Page 01.pub - Institute of Videography

Transcription

also this
month
The official publication of the Institute of Videography
Review of the
Firestore
FS100
By
Mark Brindle
Issue 140 - September 2006 - £3.50
Video
Artisan - The
Business of
Videography
Shades of
Red - a
review of
Boris Red
By
Kevin Cook
By
Stephen Clayton
INSTITUTE OF
VI DEOGRAPHY
Foreword
Judgement Day
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
The first stage filtering for the
2006 IOV Awards was carried out
by the IOV Exec and Admin
Team on 8th August - where 96
entries across the four categories
where gauged against each other
in order to pick the top five from
each to go on for final ordering
by external judges. That doesn’t
sound like too difficult a task,
does it?
We divided ourselves into two
groups - one dealing with the
Open and Wedding categories
(which I was in) and the other
dealing with Corporate and
Documentary. In case you are
wondering, the two Executive
members who had put entries in
this year were excluded from the
categories they had entered and because each entry had no
distinguishing marks as to who
produced them, there was no
chance of favouritism (or
otherwise) between fellow
Executive members.
I’m only going to comment
on the Open and Wedding
categories here - but I have
since ploughed through the final
five in both Corporate and
Documentary. The overall
standard this year - as in
previous years - has continued to
rise. This shouldn’t put you off
entering, but you have to
understand that the competition
is really tough.
Of the two categories I sat
through, the Open was quite
simply stunning in both variety
and quality. After much haggling
and debate, we eventually had
seven entries in front of us which
were all worthy of being in the
top five - and it really got down
to nit-picking between these to
get to our final choice of five (see
page 6 for the full short-list).
Though they will not get a
mention on the night - the
The Cook
Retort
entries which came in
very close were
Simon Marcus’s
‘Homeless’ infomercial and Sam
Spence’s ‘Anechoic - Just like
you’ music video. In fact there
were probably another three
which narrowly missed the boat,
but in my mind these two were
unlucky to be pipped at the post.
The Wedding Category was
equally hard work - but for slightly
different reasons. Whilst it
demonstrated that the best in
wedding videography can still be
found within the IOV - we found
ourselves discarding otherwise
competent work through silly
mistakes. Mentioning no names,
but there was a couple of entries
where there was more than one
camera used - one shooting in
16:9 and the other in 4:3 ratio.
No attempt was made to convert
them to the same ratio - which
meant that the poor bride was
losing and gaining weight with
each cut! This was not the only
silly mistake we witnessed - but
one which the panel found very
frustrating - if not a little amusing.
We finally dwindled the
Wedding Category down to five
some 3-hours after the other
group had completed their entire
line-up!
All short-listed entries are now
in the hands of the final judges to
put them in their definitive order.
We wish them every luck with
that venture - but we are sure
that once again the IOV Awards
will help lift the profile of
videography even further.
Our sincere thanks go to
every member that entered.
Kevin Cook
z See us on stand 8.515 at IBC!
This Month
FEATURES
14
HD Connect LE
19
FireStore FS-100
20
Shades of Red
24
Video Artisan - The Business of Videography
Bruce Rawlings reviews this HDV converter and cross-converter
A review of the DVCPRO Hard disk recorder by Mark Brindle
Stephen Clayton reviews the Boris Red FX solution
The pros and cons of working from home
REGULAR ITEMS
5
IOV News
IOV and Industry News plus Local IOV Meeting reports
18
Audio File
Phil Janvier’s column on all things audio
29
Classified Ads
Sales & Wants / Products & Services
31
Trade Directory
Subscribing Manufacturers & Suppliers
34
The List
The Register of Qualified Members
www.iov.com
Focus Magazine
September 2006
3
Industry News
IOV News
Industry, Technology & Regional News
Executive Meeting Report
Despite having sat through
around 100 entries for the
2006 IOV Awards the day
before, the Exec were ready to
go at 8.30am for their rather
full agenda. Whilst a full
agenda is nothing unusual, this
meeting did appear on paper to
be one that was set to go the
distance - and more!
Steven Abram’s double-edged
responsibilities this year – as both
the current Executive Chairperson
and also the Financial Director –
means that not only does he have
a firm grip on purse strings for the
organisation, but he also steers the
committee on what matters are
deemed to be worthy of
consideration as far as spending is
concerned. And despite how
frustrating this can be at times, the
IOV’s funds have never before
received such attention and, dare I
say it, tender loving care.
With this in mind, one of the
matters passed at the meeting was
a slightly overdue rise in
membership fees. The last time
these were increased was the
beginning of 2004, at which time
the Exec promised that they would
keep them in line with inflationary
increases – and it has now come to
a point where a small adjustment
needs to be made. From this point
on, membership subs will rise by
approximately £7 across the
board. This will enable the IOV to
continue to develop and improve
its services to members – and to
meet the financial projections to
which the Executive are working.
out further work on the entire
accreditation and membership
structure – which will be presented
to the Executive at their next
meeting.
Executive Eligibility
The Executive considered
amendments to the Constitution in
relation to the appointment of
Executive Committee members.
Ron Lee proposed that this should
be amended to read, “Any IOV
member who has been a member
for a continuous period of 5-years,
and who, at the time of applying
has previously gained IOV
qualification”. Steven Abrams also
proposed that the number of
Executive Committee members
shall be decided by the incumbent
committee, which will in turn be
dictated by the operational
requirements of the committee.
This is a slight but important
variation to the amendments
reported from the last Executive
Meeting. It was also decided that,
in order to avoid unnecessary
delay in bringing this change
about, an amended Constitution
will be put before the membership
at an EGM to be held alongside the
next regular meeting of the
Executive Committee. This will
mean that members who are
eligible for election will be able to
put themselves forward at the next
AGM. If the Executive had waited
to bring this change in at the next
AGM it would have not been until
the following AGM (possibly twoyears down the line) that members
would be able to put themselves
forward. Details on how to put
yourself forward for election, and
the means by which you can lobby
for support and the actual voting
process itself are currently being
devised.
Assessment Results
PPL Proposal
Katherine Shannon M.M.Inst.V.
(Ramsgate, Kent)
The final version of the PPL
agreement (along with some
answers to the Executive’s
concerns) were given the go-ahead
at this meeting. The ball is now
back in PPL’s court, who now have
simply got to get the proper
version of the agreement over to
us for signing – after which the
IOV will be offering the PPL sticker
licences to members and nonmembers. As soon as the scheme
is up and running members will
receive notice and the means to
order their licences – and our
efforts will then continue in relation
to entering into a similar
agreement with MCPS.
IOV Awards
As mentioned at the head of this
report, the Executive spent the
previous day filtering the
categories down to 5 short-listed
titles in each. To avoid previous
concerns, the Executive had
adopted a double-blind system this
year (entries had no distinguishing
marks as to who produced them)
so they were completely clueless
as to whose entry they were
watching. We hope it doesn’t raise
any further suspicion, but it was
surprising that the same names
seemed to have floated to the
surface again.
The next stage will be final
judging, where the short-listed
entries will be ordered 1st, 2nd
and 3rd – plus two highly
commended. All of these will be
presented with a trophy for their
achievement – and all will benefit
from press pictures and generic
press releases. The final order will
not be announced until the awards
ceremony on 18th October.
continued on page 12…
Accreditation
and Membership
Chris Waterlow gave the Executive
an update on the progress of the
Core Competencies exam paper.
Essentially, having taken on board
feedback from the website and
from local reps, this is now going
through its final feedback stage at
local level – where the Area Reps
have been holding mock exams
and gathering views and ideas
from members as to how this
exam can be improved. In the
meantime Chris has been carrying
The Assessment Panel met on
1st August 2006 when the
following awards were made:
Master Membership
Peter Cluer M.M.Inst.V.
(Stroud, Gloucestershire)
Michael Trewhella M.M.Inst.V.
(Boldon Colliery, Tyne & Wear)
James Lundy M.M.Inst.V.
(Armadale, West Lothian)
Congratulations to all the above.
There were 6 applications this
time, 4 of which were weddings
or wedding showreels!
Please make sure that you
read and fully understand the
criteria regarding work to be
submitted for assessments.
Initially, only one piece of work
has to be submitted for
individuals –
not three! Do
not submit
more than one
and ask the
panel to
choose what
to watch; any
applications
such as this
will be
returned
immediately.
Also, please ensure that your
DVD plays correctly as the panel
do not have the time (or the
inclination) to keep trying various
methods of playing your work.
There also seems to be a
resurgence of written excuses as
to why such and such did or did
not happen or was not done
properly. If you have to make
such excuses then think very
carefully as to whether the piece
you are submitting is good
enough. If you are not 100%
happy with your work then what
does that say about your attitude
towards the assessment itself?!
The next cut-off date for
assessments is 30 September
2006. Any work not received by
that date will not be included in
the October meeting. No amount
of begging emails asking me to
hang on while your work arrives
will have any sway! The cut-off
date is not to be considered the
last day of posting. You have
been told!
Assessment Administrator
[email protected]
www.iov.com
Focus Magazine
September 2006
5
Industry News
Two new Canon HDV camcorders
One size does not fit all…
Canon is pleased to announce
the launch of two new 1.67
Megapixel 3CCD handheld High
Definition (HD) camcorders - the
Canon HD Video Camera
Recorders, XH A1 and XH G1. In
doing so, Canon aims to bring
professional quality 1080i High
Definition Video (HDV) to a new
generation of videographers.
Complementing the flagship XL
H1, Canon now offers a range of
versatile HD camcorders
designed for use by independent
moviemakers, ENG (Electronic
News Gathering) professionals,
production houses and broadcast
studios. The new camcorders
help to establish Canon as a
major presence in the rapidly
emerging HD market. The XH A1
features 25F (25 frame)
This year at IBC, Sony will
continue to strengthen its line-up
with new products, including
Vegas 7, switchers, VTRs and
camcorders among others. Sony
will also give visitors the chance
to hear how it is leading the HD
market today, with key
customers sharing their
experiences of using Sony
technology to deliver production
and workflow excellence.
The stand’s (9.410 in Hall 9) Live
Presentation Theatre will feature
regular presentations from a variety
of Sony customers about their
experiences of HD offering better
pictures, greater operational
efficiencies and exciting new
revenue opportunities that have
helped drive their business forward.
The HD Production Area will
reinforce Sony’s acquisition
strategy that one size does not
fit all by showcasing its latest
additions to the line-up of HD
camcorders and VTRs. Visitors
to the eleven-unit strong Camera
Set will be able to get hands-on
with all that’s best about Sony’s
acquisition technology, including
the latest addition to the CineAlta
range for movies and high-end
commercials. From HDCAM,
HDCAM SR and HDV to XDCAM
HD, Sony has a format to suit
every application, production
type and budget.
Visitors to the HD Workflow
zone will get the inside track on
Sony’s end-to-end production
story. Focusing on XDCAM, Sony
will explain how tapeless media
production has become more
efficient and how meta-data can
be employed to streamline
production, archive and
distribution processes.
“With the success of the World
Cup and the increasing rate of
European HD transmission,
there’s an ever-present sense of
broadcast. Fluorite lens
elements and Ultra-low
Dispersion (UD) glass deliver
exceptional clarity. The Super
Range Optical Image Stabilizer,
compensating for unwanted
vibrations across the frequency
range, and two Neutral Density
(ND) filters, are incorporated in
the lens. Separate focus, zoom
and iris rings on the lens barrel
allow for full manual control of
key variables. Multi-coating,
applied to all surfaces, virtually
eliminates ghosting, flare and
chromatic aberrations. Focus
and zoom points are stored as
presets and easily returned to
with accuracy and speed.
Instant AF is a new auto focus
system designed for High
Definition recording. HD places
additional requirements on
an AF system, since focusing
errors are more noticeable.
Employing a combination of
two AF techniques (external
metering sensors and TV
AF), Instant AF is able to
rapidly identify a subject’s
distance and focus on it
accurately at accelerated
speed. When focusing
manually, Focus Assist (Peaking,
Magnifying) is available as an aid
to users.
shooting and
Introduced with the XL H1,
dedicated Cine gamma settings
Canon’s DIGIC DV II image
to achieve the look and feel of
processor is optimised for the
film; while the XH G1
increased processing
incorporates additional studio
requirements of HD. DIGIC DV
standard connectivity.
