & WANTS
Recorders/Players
HDV VCR MV-10E Recorder
Complete, boxed £1,275.00
Christoph 07768 818643
[email protected]
[140]
JVC BR 80E VTR
Digital S D9 484 hours from new £3250.
[140]
Sony DSR 1500P
DVCAM VTR. plays DVC-PRO. Component,
Y/C Composite in/out can be fitted with
SDI or Firewre card.
[140]
Miscellaneous
PANASONIC MX50
We have decided to offer for sale one
of our MX50’s. This particular unit has
been well used but is in excerlent
electrial order but has signs of
cosmetic deteriation, the paint has
worn away and some of the audio
slider knobs have been lost. Apart fron
this, everything works fine. The asking
price is £1000-00 ono. Vat applies to
registered parties.
Contact Cam 3 Media on 01588650456
JVC Monitor
JVC BM-H1400PN composite YC
Component in/out £250.
[140]
Sony Monitor
Sony PVM-9041QM portable battery
and mains composite, Y\C Component
in out very little use £350.
[140]
SALES & WANTS
SALES & WANTS
CALL 020 8502 3817 OR ORDER ON-LINE AT WWW.IOV.CO.UK
Data Video SE800 Mixer
We currently have for sale a Datavideo
SE800 DV Digital/Analogue Vision Mixer/
Switcher that was purchased by us
around 20 months ago to undertake “Live
Event” recordings i.e. Conferences etc.
Since that time we have heavily
concentrated our work in the Corporate
Sector and have therefore never had the
opportunity to put this superb mixer into
good use, it has now become surplus to
our requirements and needs to be cleared
as soon as possible from our stock list.
We cannot stress enough the fact that
this unit is totally un-used and is still as
purchased from Holdan’s UK complete
with Flight Case and all accessories.
Secure delivery can also be arranged
within the UK Mainland for and extra
£15.00 if this is required.
Please note: that this equipment was
purchased brand new within the UK over
twelve months ago and has not been
used. However, the warranty period has
now expired from the original supplier
and although the mixer has been
thoroughly tested to work perfectly
without any problems, we have to offer
this equipment out without a warranty,
which is heavily reflected in the sale price
Cost new £3519.00 inc. VAT - will sell for
£2345.30 inc. VAT.
Contact Andy: 01253 596900
[140]
Allan Heath GL 2200 mixer
With Flight Case. £350.
[140]
Various items
PANASONIC BT-H1490Y HI RES 14"
PROFESSIONAL MONITOR immaculate,
with swivel turntable £400. PANASONIC
VX100A PROFESSIONAL MINI-DV
CAMCORDER immaculate, 100 hours on
head, extra battery, Hoodman
viewfinder covers, Tiffen filter, plus all
standard accessories £1250. VARIZOOM
STEALTH REMOTE ZOOM AND RECORD
CONTROL £85. ACARD 3 stack DVD
Duplicator (Pioneer dual layer DVDs,
Hard disk drive) £120. KATA MC-60
MULTICASE, immaculate £85. SONY
ECCM lapel MIC 77BC (4 pin connector)
£70. MIC STAND £20
Contact Andy: 01622 204801
[140]
"NEW" 1:9 STANDALONE DUAL
LAYER DVD/CD DUPLICATOR
5 x "NEW" 1:9 STANDALONE Dual
Layer DVD/CD DUPLICATOR
AVAILABLE AT £620.00 each incl. VAT
& UK delivery. Features tall 12 bay
silver tower case configured with 9 x
PIONEER DVR 110 Dual Layer DVD+RW writers, 1 x PIONEER DVD-ROM, 1
x 160GB MEDIA HDD & 1 x Duplication
Controller. LIMITED OFFER OF
£620.00 EACH INC. VAT & DELIVERY.
Contact George: 01527 544883 [139]
Email:[email protected]
Lilliput Video Lighting kit
Consists of two 650W video lights, two
lighting stands and carry bag. These
lights have had very little use and are
in as new condition. Spare bulbs
included. £295.00 ono
Contact Colin: 01992 461858
Call 020 8502 3817 or order on-line at www.iov.co.uk