II incorporates a special noise
The XH series offers: HDV1080i reduction system, providing low
with 1.67 Megapixel 3CCD
noise images distinguished by
imaging and 25F shooting;
excellent colour reproduction and
Canon L-series 20x optical zoom a wide tonal range. Like its
lens (35mm equivalent 32.5predecessor, DIGIC DV II also
650mm); instant AF2 for highprovides split path processing for
speed auto focusing and Focus
video and still images - the
Assist for manual operation;
simultaneous capture of 2
advanced DIGIC DV II3
Megapixel stills is possible.
processor optimised for HD;
Both camcorders feature 2
professional 2 channel XLR audio channel industry standard XLR
input (the XH G1 offers additional audio inputs, allowing external
HD-SDI output, timecode I/O
microphones to be connected.
and genlock input jacks;
For studio-based productions, the
balanced compact design; and
XH G1 incorporates an HD-SDI
internal battery system.
output terminal, allowing
Both camcorders benefit from
uncompressed video signals to
the 1.67 Megapixel 3CCD
be exported directly to external
imaging sensor first introduced
recorders. Seamlessly
on the XL H1 and record
integrating into the studio,
HDV1080i footage to MiniDV
genlock input and timecode I/O
cassettes. HDV1080i
(switchable) allow the camcorder
(1440x1080 pixels) provides the to be synchronised with other
highest possible resolution under cameras and recorders in a
the HDV standard. Since the XH multi-camera shoot.
A1 and XH G1 use pixels with a
The XH series is compact. All
native widescreen (16:9) aspect
controls are positioned on the
ratio of 1.333:1, video is actually camcorder’s body for intuitive
displayed at the full 1920x1080
operation, and a built-in 2.8”
resolution of HD displays.
wide LCD screen folds out from
Simultaneous still image
the top of the camcorder’s body
recording is also possible; digital
and can be rotated through 180°.
photos are captured to MMC or SD A generous 0.57” Electronic View
memory cards - an ideal tool for
Finder (EVF) with 269K pixels is
storyboarding, location scouting
also available.
and continuity applications.
The XH A1 and XH G1 will be
The 4.5-90mm ƒ/1.6-3.5 20x
available from November 2006,
optical zoom L lens is
but can be viewed at IBC,
constructed to the highest
Amsterdam on stand 11.530.
standards, drawing on Canon’s
For further details contact the Focus
experience developing lenses for office on +44 (0) 20 8502 3817.
6
September 2006
Focus Magazine
www.iov.com
inevitability about HD. We’re no
longer selling the concept, the
industry is increasingly producing
in HD and pushing forward the
creative boundaries every day.
At IBC, Sony will arm its visitors,
customers and partners with
even more tools, techniques and
insights to ensure they can
deliver the best possible HD
experience to their viewers. HD
is now, we’re living it and we’d
like you to be part of it too,”
concluded Naomi Climer, Vice
President of Sony Professional
Solutions Europe.
Sony Media Software will unveil
Vegas 7 for HD video editing and
production in Hall 7, stand 7.936.
Vegas 7 features a robust
XDCAM HD workflow, advanced
editing functionality for increased
productivity and the addition of
many other new features for DV,
HDV and HD production. Also
being shown is DVD Architect 4,
which is included in the
Vegas+DVD Production Suite and
Cinescore software, the recently
introduced application for instant
soundtrack creation.
Visit www.sonybiz.net/ibc to
register for updates on our IBC
activities and customers
presenting in the live theatre.
For further details contact Sony
Broadcast & Professional direct - see
Video Manufacturers in Trade
Directory on page 33.
New Edirol HDV Converter
Edirol’s new VC converters claim
to be among the first products to
offer real-time encoding and bidirectional conversion between
any analogue, HDV/DV or SDI
source. There are two new
models in the range, the VC200HD and the VC-300HD.
With the two-way signal
encoding a single 200HD or
300HD unit offers a complete
signal flow solution. Both units
also include built-in Audio Delay
so any latency in the video signal
can be easily compensated for.
Audio Delay adjustments can be
made in millisecond or frame
increments for lip/audio sync
with the video source. The
models also feature in/out sync
terminals allowing genlock with
external devices. Each unit can
also automatically detect the
input signal format and, with
multiple active outputs, it is
possible to record the source
signal from different outputs
simultaneously. The VC-300HD
adds an SDI input and output
with the ability to embed the
audio in the HD/SD-SDI stream.
“The VC line extends the
functionality of every HDV
product out there,” says Massimo
Barbini, managing director of
Edirol Europe. “With the media
converters, any HDV camera or
deck can be used with your
existing analogue products and
function as a record source from
analogue sources.”
The Edirol VC-200HD and VC300HD converters will ship later
this year - price to be
announced. Edirol will be
showing these and other
products at IBC, Amsterdam in
Hall 8, stand 228.
For further details contact Edirol
Europe direct - see Nonlinear &
Hybrid Systems in Trade Directory
on page 32.
Industry News
New Røde Shoe Mic
Answering industry demand for a
high-quality camera-mounted
stereo microphone, Røde has
announced the Stereo VideoMic
(SVM) which is now available
from exclusive UK distributor,
HHB Communications. Aiming to
build on the success of Røde’s
existing shotgun-style VideoMic,
the SVM is designed to capture
detailed stereo
audio, offering
the same
performance
levels as its
mono VideoMic
counterpart.
Based on the company’s
acclaimed ultra-low noise
microphone technology, the SVM
features an X/Y configuration
that meets the challenge of
professional stereo field
recording by imposing a high
level of rear noise rejection,
whilst retaining the essential
ambient sound of the recording
environment. The SVM attaches to
the camera with a standard shoefitting, and includes a removable
high-wind furry windshield (known
as the ‘Dead Kitten’) and an integral
suspension mount, designed to
prevent mechanical camera noise
bleeding into the captured audio.
Increasing its versatility, the SVM
can also be used on a stand or a
boom pole, making it ideal for a
Total Control
wide-range of applications from
interviews and electronic news
gathering to weddings and sports
events.
The SVM features the same lownoise circuit design as the
VideoMic, 9V battery operation
(with LED low-power indicator),
and a high-pass filter switch.
Output is via a standard 3.5mm
mini jack with a
switchable -10dB
pad, allowing the
mic to be used on
most cameras
with perfect level
control.
Steve Angel,
Sales Director at
HHB Communications,
said: “While the original Rode
VideoMic has rapidly become the
industry standard shotgun mic for
camcorder users, it became clear
that there was a similar need for a
great-sounding camera mic for
those users preferring to work in
stereo. The SVM meets that need
in a robust, affordable, highquality package.”
Available now from HHB, the
Røde Stereo VideoMic is priced at
£159 (suggested selling price incl.
VAT). HHB will be exhibiting at IBC,
Amsterdam in Hall 8, stand 8.554.
For further details contact HHB direct
- see Audio Equipment Supplies in
Trade Directory on page 31.
As a part of the continually
evolving series of product
improvements and
enhancements, TV One has
designed a powerful hardware
based controller for the C2 series
of Video Processor and Switching
products. Called the CC-300
CORIOconsole, the device
presents a new way to take
advantage of the power residing
in all of the C2 series products.
The CC-300 is conceptually the
same as a Video Production
Switcher platform and anyone
comfortable with television
production technology will be
comfortable with the operation of
the controller. From the broadcast
quality push buttons to the
precision fader to the equally
precise positioning joystick,
operators will exercise full control
over any of the C2 series products.
The two rows of input selection
buttons, a large LCD display and
the extensive use of both
dedicated switches and soft-key
switches makes setup and
operation of any C2 series Video
Processor easier. Functions such
as setting up and executing long,
complex macro sequences are
greatly enhanced.
Precise image positioning is
easily accomplished for picturein-picture inserts and images will
flow from one to another
seamlessly, all
orchestrated by the control
devices used in the CC-300.
Interface between the CC-300
and the C2 series Video
Processor is via Ethernet with IP
address or RS-232. And when
you’re operating in a darkened
environment, you’ll appreciate
the adjustable light level of the
keys and control buttons. A
single CC-300 can control
multiple C2 devices.
The CC-300 interfaces directly
with Calypso machine control
hardware and software, so you can
control virtually any other product
directly from the CORIOconsole via
IP, RS-232 or even IR or GPI
trigger. Whether you use your C2
series Video Processor in a TV
station, a presentation
environment or at a live event, the
CC-300 will simplify your tasks and
enhance your creativity.
Suggested retail price for the CC300 is £1685. See the CC-300 in
demonstration on TV One’s IBC
stand, number 2.308.
For further details contact TV One
direct - see Video Accessories in
Trade Directory on page 33.
Industry News
Awards Shortlist
Boris Continuum
Boris FX, developer of integrated
effects technology for video and
film, will demonstrate
enhancements and new versions
of Boris Blue, Boris Red, and
Boris Continuum Complete at IBC
2006, held in Amsterdam, 8th to
12th September. The latest
Boris FX solutions will be
demonstrated on stand 7.831.
client-supervised sessions with
speed and ease. Boris Blue will
roll into IBC with some slick new
features and performance
enhancements. The revved realtime 3D motion graphics solution
will include new Image
Processors such as Glow and Film
effects, as well as Deformer
effects that enable users to
shatter and explode 3D
objects. Blue will also sport
a new list of supported
graphics cards.
Considered by many as a
standard for compositing
and effects creation within
the nonlinear editing
environment, Red
integrates with more than
20 supported NLEs,
including systems from
Adobe, Apple, and Avid.
Currently under
development and planned
for release at the IBC
convention, Boris Red 4.0
introduces dozens of new
Boris Blue delivers the popular
Boris 3D creativity with real-time features including 16-bit colour
support and a sophisticated new
performance to accelerate the
paint engine. The new paint
effects production workflow.
engine is equipped with clone
Based on Boris Red, Blue takes
and roller brushes as well as a
3D to the next step and
raster to vector converter tool
addresses the needs of motion
graphics artists who demand true that can automatically convert a
bitmap raster file into an
3D looks for their projects
animatable extruded vector
without the complex learning
shape. Other image treatment
curves and render times
enhancements include an optical
associated with 3D applications.
stabiliser feature that uses
Purpose built for ‘front room’
optical flow technology to
compositing and effects
automatically remove unwanted
production, the Boris Blue realmotion from an image. Among
time performance and highmany of the new filters, Boris
quality results allow users to
create and evolve projects during Red 4.0 will ship with a Motion
Path filter that animates objects
on a spline path. Red 4.0 users
will also be able to import EBU
subtitle files to generate
standard subtitles for multiple
languages and DVDs.
The Boris engineering team is
planning to introduce its next
rendition of Boris Continuum
Complete (BCC) at IBC 2006.
One of the most popular plug-in
packages from Boris FX, BCC's
integration with industry
standard editing and compositing
applications maximizes
ergonomics and production
workflows. The breadth and
depth of the BCC filter package
covers a wide range of
compositing and effects
functionality including tools for;
advanced keying, matting,
compositing, image processing,
distortion, temporal effects and
motion tracking. One of the
thrilling new features slated for
an IBC debut is BCC Motion Key,
a powerful image treatment tool
that allows users to remove
objects from a scene without
having to use complex
rotoscoping or masking tools.
Other next generation BCC
features that the company is
willing to divulge are the BCC
Color Choker for push/pull style
colour correction, an enhanced
BCC Noise Map and BCC
Turbulance for image distortion.
For more information about
Boris FX products, please visit
the web site at www.borisfx.com.
For further details contact New Media
AV direct - see Post Production
Software in Trade Directory on page 33.
Sennheiser Confessions
Longtime Sennheiser endorsee,
Madonna, again has the hottest
concert ticket of the season in
the theatrically spectacular
Confessions Tour 2006. The
show abounds with channel upon
channel of Sennheiser wireless
vocal, instrument and personal
wireless systems, including
Madonna’s much-favoured SKM
8
September 2006
3072 super-cardioid handheld
transmitter. Sennheiser RF
systems are also being used by
the backing and guest vocalists
and on many of the guitar
systems, while all of the
musicians on stage are outfitted
with Evolution G2 wireless
monitor set-ups.