26
July 2006
Focus Magazine
www.iov.com
SALES & WANTS
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]
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
WANTED
Casablanca editor
Casablanca classic 800dv required
Contact Nigel: 01494 524706
[140]
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
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
Sennheiser UK Ltd
3 Century Point, Halifax Road, High Wycombe,
Buckinghamshire HP12 3SL
Tel: 01494 551551
Fax: 01494 551550
Web: www.sennheiser.co.uk
Soundkit
12 Earle Place, Canton, Cardiff CF5 1NZ
Tel: 02920 342907
Fax: 02920231235
Web: www.soundkit.co.uk
Total Audio Solutions
3 Woden Court, Park, Saxon Business Park,
Hanbury Road, Bromsgrove, Worcs. B60 4AD
Tel: 01527 880051
Web: www.totalaudio.co.uk
Batteries & Power contd...
PAG
565 Kingston Road, Raynes Park, London SW20 8SA
Tel: 020 8543 3131
Web: www.paguk.com
Penridge Multi-Media
The Barn, Rashwood Meadow, Droitwich Spa,
Worcestershire WR9 0BS
Tel: 01527 861911
Web: www.penridge.com
Photon Beard Ltd
Unit K3, Cherry Court Way, Stanbridge Road,
Leighton Buzzard, Bedfordshire LU7 4UH
Tel: 01525 850911
Web: www.photonbeard.com
Westgate Developments
Derby House, 11 Rosebery Road, Langley
Vale, Epsom, Surrey KT18 6AF
Tel: 01372 800404
Web: www.westgatepower.com
Camera Lenses & Filters
Ortus Media Ltd
34 Metropolitan Park, Taunton Road,
Greenford, Middlesex UB6 8UQ
Tel: +44 (0)20 8578 1955
Fax: +44 (0)20 8578 1956
Web: www.ortus.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
CD & DVD Recordable Media
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
Tel: 01527 861911
Planet PC
Tel: 01274 713400
Batteries & Power
DS Video Facilities
Unit 27, Metro Centre, Britannia Way,
Coronation Road, London NW10 7PR
Tel: 020 8965 8060
Tel: 0141 300 3404 (Glasgow office)
Web: www.dsvideo.co.uk
Hawkwoods Ltd
Briscall House, Wotton Road, Ashford,
Kent TN23 6LW
Tel: 01233 638715
Web: www.hawkwoods.com
Ortus Media Ltd
34 Metropolitan Park, Taunton Road,
Greenford, Middlesex UB6 8UQ
Tel: +44 (0)20 8578 1955
Fax: +44 (0)20 8578 1956
Web: www.ortus.tv
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
Tel: 01527 861911
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
Karina Krafts
Complex 7, 34 Nelson Road, Ystrad Mynach,
Hengoed, Mid Glamorgan CF82 7BP
Tel: 01443 815595
Fax: 01443 862204
Web: www.karinakrafts.com
Tel: 01527 861911
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
Tel: 01527 861911
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
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
www.iov.com
Copyright Free & Commissioned Music contd...
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
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
Tel: 01264 336330
MVS Video
Alkham Valley Road, Folkestone, Kent CT18 7EH
Tel: 01303 891468
Web: www.mvsvideo.com
Tel: 01527 861911
RPA
Tel: 020 3183 0000
Focus Magazine
July 2006
27
DVD & CD Applications
Equipment Dealers contd...
Equipment Service & Repair
Media Heaven Ltd
Tel: 0113 244 3550
Tel: 01527 861911
Priory Mill, Castle Road, Studley, Warks. B80 7AA
Tel: 01527 854222
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 & CD Replication Services
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: 01264 336330
Tel: 01527 861911
DVD Duplication Equipment
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
Editing & Facility Hire
Activelight
Coppins, West Road, Stoney Common,
Stansted, Essex CM24 8NQ
Tel: 01279 647682