For this globetrotting tour,
Madonna’s four SKM 3072
handhelds are run through a
passive switcher to quickly
reassign them to both front of
house and monitors
simultaneously. Additionally, six
Sennheiser evolution 500 G2
series handheld RF microphones
equipped with supercardioid 865
condenser capsules are available
for the two backing vocalists and
the guest vocalist, according to
monitor engineer Matt Napier.
“There are three for the guest
singer, two for the backing
singers, and there’s a general
spare as well,” explains Napier.
“In one of the songs, the guest
vocalist appears in three different
places onstage; the mics rise out
of the stage. His three mics go
through another switching unit,
Focus Magazine
www.iov.com
so depending where he is
onstage in that song, we just
switch and it changes for me and
for Tim Colvard, FOH engineer
simultaneously.”
On the output side for Napier,
everyone onstage is on
Sennheiser evolution wireless G2
300 personal monitoring
systems, apart from the
drummer and the keyboard
player, who are on wired setups.
The disco-themed set for the
Confessions Tour presented a
challenge to the wireless
systems. “The stage set is
probably the worst design for RF
- it’s coated in mirrors,” says
Napier. “And Madonna starts the
show about 80 feet away on a
walkway inside a glass mirror
ball.” Part of the solution, he
says, was to have Sennheiser
custom-modify some of the gear
and boost the capabilities of the
power supplies.
Sennheiser products will be on
show at IBC, Amsterdam in Hall
8, stand 8.550.
For further details contact Sennheiser
direct - see Audio Equipment Supplies
in Trade Directory on page 31.
The initial stage of the IOV
Awards judging has now been
completed. The day proceeding
its recent meeting, the IOV
Executive committee, and its
admin team, sat through all
entries and selected the five
short-listed videos in each
category of the IOV Awards. In
no particular order, the shortlisted winners are:
Corporate Category
Richard Daly
The story so far
Michael Cottrill
Rise of the Robot
Tony Williams
Newman College '06
Jason Michaelides
DigiSys IQ
Robert Scarfe
Nappy Choice
Wedding Category
Kulvinder Babbra
Jas & David’s Wedding Day
Mark Stuart
Angela & Daniel’s Wedding Story
Keith Malone
Wedding of Helena & Allan
Graham Baldwin
The Wedding of John & Claire
Matthew Derbyshire
The Wedding Day - Chris & Lisa
Documentary Category
Brian Skully
Up in Smoke - Ireland's smoking ban
Simon Marcus
Pilates for Mums
Mark Stuart
The Friendly Festival
James Smith
Gentlemen of the Night
Nik Read
The Deluxe Diving Show
Open Category
Michael Bell
Six Tenners and a Soprano
Chris Waterlow
Revenged
Antony Meade
Guilty
Peter Money
Jake Searson Music Videos
Nick Kirk
Checking Out
Each category will now proceed
to the second-stage judging,
where they will be sorted into the
winning order - which will not be
revealed until the awards
ceremony on the evening of 18th
October at the Chesford Grange
Hotel. Tickets for this gala
evening are available from Karen
Snell on 01634 723838 or by
email to [email protected].
The top three positions will
receive one of the coveted IOV
trophies, whilst the remaining
two entries will take away a
short-listed trophy. All winners
will benefit from standard press
releases - plus publicity photos
with our celebrity presenter,
Debbie Greenwood.
The IOV Awards 2006 is sponsored
by Sony, Penridge, Vinten, Towergate
Camerasure, JVC, Calumet, Holdan
and Canopus.
Industry News
Local IOV News
Find out about Local
Meetings in your Area...
West London,
Middlesex &
Herts.
Stuart Johnson suggested that we
take the core competencies
examination outside. So in a flash
the car park was transformed to
an exam room, equipped with
tables, chairs and plenty of water.
Three members turned up
and took the voluntary exam in a
relaxed atmosphere. The exam
consisted of 100 multiple choice
questions. When the last person
had completed the exam,
approximately 35 minutes after
starting, the papers were marked
and then we discussed the
answers and relevance of some
of the questions.
Other members will be given
the opportunity to do this
voluntary exam on 16th/17th
August - which will be reported
on in a later issue.
proposed exam for the new
accreditation system and the
members found this an interesting
and useful exercise.
We also had a non-member
turn up with his son and they have
expressed a firm desire to join so
this meeting was a great success!
I have invited them along to our
next meeting which is scheduled to
be a talk by Ron Lee on the
Arbitration service and SIV video
creation. Please make an effort to
get along to this event as Ron will
be travelling great distance - all for
your benefit!
or PAL formats.
Clips can be
organised while
By Anthony
shooting for
Barnett
quick access,
Datavision are
then instantly accessed by a nonthe sole
linear editor (NLE) such as Adobe
distributor in the
Premiere when post-production
UK for nNovia
commences.
products, and we were invited
It really does have an
along to their place by director
impressive line-up of features,
Tim Liggins for a demo of their
including Bi-Directional
superb (and the first analogue)
Analogue / Digital Operation,
IEEE-1394 DV Mastering DVR.
High-speed downloads and ultraThe QuickCapture A2D was
long recording times of up to 7
designed for professional
hours on a 100GB HDD! You can
videographers shooting with
even further improve editing
either analogue or digital
time by marking takes during
camcorders to capture “Editshooting for quick clip location.
Ready” clips directly to an
You can then instantly search to
internal hard disk drive during
field shooting. This eliminates the ‘mark’ locations for efficient
downloading.
lengthy capture process, saving
Edit-ready file format
significant time and money.
conversion: Raw DV to .AVI file
QuickCapture A2D also
provides for immediate playback format. (Type-1 Type-2) ensures
compatibility with most of the
of captured digital content to an
analogue monitor in either NTSC major NLE systems.
With durable anti-shock
engineering, this should prove to
be a reliable and highly
compatible unit - which can be
used as a standalone nonlinear
editing source or back-to-back
device. It accepts all IEEE 1394
AV commands from your NLE and
camcorder - and works in both
NTSC or PAL.
It’s also quite secure as you
will lose no more than two
seconds of video content in the
event of power failure while
recording - plus you can record
to the camera tape at the same
time.
We were particularly
impressed with its ability to
convert analogue to digital. This
means that if you have an old
analogue camera with a good
lens - you can attach the A2D to
it and turn your analogue camera
into a digital - putting a little life
back into what has become
virtually redundant kit!
By Emerson
Bovell
The temperature
outside the
venue was
approximately
30°C and inside the venue was
probably over 40°C! Member
North East
England
By Mark Williams
This is the
meeting report
for July. At this
event we did a
trial of the
Oxfordshire,
M1 Corridor &
NW London
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]
07970 235156
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...
Have you booked your place at the 2006 IOV Awards yet?
z Be part of the excitement when the winners are announced
Dorset, Wiltshire & Hampshire
Colin North - [email protected]
01725 511688
Sussex, Berks, Surrey & SW London
z Enjoy the friendly and relaxing atmosphere
Mike West - [email protected]
01903 892951
z Includes a wonderful 3-course meal and entertainment
Kent & SE London
z Try your luck at our fun Casino
Peter Snell - [email protected]
01634 723838
Northern Ireland
John Doran - [email protected]
028 902 00736
Republic of Ireland
Date: 18th October
Venue: Chesford Grange Hotel
(only 5-minutes from the IOV2006 Convention and Trade Exhibition at Stoneleigh Park)
Cost: Only £55 per person
Contact: Karen Snell on 01634 723838 or by email on [email protected]
Dress Code: Black-tie optional
10
September 2006
Focus Magazine
www.iov.com
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])
Industry News
The Executive has already
established that the first and
Executive Meeting Report most difficult stage of achieving
all the aims and objectives is to
identify exactly what being a
Mike Henson
professional videographer means
– which is part and parcel of the
Proposals
work currently being done on the
The Executive discussed the
new accreditation system. Until
merits of two proposals from
this work is completed it would
Mike Henson F.Inst.V. – one
be difficult to establish any
dealing with a restructuring of
further actions or strategic plans.
the IOV and another dealing with
The Executive disputes Mike’s
changes to the rules for the
statement that to be a trade
Executive Forum.
organisation every member must
Mike’s initial proposal centred
be qualified. The Executive
round splitting the IOV into a
believes the membership should
professional and an enthusiast’s
also include those that aspire to
club-type membership – with
be qualified – and provide a
varying benefits associated with
route for them to do so. This
each. The Executive has
again is very much tied up with
discussed the merits of this
the Executive’s work on
concept before, but believe that
establishing a new accreditation
it would not be to the advantage system – and to establish better
of the organisation as a whole or means of promoting those who
are accredited once the former
to our members individually.
has been established.
The IOV’s aims are firmly with
Whilst the Executive will
the professional and those that
aspire to be, and there is already always use all methods to gauge
the opinions and wishes of its
a well established and respected
members (the website, local
association dealing with nonmeetings, events, etc.), the
commercial videography –
committee also has the
namely, the IAC (the Film &
responsibility to manage and
Video Institute) which was
steer the organisation. We do
established in 1931 and, as far
not believe it would be possible
we understand, serves this
to put a plan in place that every
member agrees to, and therefore
market well.
the Executive must decide what
The IOV has a set of clear
it considers to be the best course
objectives (as published on our
of action to further the IOV and
website), and whilst much work
its membership.
still needs to be done, the
We believe the IOV does
Executive feel that we are
represent the best interests of its
moving towards these in our
members – both those who have
current format.
successfully established
businesses and careers in
videography, and those who
The Aims of the IOV are to:
aspire to do so. To separate and
• Promote Videography as an
exclude these two types of
effective business tool
member would diffuse the
• Promote Videography as an art industry and weaken the position
of the IOV to both its
form
membership and the industry in
• Promote Videography as an
general.
archive medium
Mike’s second proposal was
• Promote the IOVs Code of
in relation to changes to the
Practice
rules on the Executive Forum.
• Promote Qualified Members of
Whilst the Executive agreed that
the IOV
changes needed to be made, the
Executive felt that Mike’s
Our objectives are to:
suggestions did not go far
enough.
• Establish and Maintain
Videography as a recognised
profession
• Establish the IOV as the
leading body in professional
Videography
• Establish recognised
qualifications and training in
Videography
• Provide our members with a
commercial advantage over
non-members
continued from page 5…
12
September 2006
Focus Magazine
www.iov.com
Whilst the Executive welcomes
support and feedback from
members, the expectations of
some users of the Executive
Forum has not and cannot be
met. The Executive Committee
simply does not have the
resources for an ‘almost live’
forum for debating IOV business.
However, the Executive do
appreciate the continual
involvement and contributions
from its members – at local
meetings and events, day-to-day
contact, through Focus magazine
and at the convention - as well
as the website.
As soon as practical, the
Executive Forum will be run as
follows: Members wishing to
pose questions to the Executive
Committee shall do so by either
email or post – which will be
considered by the Executive as to
whether the question is in a form
which can be answered with
accuracy or whether it should be
amended in order to give a more
detailed and accurate response
for the benefit of all. This
question, and the Executive’s
answer, will then be published on
the Executive forum. The facility
for members to add comment
and additional questions will be
removed from the forum. If
members want to ask further
questions or seek clarification
this can be done by repeating the
process as above.
Jack Tristram
Proposals
Jack Tristram proposed that
Focus no longer published any
correspondence in MailBox to
which the contributor is not
willing to put their name to. The
Executive agreed.
Next Meeting
The next IOV Executive meeting
will take place on 15th November
2006 at the Hilton Hotel, St
Helens. Those wishing to contact
the IOV Executive to suggest
items for the Executive meeting
agendas should email [email protected] - no later than
14-days prior to the meeting.
IOV Executive Administrator
[email protected]
Forthcoming
IOV Events
Calendar...
September 2006
6th - S. Yorks, Humberside & Lincs.
‘Inaugural Event’
For details contact:
Jim Panks 0845 838 1519
12th - Dorset, Wiltshire & Hampshire
‘Open Evening’
Colin North 0845 230 4077
13th - North Wales and Borders
‘Subject to be confirmed’
Rowland Barker 01490 430507
14th - SE London & Kent
Peter Snell 01634 723838
19th - S. Wales & Bristol Channel
Jack Tristram 01792 816688
19th - Surrey, Berkshire & Sussex
‘Camera Craft Workshop’
Mike West 01903 892951
20th - North & West Yorkshire
‘Contract Law in Business’
Roger Staniland 07970 235156
20th - North West England
Phil Janvier 0151 487 9338
21st - W. London, Middx & Herts
Emerson Bovell 020 8575 2842
26th - North East England
Mark Williams 01642 651862
26th - Scotland South
Tony Nimmo 01555 661541
27th - Scotland North Meeting
‘Chris Waterlow - IOV Assessment’
Brian Rae 01224 313137
28th - Essex, Herts & N. E. London
Zulqar Cheema 01279 413260
October 2006
10th - Dorset, Wiltshire & Hampshire
‘Voice Over artist and Music’
Colin North 0845 230 4077
12th - SE London & Kent
Peter Snell 01634 723838
18th & 19th - IOV2006
The IOV’s Annual Convention
Kevin Cook 020 8502 3817
25th - Scotland North Meeting
‘2006 IOV Awards Viewing’
Brian Rae 01224 313137
26th - Essex, Herts & N. E. London
Zulqar Cheema 01279 413260
31st - Scotland South
Tony Nimmo 01555 661541
31st - North East England
Mark Williams 01642 651862
When the offer came to
review this little box of tricks,
the Convergent Design HDConnect LE, I jumped at the
chance. Sometime before
Video Forum I was attracted
to this box but shied off
thinking it was not proven
yet. I have had my share of
‘Bleeding Edge’ technology
over the years.
As a producer who combines
the production of SIV
programmes with running a
production/facilities company for
both corporate and broadcast
clients, I need to be able to
handle all video formats. My
requirements right now are
straightforward - I must be able
to transfer HDV material to either
SD or HD projects in the highest
possible quality (SDI / HD-SDI)
at reasonable cost. I must also
be able to transfer HDV to other
tape formats such as SD Digibeta
or HDCAM whilst retaining the
original tape timecode.
This little box decompresses
and scales the HDV stream to
produce uncompressed HD or SD
SDI with audio and timecode.
With more editing systems
having an SDI or HD-SDI input
the facilities provided by the HDConnect LE should solve the
problems created by the
compressed HDV pictures.
I have always had a nagging
doubt that in-built camera
converters are a bit of a
compromise so have been keen
to compare the results with a
unit specifically designed to give
a high quality transfer with the
tape’s original timecode.
The Box
The Convergent Design box is
neat and all connections are
clearly labelled. The unit is
versatile and allows 4-pin or 6-
pin FireWre connections to be
made - a godsend as I tend to
have the wrong cable available at
any given time and situation.
There is a set of DIP switches
on the underside that set up
various functions, although more
control is becoming available via
downloaded firmware upgrades
and the software control
application.
Basically, the HDV FireWire
goes in one end and SDI or HDSDI comes out of the other on a
standard BNC socket – it is a one
way converter. Other
connections give LTC timecode,
component HD, composite SD
and AES audio outputs at the
same time. With suitable edit
packages RS422 – 1394 control
operates the HDV camera or
deck.
All flavours of HDV - Sony,
Canon, and JVC - are
accommodated. I have carried
out all my subjective tests in
1080i mode using HDV material
recorded on a Sony Z1 and
played into the edit machines or
tapedecks via the HD-Connect LE
box from a Sony HVR-M10 HDV
deck.
Setting Up
It took a while to get the box
working correctly with my edit
suite but only because the
review unit was sent to me
blind. Normally, your supplier
would set up the box in the
configuration you require.
In my case an Avid
AdrenalineHD editing system
was being installed for a
14
September 2006
Focus Magazine
www.iov.com
particular project at the same
time as the HD LE arrived, a
convenient coincidence. Initially
the unit did not want to know
about the Avid - nothing new in
this situation, as we all know
that products will not talk to
other products, whatever the
claim in the brochure.
I contacted Convergent
Design and was advised to
download the control application
for accessing the box and then a
firmware update 1.0.134 from
the web site. This was a
straightforward procedure as I
luckily had a web connected
laptop to hand, and in one fell
swoop I was up and running.
By the way, I do not allow
web connections on my editing
computers, this gives me peace
of mind that the chances of
picking up viruses are reduced.
I cannot afford to have
unnecessary down time in an
edit suite.
Although not over keen on
the chore of downloading from
the web, in this case the product
backup is to be commended.
New features are promised via
user downloads in the future.
I have also tried the HDConnect LE on an Avid SD
Symphony - it worked without a
hitch. I have not had a chance to
use it with Avid Express ProHD
Review
but it is supported. The unit also
has settings that can be selected
to work with Final Cut Pro and
Premiere.
One thing that caught me out
initially is that for some reason
the HD-Connect unit has a
default setting that outputs a
16:9 letterbox picture in SD
mode. I’m not really sure about
the reasoning behind this but it is
only a click of the button within
the control program to change
this to FHA (full height
anamorphic).
So, what about the
Quality of the
Transfer?
Very impressive. There is no
doubt in my mind that the upconvert is much cleaner than the
camera/player route and the
transcoding that this requires. I
used the unit to transfer HDV
material to SD Digibeta format
via the SDI output, this cut in
well with other pictures shot on
BetaSX and Digibeta. The
converted pictures do look a little
soft but I think this is down to
the lens quality of the Z1 when
compared with a Fujinon SD
broadcast lens. Artefacts are
reduced I am told because the
downscaled pictures have only
seen one compression (HDV).
Using the Avid AdrenalineHD
machine in 185DNxHD mode (the
highest quality mode) I captured
material using both HDV from
the Sony deck and then
transcoded to HD and then HDV
via HD-SDI from the HD LE box.
When cut together there was a
IOV2006
Hotel Bookings
Make the IOV Convention a
comfortable and relaxing short break
The Chesford Grange Hotel will provide the main hotel
accommodation for the IOV2006 Convention and Awards
Dinner. A special rate of £120 per room (twin or single
occupancy) on a B&B basis has been negotiated.
To book rooms at the Chesford Grange please contact Kevin
Cook on 020 8502 3817 or email [email protected].
A list of local alternative accommodation is also available from
www.iov.com/convention.
16
September 2006
Focus Magazine
www.iov.com
perceivable difference - the HD
LE sourced pictures definitely
have more detail and look
cleaner. All viewing was carried
out using the new Panasonic BTLH1700 17” LCD screen that is
fast becoming a cutting room
favourite for economical HD
monitoring.
Out of interest I also
recorded identical pictures (close
up and wide shots of plants) on a
Sony 730s HDCAM camera and
on a Sony HDVZ1 and then
captured the HDCAM from the
HD-SDI camera output and the
HDV pictures via the Sony HVR –
M10 /HD-Connect LE set up.
When intercut the HDV closeup shots were hard to distinguish
from the HDCAM material, to me
only the wide shots really gave
the game away. The lower
resolution and general video
noise of HDV along with the Sony
Z1 lens probably being £9750
cheaper than Fujinon’s HD
broadcast glassware may also
have something to do with it. I
rounded up a few ‘typical’
viewers who found it hard to spot
the difference.
Conclusion
So is the HD LE worth owning?
Whatever your editing system
and workflow the HDV format will
most likely need converting to
HD at some stage for high quality
editing, viewing or distribution.
Retaining the original timecode
saves having to make tape
copies and in my opinion is worth
a lot.
This unit does exactly what it
claims and the quality of the
scaling conversion looks
everything it should be. Without
hesitation I am now happy to
shoot future SIV productions in
HDV and HDCAM formats and
mix and match the material. My
post production clients will
benefit greatly from this HDV
workflow.
This box has a number of
other uses. The HD-Connect LE
has come in useful for producing
a high quality component signal
that can feed into my Sony 3
LCD high definition projector.
Projected, the HDV pictures look
really good and this facility could
also prove useful for scaling up
video material suitable to be
displayed on the soon to emerge
1920 x 1080 Plasma and LCD
Technical Report
screens. I have heard talk of low
I am an editor not an engineer so cost HD-SDI to DVI/HDMI
I called in the services of my
converter boxes being just over
local broadcast servicing
the horizon – a pure digital
technician to give an opinion.
connection path is almost here.
His comment was that on a
The HD-Connect LE unit can
grade 1 HD monitor the pictures
also cross convert from 1080i
looked very good and the bench
and 720p HDV and 720p to 1080i
measuring equipment indicated
so JVC HDV pictures can be
that the pictures were legal. He
intercut with those from Sony
and Canon cameras and vice
reminded me that this type of
versa. This is certainly an
unit is not suitable for live
indispensable little box to have
applications. There is a
considerable delay, not surprising around -every HD edit suite
should have one.
though with the amount of
Bruce Rawlings
camera processing involved to
Dart Film & Video
convert the images ready for upNotes: HD Connect LE is
rezzing to full HD. Standard DV
distributed through Symbiosis in
to SDI is not catered for but I
the UK and for a list of authorised
see from a web site comment
that work will be starting soon on resellers, customers need to go to
www.symbiosiseu.com
such a unit.
Microphones (Part 3)
One of the most useful trade
catalogues to come my way
recently was Total Audio
Solutions’ Audio Guide for
2005. Now I know that it is a
year out of date but I have
sat looking through its
seventy-six pages of
microphones and eight pages
of radio microphones, and I
am impressed with the detail
they have managed to
include. Each listing gives
you a photograph, a
description, a polar and
frequency pattern and a list
price.
As a work of reference it is
wonderful, especially as it
separates its listings into types of
microphone; condenser,
dynamic, location, personal,
headworn, boundary, gooseneck,
installed and underwater.
I realise that there are lots of
trade catalogues out there, and I
have no doubt that they are filled
with similar listings and
specifications, but it has made
me stop and think about the wide
variety of microphones available
to us as videographers.
In the first part of this mini
series on microphones we looked
at microphone design and that
included general descriptions of
the condenser and dynamic types
of microphone, but as can be
seen in all the trade catalogues
available to us they come in a
variety styles for specific
applications.
Hand Held
The majority of microphones
produced today are hand held
and are of the cardioid variety.
Being hand held they are at risk
of being dropped therefore they
are sturdily made and shock
resistant. The sound element is
well isolated to prevent handling
noise due to physical vibration
and they have protective shields
with an inner head lining that can
18
September 2006
on some microphones, like the
Shure SM58, be removed and
washed.
Very often these microphones
can be mounted on a microphone
stand with a generic adapter and
whenever possible this is to be
encouraged so as cut out
unnecessary handling noise.
possible is the one attached to
our camera. It is prone to
picking up the vibrations of the
tape drive, the zoom controls
and our less than gentle
handling!
UHF Radio
Lavalier Microphones
As indicated last month the
majority of lavalier microphones
are usually omnidirectional in
nature. They are widely used in
video work as they can be
clipped very close to their subject
Stand Mounted
- therefore keeping the distance
In today’s modern recording
studios it is very rare for anyone between the sound source and
the microphone constant which
to actually hand hold a
results in a more consistent
microphone - instead the
recording. Again, most lavaliers
majority of microphones are
can be mounted upside down
stand-mounted. In times gone
cutting out pops caused by the
by recording studios would have
used tube-type microphones that speaker’s breath.
One tip I have learnt is to use
were too large and heavy to
toupee-tape to attach the lavalier
hand hold. Now, while weight is
not now an issue, we still want to microphone to their users as this
cuts down on the background
cut out as much handling noise
noise caused by the persons
as possible.
clothing moving against the
Even when booms are used
microphone. Amusingly, two
to enable the handler to get the
brides have also borrowed my
microphone as close as is
possible to the sound source, the toupee-tape and used it ensure
that their wedding dresses
microphones are mounted using
stayed up and fixed in place
rubber based shock mounts
during the marriage ceremony!
designed to keep vibration
interference to a minimum.
Shotgun
While stand mounted
A shotgun microphone is an
microphones are highly
important tool to have in your
recommended, one stand
mounted microphone that should videographer’s bag of goodies.
They are extremely directional
be avoided as much as is
which results from a design that
places the shotgun’s capsule
inside a tube with slots cut along
the side. This special design
feature eliminates the majority of
the off-axis noise.