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
28
July 2006
Equipment Rental
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
Focus Magazine
www.iov.com
Field Production Cases
MVS Video
Tel: 01303 891468
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
Lighting contd...
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
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
Pinewood Studios, Pinewood Road, Iver Heath,
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
Nonlinear & Hybrid contd...
Studio Lighting Design
Video Accessories
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
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
ZEN Computer Services
3 Carolina Way, Salford Quays,
Manchester M50 2ZY
Tel: 0161 736 5300
Fax: 0161 736 5303
Web: www.zenvideo.co.uk
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
MVS Video
Tel: 01303 891468
Outside Broadcast
MVS Video
Tel: 01303 891468
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
Sennheiser UK Ltd
3 Century Point, Halifax Road, High Wycombe,
Buckinghamshire HP12 3SL
Tel: 01494 551551
Fax: 01494 551550
Web: www.sennheiser.co.uk
Soundkit
12 Earle Place, Canton, Cardiff CF5 1NZ
Tel: 02920 342907
Fax: 02920231235
Web: www.soundkit.co.uk
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
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
Teleprompting
PortaPrompt
Lane End Road, Sands, High Wycombe,
Buckinghamshire HP12 4JQ
Tel: 01494 450414
Web: www.portaprompt.co.uk
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
Sony Broadcast & Professional UK
The Heights, Brooklands, Weybridge,
Surrey KT13 0XW
Tel: 01932 816275
Web: www.sonybiz.net
GET YOUR
COMPANY
LISTED
In Focus magazine
and on the IOV web site
- www.iov.co.uk from £145 per year
(£20 for each additional listing)
Call
+44 (0) 20 8502 3817
for details...
All these benefits from
a trade subscription
of just £145 p.a:
Listing in the Trade Directory
of Focus magazine
Listing in the searchable Trade
Directory on the IOV web site www.iov.co.uk
Link from the IOV web site Trade
Directory to your own web site
Automatic discounts on
advertising
Discounts on IOV Convention
exhibition space
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 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
Priority introduction to
IOV regional meetings
Product reviews undertaken
by professionals in true
working situations
And last, but not least, our
excellent magazine delivered every
month to your door!
Video Streaming
Planet PC
Tel: 01274 713400
Additional
Headings
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
Priority consideration of your
company news/press releases for
publication in Focus magazine
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
July 2006
29
John Hodgson M.M.Inst.V.
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.
1a
1b
Robin Walters M.M.Inst.V.
Philip Wilson F.Inst.V.
Kevin Winn M.M.Inst.V.
Andrew Blow M.M.Inst.V.
Broadcast Media Services *
Quentin Budworth M.M.Inst.V.
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.
Tim Smithies M.M.Inst.V.
Mike Walker F.Inst.V.
4
3
19
5
6
7
10
8
9
13
14
11
15
12
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 Videographer
Freelance Audio Engineer
Freelance Lighting Technician
Freelance Directing
Script Writing
Freelance Production Assistant
Presenter and Voice-overs
Graphic Design & Animation Services
Freelance Editing Services
Training
Broadcast Production
Special Interest Videos
Steadicam Operator
Underwater Videographer