Care must be taken when
using a shotgun microphone as
their limited width of operation
means that the subject you are
recording might step out of the
area of sensitivity and leave you
with a recording filled with noise.
Focus Magazine
www.iov.com
Parabolic
Parabolic microphones are fairly
specialised in that they are often
used in nature recording and are
particularly good at picking up
birdsong. The parabolic
microphone is a standard
microphone with a built-on
reflector that concentrates sound
on to the capsule in similar way
that a satellite dish reflects radio
waves to the pick-up.
Practical Applications
Whatever the microphone used
there are a number of good
practices that we can adopt.
Firstly, we need to keep to a
minimum the distance between
the microphone and the subject
we are recording.
Secondly, by understanding
the working angles of the polar
patterns and attributes of the
microphone we are using, we can
keep the sound source directly
on-axis.
Thirdly, try as much as is
possible to keep the distance
between the sound source and
the microphone constant.
Finally, snatch at every
opportunity to test and play with
different types of microphone they are not all the same and
nothing beats the ‘hands on’
‘ears out’ approach. If you do
you may be pleasantly surprised
at the difference the right
microphone makes.
Phil Janvier M.M.Inst.V.
Review
The FS-100 Hard disk recorder
has been designed specifically
to work with the Panasonic AGHVX200 P2 camcorder and
comes supplied with a 100GB
hard disk and ‘standard’
battery – sufficient to record
about 90 minutes of DVCPRO
HD footage at 1080i/50. Most
of the Panasonic-supported
formats are covered including
DVCPRO HD 720p, DVCPRO50,
DVCPRO and DV recording.
There are a few caveats,
however.
The main benefit of the Hard
disk recorder is the ‘Direct to Edit’
design – just plug it into your edit
system via FireWire and transfer
the recorded files across. For the
HVX200 in particular this removes
the need for any P2 solid state
memory cards – nearly, but not
quite. The FS100 does not support
the variable frame rate 720pN
(native) mode – for undercranked
or overcranked shooting at native
frame rate. Time-lapse recording
is supported on the FS100 in DV
mode only.
It’s Juicy and Hot
Like any product which has an
optional high capacity battery, you
know your going to need it. The
stated 90-minutes of operation for
the standard capacity battery may
be true under very ideal
circumstances indeed. A optional
cradle is available to allow the
FS100 to attach to the hot shoe of
the camcorder – however this will
only fit using the standard capacity
battery. The cradle is well made
and uses a Manfrotto ball-joint
with vents to align with the vents
on the FS100 body. Aside from
making your own mount, the
cradle is the only option really –
although a belt connector is
supplied if you’re willing to risk
using it. I ended up with two
standard capacity batteries to
allow the use of the cradle. These
are the same batteries used by the
FS-4, I believe.
For a full length continuous
recording I would recommend
plugging in an external psu if
possible or using the high capacity
battery. The battery will re-charge
when connected to a computer
over FireWire or you can use the
supplied power supply or an
optional external charger.
Neat and logical
The FS100 is fairly neat at only
4cm (1.5”) thick but does tend to
get in the way a bit when mounted
on the hot shoe – especially when
hand holding the camera. You
really want to see the display to
make sure you are recording –
seeing the timecode roll along –
especially when this is your only
recording. So you will need to
experiment with mounting the unit
to find the ideal position for you.
Users of other FireStore
products will be familiar with similar
screen and button control layouts –
these are fairly logical and it didn’t
take long to get used to the menu
system. Under normal operation,
with the camera and recorder setup
correctly you can press the record
button on the camera to start/stop
recording – that’s it. In the latest
firmware, the FS100 will auto detect
the video stream and start
recording (or not). You really do
need to read the manual and the
supplied workflow documents to
setup both the camera and FS100
recorder correctly.
You can play out and view the
recording on the HVX200 using the
Play/Stop/Fwd/Rew buttons. Just
put the HVX200 into VTR mode
and make sure you press the ‘hide
thumbnails’ button. This is very
handy for instant playback on
location – same as when using P2
cards in the camera.
Recording formats vary based
on the video stream type – for
DVCPRO HD and DVCPRO50 you
have the option of RAW or P2 MXF
format. My MAC just couldn’t
understand RAW format and I was
glad of the playback feature to be
able to record RAW format video
back onto a P2 card to recover it.
For DV/DVCPRO you have
options of QuickTime, AVI (many
options), AVID OMF - to name a
www.iov.com
few from the list. Transferring P2
MXF format video from the FS100
is virtually identical to transferring
from a P2 card itself – you see the
clip thumbnails and can select
individual clips or all clips. It is a
very good idea to read the
HVX200 /FS100 workflow
documentation though (have I said
that already?!).
Outstanding Issues?
The latest firmware v2.0 really
should have been v1.0. Drop outs,
duplicate frames and freeze-ups
are thankfully a thing of the past.
It’s proved to finally be a reliable
bit of kit with v2.0 installed. I still
have an edit nightmare to contend
with for some footage shot on the
initial shipping firmware –
something I have been trying to
delay as much as possible..
The only other issue is the
FireWire connection itself.
Standard FireWire is not
particularly rugged and its ‘fairly’
easy to unseat a cable. Focus
supplies a right angled 6-pin
FireWire cable to help keep the
cable seated properly into the
FS100, but the HVX200 has a
small 4-pin FireWire connection.
Ideally, I would like to see a much
more rugged connection – possibly
through some proprietary
connection/cable combo. Gaffa
Tape and tie-wraps seem to be the
only current solutions.
Mark Brindle M.M.Inst.V.
Maniac Films Ltd
Focus Magazine
September 2006
19
Boris Red is a one-stop
application for titling, 3D
compositing and effects that
competes with the likes of
Adobe AfterEffects and
Combustion. It functions as
both a standalone application
and a plug-in for a variety of
NLEs including Premiere,
Final Cut Pro, Avid and
Pinnacle systems. Boris Red
is actually three programs in
one; the Plug-In, the ‘Red
Engine’ and the ‘KeyFramer’.
The plug-in resides within the
host NLE and can be applied to
clips on the timeline like any
other effect or transition. When
20
September 2006
applied Boris Red, unlike most
plug-ins, does not use the NLE’s
interface but instead launches its
own. Here the desired effect can
be achieved and applied directly
to the clip in the timeline. Preset
video modes include SD, and
720p and 1080i HDTV.
The ‘Red Engine’ allows Boris
Red to be used in a stand-alone
mode. A whole host of media
can then be imported, edited and
then exported as an image
sequence, QuickTime, AVI, Flash
or file. When creating a project in
the ‘Red Engine’, the preferences
can be altered to create projects
with custom frame sizes and
Focus Magazine
www.iov.com
Premiere and Photoshop to
create and edit compositions.
Although the Premiere (or
Premiere and DV Storm) set-up
offers the benefits of real-time
effects, this combination has
always been restrictive in terms
of manipulating media in 3D and
creating truly attention-grabbing
video and text effects. Therefore
Boris Red’s claims of delivering
“…tools to create and extrude
vector objects, robust 3D
creation and the industry leading
software DVE” made the
application sound like it could be
a useful addition to our software
line-up.
The process of installing Boris
Red was very straightforward
Installation
and no problems were
For this review Boris Red was
encountered on either PC. Upon
installed on two of our editing
launching Premiere, Boris Red
systems to gain a better
was indeed there waiting to be
understanding of how the power
applied as both a transition and
of the machine affected the
an effect. When Boris Red is
application’s performance. The
applied to a clip in the timeline,
first of these was our elderly
the program launches in its own
Canopus DV Storm 2 system
interface rather than integrating
which has a 2.7GHz processor,
into Premiere’s with the said clip
and the second was our relatively appearing automatically within
newer system which has a 3GHz
the Boris Red timeline.
processor. Both systems have 1
Once the desired changes
GB of RAM and run Adobe
have been made, a click of the
Premiere 6.5.
‘apply’ button applies the
Although a lot of the work we changes within Premiere.
Despite repeated launching
do at Creative IO is often quite
and closing within its own
intricate and graphically
orientated, we have always relied interface, Boris Red remained
surprisingly stable.
on the combination of Adobe
frame rates. This means that
sequences can be created for use
in many more applications than
video editing alone.
The ‘KeyFramer’ is a freely
distributable program that uses
the same interface as the plug-in
and the Red Engine is designed
to create effects offline using any
computer. It uses proxy images
to create effects when your
media is unavailable which can
then be subsequently rendered
using the Red Engine at a later
date. This is useful if your
editing suite is busy rendering,
for example, as work can
continue on another computer.
Review
The majority of compositions we
create using Premiere often
comprise ten or more layers and
although some slowdown was
experienced when working on
such complex compositions, on
the whole, Boris Red was crashfree.
by selecting a combination of
these and then applying effects
and filters, animating or
otherwise modifying the tracks to
create the sequence you desire.
The sheer number of
variables that can be altered can
seem daunting when first using
Boris Red. Almost any variable
you can imagine can be animated
Usability
using keyframes which allow you
Having never used compositing
to precisely control how effects
software before the learning
curve was steep but by no means are applied to media. Each
vertical! The .pdf documentation keyframe can also have one from
up to nine types of interpolation.
included with Boris Red does a
These determine how parameter
good job of introducing the user
values animate between
to the various aspects of the
keyframes. For example, an
program via a series of easy to
effect or movement can be set to
follow, but increasingly involved
ease-in, accelerate or remain at
tutorials and I found this to be
the best way to get to grips with a linear rate over the period of
change. We found this to be
the program.
Boris Red also includes the
especially useful when flying
‘Keyframe Library’ which is a
objects or text onto screen as
repository of pre-built effects and they can be set to gently settle
transitions that can be imported
into position which makes work
into your projects. These can be look much more fluid and
further modified, enabling you to appealing.
see what effect changing the
Effects can also be layered on
various parameters has on a
top of each other or applied to
project.
groups of clips, with the upshot
A wide range of video,
being that a seemingly
graphic and audio files can be
unbounded array of effects can
imported into Boris Red. In
be achieved.
addition to this, 2D and 3D
Many effects also allow you
shapes and text can also be
to choose from a wide variety of
created directly within Boris Red
blending modes (more than are
itself. Each track in the timeline
available in Photoshop!) which
comprises two main elements adds a further level of creative
the ‘media’ and ‘shape’. The
possibility to projects. Indeed,
‘media’ is the file you wish to use
one quickly gets the feeling that
and the ‘shape’ setting
if you can conceive an idea,
determines how that media is
Boris Red can probably help
displayed from a list of 8 settings
realise it – just so long as you
such as cylindrical, 3D plane, 3D
possess the knowledge of how
extrusion and page-turn. In
to achieve it!
short, compositions are created
After a bit of time, however,
it does become easier to gauge
which effects work well together
and relatively complex and
impressive looking effects can be
achieved in a comparatively short
space of time.
Strangely enough the largest
hurdle to overcome when first
using Boris Red is the program’s
interface. Although the screen
layout can be rearranged,
creating a satisfactory workspace
is hard to achieve. The screen
often feels cramped and
parameter input boxes are sized
too small and positioned
needlessly close together.
Many frequently accessed
controls are also buried within
menus making them hard to
www.iov.com
Focus Magazine
September 2006
21
Review
is quite exciting, and some rather
nice looking effects can be
created by simply combining one
or more filters.
One of the nicest filers we
found was the ‘Light Zoom’ which
came into use on a project we
were doing for Stanley Tools. As
the sequence was an infomercial
Filters & Effects
extolling the virtues of their laser
Boris Red comes with over 100
measuring range, we were
filters and effects. These are
looking for a laser-like effect
divided into 7 categories and
which would sweep across the
range from the usual blur and
screen and introduce captions.
colourise effects to chroma
By combining this filter with a
keying and some rather nice
text reveal, such an effect was
motion tracking tools.
achieved which could then be
All filters are fully
tweaked for each individual
customisable and, in addition,
caption.
dynamic masks and mattes can
A real bonus for corporate
be created using the
video makers is the ability Boris
‘PixelChooser’ option. Anyone
with experience of Photoshop will Red has to create animated
soon feel at home using these as graphs and charts. In addition to
manually entering data, tab or
many comparable filters can be
comma delimited data from a
found in both applications. The
database or spreadsheet
ability to apply such effects to
video rather than just still images program can be imported into
access quickly without
memorising a series of fingerbending keyboard shortcuts! The
absence of information informing
you what specific unit a
parameter is being measured by
further compounds the problem.
the Chart Editor. From here
either a two dimensional or three
dimensional bar graph, pie chart,
line graph or an area chart can
be created using Spline Primitive
shapes. Again, this therefore
gives you the ability to animate
keyframes and dictate how the
resulting chart looks, builds and
moves. This can add a degree of
panache to potentially dull chartheavy productions, especially
when compared to the
comparatively limited range of
effects that can be achieved in
PowerPoint presentations, for
example.