AKN
AB
ABKN
ABCD
ACKN
01482 441007
01430 422697
01482 782187
01522 754901
0115 955 3989
01964 562073
01246 850963
01430 431634
01526 353225
01246 852969
07836 702502
01472 811808
01964 503771
07984 629968
01405 704381
01724 720111
0114 281 3320
01924 515100
ABC
ABCFGJ
AB
ACFGIKM
ABCJ
ABCK
ACFGKL
ACDFGIKN
ABC
BK
AB
ABCG
Scotland North (Area 1a)
Brian Rae M.M.Inst.V.
Ron Carmichael M.M.Inst.V.
Iain Johnston M.M.Inst.V.
Colin Sinclair M.M.Inst.V.
Mark Stuart M.M.Inst.V.
01224
01382
01764
01847
01224
313137
520437
655655
895899
782777
James Edwards M.M.Inst.V.
Peter Eggleston F.Inst.V.
John Ford Evans M.M.Inst.V.
George Fenney M.M.Inst.V.
David Gold M.M.Inst.V.
James Goodchild 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 Media *
Martyn Chidlow M.M.Inst.V.
ABCK
ABCK
ABC
ABCDJKMN
Scotland South (Area 1b)
Jim Closs M.M.Inst.V.
Alex Crosbie M.M.Inst.V.
Danny Hart M.M.Inst.V.
Trevor Jenkins M.M.Inst.V.
Guy Kinder M.M.Inst.V.
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.
0131 667 2086
01555 665236
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
North East England (Area 2)
Glenn Huntley M.M.Inst.V.
Brian Jenkinson M.M.Inst.V.
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.
0191 549 3675
0191 252 7354
01388 605386
0191 270 9063
01325 241821
07786 705066
01661 844542
01429 824177
ABC
AB
P
ABN
ABFILMN
ABC
ABCK
AB
ABCKL
BCKN
ABCFGHJKLMN
ABCFGHJKLN
ACHIKN
ABC
North West England (Area 3)
Des Williams M.M.Inst.V.
Tony Williams M.M.Inst.V.
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.
Mark Higham M.M.Inst.V.
Peter Hinkson M.M.Inst.V.
0161 928 7361
01704 232116
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
01625 523237
01253 735200
ABCJK
ABCNP
ABCK
AGJKMN
ABCK
B
KLN
BC
ABCN
ACFK
ABCKM
ACGKLN
ABCN
ABCHJKN
ABC
ABCKMN
BC
ACKM
Focus Magazine
01484 684617
01422 844392
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
Midlands (Area 6)
Brad Miles M.M.Inst.V.
Adrian Moore M.M.Inst.V.
Chris North M.M.Inst.V.
Mike Payne M.M.Inst.V.
Gillian Perry M.M.Inst.V.
Roger Perry M.M.Inst.V.
Michael Shaw 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.
Nigel Hartley M.M.Inst.V.
John Lambert 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.
01449 614378
01603 610566
01362 822577
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
01656
01646
01437
029 20
01792
01453
01242
01443
01568
01242
029 20
01792
01792
650249
651555
769635
666007
816688
835422
579712
838715
620644
674462
520599
520450
776121
AB
ABKN
B
ACDKMN
ABCFKM
ABCFGJKM
ACFGJKLMN
ABJ
ABCK
AJMO
BC
B
A
ABC
ABCEKLN
CDKN
ABCGKM
ABCN
N
AB
ABCKN
ACGJKLNP
ABC
ABCGJKLN
A
ACFGKMN
AB
ABC
ABCK
ACGJKLN
AFGLMN
ABC
ACFGN
ABCDN
BC
ABCK
ABCDIKN
ABCFK
ABCN
West London, Middlesex & Herts. (Area 9)
Brian Royer M.M.Inst.V.
Sam Spence M.M.Inst.V.
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.
020 7514 9923
020 7738 4162
020 8943 2666
07768 014503
01895 672890
01494 438904
020 7932 1190
020 8347 9567
020 8958 9838
www.iov.com
AJKL
ABCK
AB
E. London, Essex & Hertfordshire (Area 11)
Anthony Manning M.M.Inst.V.
Hugh Morris M.M.Inst.V.
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.
020 8923 6068
020 8220 6955
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
West Country (Area 12)
ABK
ABCEKMN
AJM
ACFGKLN
BCK
Tim Martin M.M.Inst.V.
Ernie McKenna M.M.Inst.V.
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.
01993 878252 AB
01993 868479 ABC
01753 553312
01752 510999
01803 290999
01803 214414
01404 881608
01258 450850
01271 891140
01752 361210
0117 910 9704