Titling
Boris Red excels when it comes
to creating high quality animated
text effects. Text created within
or imported into the program can
again be animated as described
above.
The ‘Type On’ tab however
gives a further set of alterable
parameters. These enable the
user to change how the text
appears on screen, whether it be
letter-by-letter or whole words at
a time. In addition, combining
these variables with an animateable ‘text path’ can produce an
array of eye-catching titling
effects.
Much of our work at Creative
IO is often quite text-heavy. The
ability to create new and exciting
22
September 2006
Focus Magazine
www.iov.com
text effects has always been
constrained by the limits of our
editing system.
When flying or zooming text
for example, one had to consider
the fact that text (or any raster
image for that matter) would
pixelate if scaled upwards too
much. Previously this has always
restricted the creative
possibilities of our work, but this
is no longer a problem when
using Boris Red. This is because
Boris Red allows you to create
not only bitmap, but also vector
text. This means that text you
create can be resized and
rescaled while maintaining the
integrity of the edges which is a
major boon when creating flying
or zooming text effects.
The number of ways Boris Red
provides for getting text onto
screen is extensive. Individual
letters, words or sentences can
be animated to, amongst others,
Review
dissolve, bounce, grow, fade and
swivel onto screen. Again, this
was particularly useful for the
Stanley Tools project we were
working on. The storyboard
dictated that a lightning effect
was to strike the individual
letters of their logo, making
them shake and joggle as they
appeared. Creating this effect
without Boris Red had been very
time consuming as several
instances of every letter, each
slightly repositioned and resized,
had to be created within
Photoshop and then layered up in
Premiere. Creating this sort of
effect is bread and butter to
Boris Red, however. By altering
just a few parameters, a far
superior looking version of the
effect was created in a fraction of
the time.
Text in Boris Red can also be
specified as 3D extruded text.
This allows you to turn 2D text
into 3D with bevels and edges.
Effects and media can then be
added to these faces which can
range from materials such as
plastic, glass and aluminium as
well as reflections, video,
gradients and bump maps.
Again these can all be animated
independently of the text itself.
In addition to text the 3D
extrusion mode can also be
applied to vector graphics and
externally created .EPS files.
Performance
& Rendering
In order to speed up work flow,
Boris Red can be set to display
and render sequences at a
number of draft quality setting
modes. This is useful as it
enables you to quickly create
temporary stop-gap versions of
compositions before committing
to the final render at a later date.
Rest assured though, the quality
of files when rendered at the
highest quality settings are of a
very high calibre indeed, devoid
of pixelation or artefacts.
Thankfully the quality of the
host machine does not affect the
integrity of rendered
compositions. We found that you
don’t need a top-spec machine to
run Boris Red, and even our
dated DV Storm 2 editing system
ran the application quite
adequately. Unsurprisingly,
however, render times were
noticeably better with the quicker
machine. A fairly effects-heavy
4-second logo build was rendered
roughly 20 percent faster on this
system, which is quite an
increase given the duration of
the sequence.
The most noticeable
difference between the two
systems, however, stemmed
from the fact that the newer
machine had a graphics card with
the OpenGL feature, which was
supported by Boris Red. Using
this clever bit of technology
media could be manipulated
directly within the Composite
window using handles.
This is much easier than
having to type parameter values
into the data input boxes in the
Controls window. Although not
essential, the OpenGL capability
is desirable and greatly speeds
up workflow.
the program feels quite daunting,
but serves as an indication as to
the range, flexibility and depth of
Boris Red.
After a bit of practice it
becomes relatively
straightforward to create fairly
involved compositions in Boris
Red in spite of the fiddly
interface. For instance, the
above example was created from
a single source in a matter of
minutes.
However, due to the fact that
even the simplest sequence
requires rendering, regardless of
the power of the host system, it
is unlikely the application will
totally replace a NLE’s native
real-time effects and titling tool
for simple jobs. Rather, Boris
Red excels at enabling the
construction of showpiece effects
that serve to elevate day-to-day
sequences above the norm. Any
editor for whom compositing is a
large part of their business, or is
simply looking to add a new
dimension to their work, should
give Boris Red serious
consideration.
Stephen Clayton
Notes: Visit www.borisfx.com/
html/products/RED/table.html for
a list of graphics cards which are
supported for the OpenGL
features in Boris Red 3.0.2.
Conclusion
Boris Red offers a wealth of
creative possibilities, which is
obvious from the 1200 page user
guides! The sheer number of
buttons and controls one is
presented with upon first opening
www.iov.com
Focus Magazine
September 2006
23
You’ve made the decision to
start your own business and
you’ve gone through the
initial stages of identifying
the market and putting a plan
together. However, one of
the decisions that you may
have already taken could
impact on your success in a
greater way than you think –
and that’s where you are
going to run the business
from.
Let’s face it, a basic set of
working tools for a professional
videographer don’t require a
multi-story factory unit to house
them. Nearly all your postproduction kit can fit on one desk
– along with your telephone.
Stock, shooting kit and
accessories will also take up little
more than a corner of a spare
room. But its not all about the
space required to operate the
business – its about the quality
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to IOV2006. It will be a great opportunity
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3817 or by email to [email protected]
September 2006
Focus Magazine
+ No travelling to and from
work.
– You don’t get out much.
+ You can work the hours
you want.
– Customers will want you to
work the hours they want.
For a quotation, please call Kevin Cook on 020 8502
24
of that space and whether it will
help your business to reach its
goals.
There are, of course,
exceptions to this – such as the
videographer who produces SIV
(Special Interest Videos) and has
very little outside contact with
customers. It might be that the
whole sales process is carried out
by a distributor leaving you with
the sole task of putting the
programme together. However,
at some point in the growth of
your business you will have visits
from clients or colleagues – and
the impression you make at this
stage is going to be lasting.
The overriding benefit of
working from home is that its
cheaper than renting or buying
business premises. Though
there can still be costs associated
with this (see the business rates
section later), generally speaking
it can provide a very cost
effective way of getting the
business off the ground. But
many of the things which are
seen to be positive about
working at home also have their
negative side.
www.iov.com
+ You will be your own boss.
– You’ll be your worst
nightmare for a boss!
Work when
You Work Best
There is a certain level of
freedom when working from
home and most of the time you’ll
not have someone clocking you
on and off. However, you do
need to be disciplined about
getting the work done. This is
another one of those positive/
negative things. You’ll need to
develop a regime that enables
you to spend quality time on
projects in hand as well as the
day-to-day tasks of any business
person. This is not always that
easy – especially if you are
working on your own and do not
have the stimulation of others
working around you.
Some things can be done
outside normal office hours –
such as filing, preparing and
lodging invoices – but even these
will need some work done on
them within the normal working
hours of your customers.
You also need to consider
when you are at your most
productive. There is no point in
getting up at 5am and finishing
work at 2pm if you work most
productively between 5pm and
midnight. If you have very little
business that centres around
other business’ working hours it
might be that your creative
juices will flow more easily in the
latter part of the day.
Likewise you’ll need to forget
about the week/weekend
structure. Those in the wedding
video business will already
understand this – Saturday is
just another working day!
Article
Sundays are also normal working
days for some videographers –
which means you’ll need to fit in
your socialising elsewhere. You
will need to realise that you can
go out and play any day or night
of the week, and you can work a
bit on Sundays, if that makes
best use of your time. This
doesn’t mean you should work
every hour that God sends – but
it’s more about giving work the
right place in your life in order
that you don't run out of
enthusiasm.
will be the cause of conflict. That
in itself is not conducive to a
healthy working environment.
Sound like you
Mean Business
Also, your office should sound
like an office when you are on
the telephone as this is
sometimes the only way that
clients will form an impression
of you.
I’m often surprised when
contacting IOV members via their
business telephone line and the
phone is answered by a young
Working/Living Space child – or we are trying to have a
Even though you’ll not be
conversation whilst music is
travelling to and from work you’ll being played full blast by some
need to put some barriers
other household occupant.
between home and work life.
Whilst quaint – it’s not going to
This might be as simple as
help you to form an impression
having a door you can close and
of professionalism.
shut your work away – or even a
Whichever way you achieve
corner of a room which is out-of- this, it is far better to have a
bounds for other people in the
room (be that a spare bedroom,
house. Not only will this help
garage space, loft, etc.) which
you to establish a healthy work/
you can call your own space and
play regime – but it will also help exclude everyone else from it
in those moments where you are whilst you are working.
distracted from work and have to
The cost of a dedicated
leave projects in a state of limbo business line should form part of
and know that it will be in the
your business plan – and you’ll
same state when you return.
need to establish rules within
Getting your family to
your family about the use of that
understand these boundaries is
line for anything else. When it
important. There’s nothing more rings – it’s business - and you
frustrating than having to find
should have a set script to follow
blame for that lost, but crucial
when its answered – “Hello, AK
piece of paperwork or camera
Videos, John speaking… how can
master tape. If you are like me, I help you”. This sounds
quite often your desk will look
awkward when you first start to
like the hamster has been
use it but after a while it will
making a nest on it – when in
become second nature.
fact I know where everything is.
You could, of course, run your
If your work area is in a corner of entire business from a mobile
the main living room the
phone number, but personally I’m
temptation for others to tidy up
always a little suspicious )
www.iov.com
Focus Magazine
September 2006
25
Article
of businesses that operate this
way. To me they come across as
being ‘of no fixed abode’ - and
who wants that should you end
up in any kind of dispute with
them? Sure, redirect a land line
to a mobile - or offer a mobile as
an alternative - but don’t just
have a mobile number.
There are other alternatives,
such as using a business
answering service when you are
unavailable. This can certainly
help you to create an impression
of being a larger business - and
you can pretty much rest assured
that your calls will be properly
handled and logged; which is
more than can be said if you
leave this most important duty to
the kids.
Your telephone will become
one of the main shop windows of
your business. Disregard it and
punters will simply walk on by
and go on to the next shop
window. Even with the advent of
websites becoming probably ‘the’
most important shop window for
your business, at some point
customers will want to speak to
you and more often than not this
will normally be by telephone.
Having a great website could all
be a wasted effort if they are
confronted with poor telephone
practice.
the work you are doing at that
precise time on your desk.
Though I’m not advocating what
is often referred to as a ‘clear
desk policy’, having only current
projects on your desk at any one
time will stop you from being
distracted by things which are
not critical at that point in time.
Develop Habits
A very simple aid is what I
The freedom and flexibility of
call a bring-up folder – which is a
working from home is certainly
one of the plus points, but at the filing system that has 31
pockets; one for each day. If
same time without the structure
you have a letter or memo that
of a working environment it’s
needs to be dealt with on a
easy to let things slip past you.
certain day, file it under the day
If you completely lose structure
that it needs to be done. Each
you’ll find it hard to achieve
day go to the bring-up folder and
anything – and will end up only
open the pocket of today’s date
reacting to situations as opposed and complete the tasks that it
to dealing with things before they contains.
become time critical.
In order to establish a good
Start in a simple way. Decide working discipline it might be an
what the first thing is that you do idea to initially put things in this
every day, and build from there. such as ‘empty the bin’, ‘stock up
It might be that you start every
the tea bags’, ‘check tape stock’.
day with a cup of tea – then
These things will obviously
check the answer machine – then become automatic to you after a
open the post – then check your
while, but putting them into a
email… Also, try and only have
bring-up folder will stop you
having to think about them in the
meantime.
You’ll also find that when
your business does start to
flourish it’s not going to be at an
easy to manage and steady pace.
It will be all or nothing – and
when times are busy, and you
can’t afford distractions, you’ll
regret not having emptied that
bin – or more importantly,
topped up the tea bags! These
sound trivial points, but there are
probably thousands of things that
Article
your clients rather than them
coming to you – and book the
occasional lunch appointment
with a colleague.
You might want to consider
combining the two activities of
business and pleasure by joining
a trade association such as the
IOV and taking part in their
regular meetings – or join one of
those breakfast business clubs.
In fact, anything that gets you
out of the office and into a social
network should pay dividends in
your business.
you take for granted if you work
in a large company. When you
work for yourself no one else is
going to do these things.
Get a Life!
Let’s assume that you have the
right space at home and all the
family is pulling in the right
direction and getting behind your
venture. This is all fine, but you
must still leave some time to
play. “All work and no play
makes Jack a dull boy!” And,
let’s face it, in this ‘creative’
game you can’t afford to be dull.
Again, this might sound
extreme but formally scheduling
in play-time into your diary will
help you ensure that you actually
get around to doing it. Decide
how much time you are going to
give yourself, your friends, or
your family, and book it in your
diary as you would any other
appointment. Having a more
regimented approach and
regulated life will help you to
become more organised in your
business. Some people might
not need this type of
encouragement - but those who
Neighbourly Love
do will reap rewards. Its always
a case of push and shove, so
those around you will appreciate
the times when your business
gets in the way of their desires.
Being able to show you are
making the effort to spend time
with them will help on those
occasions when you simply can’t.
Getting out of the office and
socialising will also help you to
polish your communication skills.
It’s easy to underestimate the
negative effect working in
isolation at home could have on
your social skills if you limited
yourself to only speaking to
people on the phone – or worse
still, only communicating by
email or on forums. You might
not believe it, but you’ll soon
forget how to talk socially –
which is one of the key skills of
selling your services to others.
Make some appointments
that take you away from your
work space - go to conferences
and exhibitions (IOV2006 comes
to mind!) – choose to go to meet
If you are going to be working
from home its best to keep your
neighbours informed – even if it
will not impact on them. Of
course you might not exactly see
eye to eye with your neighbour,
but keeping them informed about
what you are doing will avoid any
misunderstandings if they start
to notice that the car is still on
the drive during the day. And as
one of your aims will be to let as
many people know about your
business as possible – spreading
the word amongst those around
you will be a very cheap Article
way of marketing your business.
You never know who they know!
Depending on the nature and
size of your home office, you
might find that you will need to
inform the local authorities of
your intentions. Whilst the use
of a corner of a spare room is not
going to concern them, the
adaptation of an out building and
its change of use from domestic
to light industrial use certainly
will do. If you are going down
this route then having your
neighbours on your side will be
invaluable.
But before you've got your
neighbours on your side its
essential that you look into other
legal implications. If you live in
rented accommodation you might
find that your tenancy excludes
you from running any sort of
business from it. You’ll need to
check this out with your landlord.
Even home owners should reconsult the title deeds to ensure
that there are no restrictive
covenants.
With so many companies
encouraging their workforce to
work from home, local
authorities are becoming a little
more friendly towards this
activity – but they have a
completely different view to
someone running a disruptive
business from the same address.
Once you step over this mark
you will start to qualify for
business rates.
A number of factors will
determine whether the space in
your home used as an ‘office’ will
be liable for business rates.
These will include the extent and
frequency of the business use of
the room (or rooms) and any
special modifications made to the
property. Each case is considered
individually, and in the UK this is
usually through a visit from your
local Valuation Office – which you
should contact for further details.
If your property needs to be
assessed for business rates, your
Valuation Office will work out a
rateable value for the part used
for non-domestic purposes.
There are case studies of
when business rates would and
would not apply on the VO
website - www.voa.gov.uk/
publications/public_fact_sheets/
workingfromhome.pdf
Other Things
to Consider
Whilst you may have the
contents of your household
insured, it is unlikely that the
same policy will work equally well
for your business use. Check
this out with your insurance
adviser before assuming all is
well. To comply with the IOV’s
Code of Practice you’ll also need
both Public Liability and
Professional Indemnity cover –
which might be better sought
from a specialist broker (see
Insurance Companies in the
Trade Directory on page 32).
Depending on the use you
are putting your home to, you
might find that you could be
penalised under 'Capital Gains
Tax' should you sell the property
at a later stage. Again, take
professional advice on this to
avoid unforeseen tax bills,
especially if you have been
claiming tax relief for running
your business from home.
Even though it might only be
you working in the business,
you’ll still need to adhere to
health and safety legislation. It’s
well worth reading up on this on
the Health & Safety Executive’s
website – www.hse.gov.uk.
Next Month
If I’ve not put you off completely
that’s a good sign. Believe me,
there will be far more disturbing
news coming your way once your
business is up and running.
Whilst setting up a home-run
business might seem like a nobrainer of an idea there are still
lots of things to take into
consideration. Every positive
point about working at home has
a negative side to it – and each
of these must be considered.
Next month, I’m going to be
looking at working from a
business premises – along with
examining the alternative
business models such as cooperatives and partnerships. In
the meantime – have a really
good think about where you
could site your place of work at
home – and whether you really
want to lose it to the business!
The Production Theatre
Sessions on 18th October…
10:15 till 11:00 - The 2005 IOV Awards Showreel – Best Open
11:15 till 12:00 - Lighting on the Run - By Cirrolite
12:15 till 13:00 - The 2005 IOV Awards Showreel – Best Documentary
13:15 till 14:00 - DV for Broadcast - End to End Production using Adobe Premiere – Martin Kay
14:15 till 15:00 - Tapeless Production – By Panasonic
15:15 till 16:00 - The 2005 IOV Awards Showreel – Best Corporate Video
16:15 till 17:00 - Media Integration – Gavin Gration of Manchester Video
10:15 till 11:00 - The 2006 IOV Awards Showreel – Best Documentary
11:15 till 12:00 - Lighting on the Run - By Cirrolite
12:15 till 13:00 - DV for Broadcast - End to End Production using Adobe Premiere – Martin Kay
13:15 till 14:00 - The 2006 IOV Awards Showreel – Best Corporate
14:15 till 15:00 - Tapeless Production – By Panasonic
15:15 till 16:00 - The 2006 IOV Awards Showreel – Best Open
The Wedding Video Theatre
10:30 till 11:30 - Screening of the 2005 IOV Awards Showreel – Best Wedding Video
12:00 till 12:45 - The ‘Rights’ and ‘Wrongs’ when filming in Church – Revd. Phil Janvier
13:15 till 14:00 - Making your Wedding Video Business look attractive – Jeremy Payne
14:30 till 15:15 - Same Day Wedding Edit – Sylvia Broeckx
15:45 till 16:30 - The Ultimate Wedding Montage – Janet Fenton
10:30 till 11:30 - Premiere Screening of the 2006 IOV Awards Showreel – Best Wedding Video
11:45 till 12:30 - The Ultimate Wedding Montage – Janet Fenton
13:00 till 13:45 - Making your Wedding Video Business look attractive – Jeremy Payne
14:00 till 14:45 - Same Day Wedding Edit – Sylvia Broeckx
15:00 till 15:45 - The ‘Rights’ and ‘Wrongs’ when filming in Church – Revd. Phil Janvier
Please note, through circumstances beyond our control, this schedule may change without prior notice.
Access to the theatres is within the main exhibition hall. See website for directions.
28
September 2006
Focus Magazine
www.iov.com
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
JVC GY-DV5000E 1/2 3 CCDs
Excellent condition (usual slight wear on
handle) Comes with Viewfinder, Fujinon
s14 x 7.3 B12U lens, case, and
instruction manual Only 110 drum hours.
UKP 2500 or offers Possible part ex. for
smaller 3 chip camera. Lots of other
accessories for this camera available
including Firestore DR-DV5000 Hard Disk
Video Recorder.
[142]
Contact John: 07732-641-839 (London)
Email: [email protected]
Shooting Kit
Sony PD170 inc all original accessories,
Sony ACV700 Charger, Hard Case, 2 x
Sony NPF960 8hr battery, Bebob Zoe lanc
controller and Manfrotto Fig Rig. All in
excellent condition. £1795 for the lot.
Contact Mark: 01625 523237
[142]
Sony DSR300 DVCamcorder
Good condition with low hours. 17x6.6
Fujinon lens, Sony mic, dual charger and
3 Li-ion batteries, battery belt, ac
adaptor, camera/accessories carry case,
Portabrace rain jacket, quick release
plate, tripod and dolly, manuals. £3800.
Contact Robin: 01952 825715
[141]
SALES & WANTS
SALES & WANTS
SALES & WANTS
CALL 020 8502 3817 OR ORDER ON-LINE AT WWW.IOV.CO.UK
JVC GY-DV500E
190 hours on drum. Brand new Canon
YH16x7KRS zoom lens. For sale due to
change of format. £1950 (no VAT)
Contact Malory:01983 755265
[141]
SONY VX 1000
Complete with carry case, 2 x batteries,
battery charger and instruction
manual. All in excellent physical and
working condition. £600 ono.
Contact Anthony: 020 8958 9838
Email: [email protected] [141]
Sony DVCam DSR 250
Battery Power Belt - Radio Mics - 800
Series Mic - Tri Pod with dolly -Leads etc.
All in excellent condition. £2700 ono.[140]
Contact Matt: [email protected]
Panasonic Mini Cam
With 12.5 & 6mm lens and camera
control unit. £850.
Contact Paul: 01269 860649
[140]
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
DVCAM Equipment
Sony DSR-400P Camcorder with Canon 19X
Lens. As New Boxed, 12 months old, 33
Tape hours used. £5300 ONO. DSR-40P
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
Computer & NLE Products
DIGISUITE LE with INCITE
I/O: component, S-video, composite. P2
233 dual processor, 1GB RAM, 2 x 180GB
SCSI, W2K Professional, + Incite 1.4.2
real-time NLE. £1300
JVC BR-DV600E Recorder. I/O: DV +
Component, S-video, Composite. RS422
control. £650. Soundscape Digital Audio
Workstation SSHDR1. XLR I/O, SPDIF,
Midi, various plug-ins. £450.
Contact Gad: 07732 410571
[142]
(NW London)
Editing lap top for sale
17" Edit laptop,with Edius pro 3,and
explode 4 pro software installed.2 disc
tutorial included.Never used,bought
brand new from DVC October
2005.Includes DV to analogue
converter.HD Compliant. Bargain £2100.
Contact David: 01446 744141
[142]
Apple Mac Powerbook immaculate
condition
Apple PowerBook G4 - PPC G4 1.25 GHz 15.2" TFT. 1 gig of memory, 80 gig hard
drive - with made to measure very heavy
duty flight case. Photos available. £700.
[141]
4 NLE Edit Systems +
4 x Velocity non linear editing system
JL Cooper MCS - 3800 workstation
controller
Compatible 261, 536KB ram capacity
84.7Gb plus SoundScape SSHDR1.
Offers!!
Contact Keith: 07732616896
[141]
Email: [email protected] (London)
Canopus Edius NX card
With Edius Pro 3 Software Brand
New cost new £695 offers over £275
including Postage
Contact Bob:
01438356409/07860522032
[139]
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]
Continued…
Call 020 8502 3817 or order on-line at www.iov.co.uk
www.iov.com
Focus Magazine
September 2006
29
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
Format & Standards Transfer
SALES & WANTS
SALES & WANTS
[email protected]
SALES & WANTS
CALL 020 8502 3817 OR ORDER ON-LINE AT WWW.IOV.CO.UK
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
IDX Charger
Charges 4 NP1 IDX
batteries. £380
[142]
Twin Hawkwoods NP1 battery charger
Offers
Contact Nigel: 01494 524706
[142]
IDX Twin NP1 Battery Box
With digi view, in excellent condition Offers. XLR power supply - Offers.
[142]
Large Professional Luggy
Camcorder Case/Bag
Luggy LY21L9 with wheels, retractable
handle, concealed padded Rucksack
Straps and rain cover. Used twice and
in new condition. For Sony DSR-250 /
JVC 500 / 550 and smaller. £180 ono.