0117 979 2858
ABCGN
AFKL
B
ABCHK
ACKN
ABCN
B
A
ABCFKN
ABJKNO
ABN
ABCKN
ABCDKLN
BC
ABCH
ABCGK
ABCFGHIKL
ABC
B
B
ACE
01985 212863
01373 832763
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
AB
ABCDFHIJKN
ACGHIJ
ABGI
ACDJKMN
ABC
ABCHJN
AGIJN
ABCKN
BCKN
ABCN
BCK
BC
ACIKMN
BCKN
ABL
ABC
ABCD
ABCHIKMN
B
ABCKN
ABCDFIKMN
ABCKM
ABCFGKLN
ABCJKN
ACGKN
ABCGHK
ABCDEFGIJKN
ABJ
Surrey, Berkshire & Sussex (Area 14)
Martin Hooper M.M.Inst.V.
Peter Howell M.M.Inst.V.
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.
023 9225 0618
01483 765605
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
Kent & SE London (Area 15)
Michael Hughes M.M.Inst.V.
Stephen Kane F.Inst.V.
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.
01959 576255
01795 424248
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
ABCKLN
ACFKMN
ABL
ABCFGIKMN
AB
ABC
ABCK
B
ACFGM
ABCGHKN
AB
AB
BC
B
ABMP
B
ABCJKM
ABCEFIJ
BCKN
AJN
ABLK
ABJKN
ABCGIK
ABC
BCKN
ACFKM
ACFHKN
ABCK
ABCDHK
ABN
ABCDEK
ACFKLMO
ABCHKM
BCD
ABCFGJKLN
ABNR
ABCGIK
Channel Islands (Area 16)
Peter Laine M.M.Inst.V.
Laurie Stewart M.M.Inst.V.
David Le Brocq F.Inst.V.
01481 200026 ACGJKM
01534 485785
01534 723166
Northern Ireland (Area 18)
Frazer Smyth M.M.Inst.V.
028 9267 1958
Republic of Ireland (Area 19)
Brian Scully M.M.Inst.V.
John Daly F.Inst.V.
Tom Fortune M.M.Inst.V.
Michael Lynch M.M.Inst.V.
Keith Malone M.M.Inst.V.
John Murphy M.M.Inst.V.
Oxfordshire & M1 Corridor (Area 10)
First Sight Video*
Ken Franklin M.M.Inst.V.
Gillian Gee M.M.Inst.V.
AM
ABCDJ
AB
Dorset, Wiltshire & Hampshire (Area 13)
South Wales & Bristol Channel (Area 8)
Andrew O'Leary M.M.Inst.V.
Nick Pudsey M.M.Inst.V.
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.
021566
596935
786611
250088
870640
756576
526126
764883
403481
522157
744060
ABCFIKN
ACEGLMN
ACFJKLNR
AGI
ABCFHK
ACDFGHJKLMN
AIKMNR
ABCHJK
AB
ABCHKN
ABCGIKN
01952 605213 AC
A
01492 543246 CK
01902 377882
01743 355725 ABCGIJKM
0845 345 1703 A
01743 891286 ABCKN
0151 342 8184
01978 358522 ACFKM
01352 755397 ABL
01948 780564 AIMN
01490 430507 ABCFGHKLN
01588 650456 ABCFGHIKN
01978 350122 ABCHKN
0116 275 2100
01283 515861
01530 836700
01283 567745
01676 541892
01676 541892
01782 746553
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
07762
01582
01494
01442
01367
01604
01536
01234
01604
01908
01234
ABCFG
ABCFGHK
ABCJKN
BCKN
East Anglia & A1 Corridor (Area 7)
AB
ABC
ABCFHJKN
Mike Wade F.Inst.V.
Gail Allaby 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.
Derek Gobbett M.M.Inst.V.
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*
Mike Last M.M.Inst.V.
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.
ABCDEFHIKMN
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.
July 2006
ABCK
ABCK
AKN
North & West Yorkshire (Area 04b)
16 - Channel Is.
30
B
ABCDE
ABCDGN
BN
ABCG
ABCKN
ABFKLM
ABCDFKLMN
ABCK
B
S. Yorkshire, Humberside & Lincs. (Area 04a)
2
18
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
01253 892177
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
* indicates Corporate Member
00353 86 606 1420
00353 1 495 3937 CM
00353 552 1785
00353 21 733 2240
00353 87 681 4208 ABCKN
00353 93 35933

Page 01.pub - Institute of Videography

Transcription

Similar documents

Nursing and Residential Staffing Solutions

Inlandsbanan A3.indd

Kwele Mask - NOA Living

10/26/1878 - Atlantic County Library System

Welcome to - Serviced Office

FL60 - Leaflet Glamox Aqua Signal

south africa division

the program brochure

Publicatie Vijver Corten staal Eng2 2014