Contact George on 01369 705665
[141]
PANASONIC MX50
We have decided to offer for sale one
of our MX50’s. This particular unit has
been well used but is in excellent
electrical order but has signs of
cosmetic determination, the paint has
worn away and some of the audio
slider knobs have been lost. Apart
from this, everything works fine. The
asking price is £1000-00 ono.
Contact Cam 3 Media on 01588650456
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]
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
"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]
WANTED
Samsung Multi-standard
VHS player recorder model SV-5000W or
SV-300W (previous model).
Contact Alan on 01373 303516. [141]
JVC BD-X200 DVD recorder wanted
BD-X201 could be OK too. Machine
permits DVD recording from source tape,
inserting chapter points at predetermined time-code points. Also, Title
& chapter button design can be downloaded from PC. If anyone knows of
another machine that allows this please
let me know.
Contact Paul: 0792 987 9876
[141]
LENS FOR DSR570
LOOKING FOR SECONHAND WIDE ENG
LENS 13X3.5 OR NEAR TO FIT SONY
DSR570WSP
Contact Malcolm: 01843 822230 [141]
Casablanca editor
Casablanca classic 800dv required
[140]
Call 020 8502 3817 or order on-line at www.iov.co.uk
30
September 2006
Focus Magazine
www.iov.com
SALES & WANTS
Commemorative Video & DVD Cases
Animation & Graphics
Planet PC
The Old School, 690 Bradford Road,
Birkenshaw, West Yorkshire BD11 2DR
Tel: 01274 713400
Web: www.planetdv.net
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
VFX Blue Screen Solutions (Bristol UK Ltd)
Unit 3, Sutherland Court, Tolpits Lane,
Watford WD18 9SP
Tel: 01923 779333
Fax: 01923 779666
Web: www.bristolpaint.com
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
September 2006
31
DVD & CD Applications
Equipment Dealers
Media Heaven Ltd
Tel: 0113 244 3550
Tel: 01527 861911
Calumet Pro Video
93-103 Drummond Street, London NW1 2HJ
Tel: 020 7380 1144
Web: www.calumetphoto.co.uk
Priory Mill, Castle Road, Studley, Warks. B80 7AA
Tel: 01527 854222
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
Production Gear Ltd
Millennium Studios, Elstree Way,
Borehamwood, Hertfordshire WD6 1SF
Tel: 020 8236 1212
Web: www.productiongear.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
TNP Broadcast Sales Ltd
PO Box 2035, Watford, Hertfordshire WD18 9WZ
Tel: 01923 712712
Web: www.tnpbroadcast.co.uk
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
Starmount Ltd
25-27 Churchill Way, Lomeshaye Industrial
Estate, Nelson, Lancashire BB9 6RT
Tel: +44 (0) 1282 619365
Web: www.starmount.co.uk
Editing & Facility Hire
Activelight
Coppins, West Road, Stoney Common,
Stansted, Essex CM24 8NQ
Tel: 01279 647682
Web: www.activelight.co.uk
32
September 2006
Focus Magazine
www.iov.com
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
Equipment Service & Repair
MVS Video
Tel: 01303 891468
Field Production Cases
MVS Video
Tel: 01303 891468
Grip Equipment
LCC Photon Technik
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Lighting contd...
Gekko Technology Ltd
Unit 4, Gallery Works, Common Lane,
Kenilworth, Warwickshire CV8 2EL
Tel: 01926 863366
Web: www.gekkotechnology.com
Ianiro UK Ltd
Unit 7, Walkers Road, Manorside Ind. Est.,
North Moons Moat, Redditch, Worcs. B98 9HE
Tel: 01527 596955
Fax: 01527 596788
Web: www.ianiro.com
Photon Beard Ltd
Tel: 01525 850911
Studio & Lighting Services
3 Cedar Drive, Loughton, Essex IG10 2PA
Tel: 020 8418 9848
Web: www.slservices.co.uk
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
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
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
Dalco UK (distributor for Casablanca)
PO Box 165, Brough HU15 1WH
Tel: 0845 456 0734
Web: www.dalco.co.uk
Datavision Limited
Russell Farm, New Road, Maulden,
Bedfordshire MK45 2BG
Tel: 01525 406886
Web: www.datavision.co.uk
Digital Video Computing Ltd
Pheonix House, 17-19 Norway Street,
Portslade, East Sussex BN14 1HQ
Tel: 01273 707200
Web: www.dvc.uk.com
Edirol Europe
Studio 3.4, 114 Power Road, London W4 5PY
Tel: 0870 350 1515
Web: www.edirol.co.uk
Nonlinear & Hybrid contd...
Holdan Ltd
Tel: 0845 1304445
Hybrid Media Production & Distribution
7 Birches House, 245 Birchfield Road,
Redditch, Worcestershire B97 4LR
Tel: 01527 544883
Web: www.hybridmedia.co.uk
In-Deep
15 Abrahams Road, Henley on Thames,
Berkshire RG9 2ET
Tel: 0870 350 2450
Web: www.in-deep.co.uk
MVS Digital (Sony Vegas)
Unit 23, Wordsworth Business Centre, 21
Wordsworth Road, Perivale, Middlesex UB6 7LQ
Tel: 0845 456 0801
Web: www.mvsdigital.com
PDC Digital Solutions Ltd
Palmerston Studios, Palmerston Road,
Barry CF63 2YZ
Tel: 01446 722503
Mobile: 07971 642269
Web: www.pdcdigital.co.uk
Planet Video Systems
33 Bournehall Avenue, Bushey, Hertfordshire
WD23 3AU
Tel: 020 8950 1485
Web: www.planetaudiosystems.co.uk
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
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
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
Dalco UK (animations and stock footage)
PO Box 165, Brough HU15 1WH
Tel: 0845 456 0734
Web: www.dalco.co.uk
Holdan Ltd
Tel: 0845 1304445
Video Editing
GET YOUR
COMPANY
LISTED
Hattrick Studios
P.O.Box 8, Whetstone, Leicester LE8 6WX
Tel: 0116 2234 119
Web: www.hattrickstudios.co.uk
Planet PC
Tel: 01274 713400
In Focus magazine
and on the IOV web site
- www.iov.co.uk from £145 per year
Video Accessories
Studio Lighting Design
LCC Photon Technik
Watt House, Pirbright Rd, Normandy, Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Photon Beard Ltd
Tel: 01525 850911
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
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
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
(£20 for each additional listing)
Call
+44 (0) 20 8502 3817
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
TV One Limited
Unit V, Continental Approach, Westwood
Industrial Estate, Margate, Kent CT9 4JG
Tel: 01843 873300
Web: www.tvone.co.uk
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
Video Streaming
Planet PC
Tel: 01274 713400
Voiceover Services
Colin Days Overnight Voiceovers
The Old Rectory, Ombersley, Worcs. WR9 0EW
Tel: 01562 822222
Web: www.voiceover-uk.co.uk
Geoffrey Annis
261 Boothferry Road, Hessle, East Yorkshire HU13 0NG
Tel: 01482 647461
Web: www.voiceovers.co.uk/geoffrey.annis
www.iov.com
Focus Magazine
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
Priority consideration of your
company news/press releases for
publication in Focus magazine
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!
Additional
Headings
Welcome!
Call Kevin Cook (Sales)
on +44 (0) 20 8502 3817
Kevin Cook
IOV Focus Limited
PO Box 625
Loughton
IG10 3GZ
United Kingdom
September 2006
33
Gavin Gration M.M.Inst.V.
Mark Higham M.M.Inst.V.
Peter Hinkson M.M.Inst.V.
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.
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.
1a
1b
4
3
19
5
6
7
10
8
9
13
14
11
15
16 - Channel Is.
THE LIST is designed to help qualified IOV
members to share work on a national scale and
for potential clients to find the right kind of
videographer for their needs. The List is divided
into geographical areas, as shown above, and
specialist work types as listed below...
Corporate, Industrial & Commercial Video Services
Wedding & Celebrational Video Services
Freelance Videographer
Freelance Audio Engineer
Freelance Lighting Technician
Freelance Directing
Script Writing
Freelance Production Assistant
Presenter and Voice-overs
Graphic Design & Animation Services
Freelance Editing Services
Training
Broadcast Production
Special Interest Videos
Steadicam Operator
Underwater Videographer
PLEASE NOTE: In this listing Qualified Members
have declared their own areas of specialisation. The
declaration of a work type should not be regarded as
an endorsement by the Institute of Videography.
Colin Sinclair M.M.Inst.V.
Mark Stuart M.M.Inst.V.
Brian Rae M.M.Inst.V.
Ron Carmichael M.M.Inst.V.
Iain Johnston M.M.Inst.V.
01847
01224
01224
01382
01764
895899
782777
313137
520437
655655
Scotland South (Area 1b)
Graeme Brown M.M.Inst.V.
Jack Buchanan 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.
James Lundy M.M.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.
01577 865000
0141 643 1651
01555 665236
01563 542195
020 8551 9399
0131 221 1697
0141 954 0840
01506 203719
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
North East England (Area 2)
Andrew Charlton M.M.Inst.V.
Andrew Crinson M.M.Inst.V.
Glenn Huntley M.M.Inst.V.
Brian Jenkinson M.M.Inst.V.
Mike Trewhella 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.
01661 844542
01429 824177
0191 549 3675
0191 252 7354
0191 536 6535
01388 605386
0191 270 9063
01325 241821
07786 705066
North West England (Area 3)
Mike Waring M.M.Inst.V.
Les White M.M.Inst.V.
Des Williams M.M.Inst.V.
Tony Williams M.M.Inst.V.
Chris Abram M.M.Inst.V.
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.
34
01704 531576
01768 899936
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
September 2006
AKN
AB
ABKN
Gordon Simpson F.Inst.V.
Tim Smithies M.M.Inst.V.
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.
01724 720111
0114 281 3320
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
ABCG
ABC
ABCFGJ
AB
ACFGIKM
ABCJ
ABCK
ACFGKL
ACDFGIKN
ABC
BK
AB
North & West Yorkshire (Area 04b)
12
Scotland North (Area 1a)
ABCKMN
BC
ACKM
B
ABCDE
ABCDGN
BN
ABCG
ABCKN
ABFKLM
ABCDFKLMN
ABCK
B
ABCK
ABCK
AKN
S. Yorkshire, Humberside & Lincs. (Area 04a)
2
18
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
07930 431662
01625 523237
01253 735200
01253 892177
01706 657835
0151 487 9338
01744 603799
01744 29976
01254 393683
0161 902 9000
01253 596900
01706 215914
0161 487 1200
01928 733225
01772 611590
01706 221928
01942 244903
0161 797 6307
01282 414073
01282 619085
01253 884100
01706 812008
ABC
ABCDJKMN
ABCK
ABCK
BCKN
ABC
AB
P
AB
ABCFNKO
ABC
ABN
ABFILMN
ABC
ABCK
AB
ABCKL
ABC
ABCFGHJKLMN
ABCFGHJKLN
ABCFKNR
ABCFHJKN
ABCFK
ACHIKN
ABCD
ABCKN
ABCJK
ABCNP
ABCK
AGJKMN
ABCK
B
KLN
BC
ABCN
ACFK
ABCKM
ACGKLN
ABCN
ABCHJKN
ABC
Focus Magazine
Dave Redmond M.M.Inst.V.
Iain Rogerson M.M.Inst.V.
Mike Wade F.Inst.V.
Mike Walker F.Inst.V.
Gail Allaby M.M.Inst.V.
Philip Burton M.M.Inst.V.
Colin Campbell M.M.Inst.V.
George Duncan 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.
0113 263 2496
01759 369811
01484 684617
01924 515100
01422 844392
01274 595421
01274 690110
01943 870431
07979 914996
01723 890610
0113 218 9298
0113 261 1688
01423 755397
01924 249700
01924 864613
01756 798335
ABCGIKN
ABCFG
ABCDEFHKLMN
ABCFGHK
BCKN
ABCFIKN
ACFJKLNR
AGI
ABCFHK
ACDFGHJKLMN
AIKMNR
ABCHJK
AB
ABCHKN
North Wales & Borders (Area 5)
Cam 3 Media *
Martyn Chidlow M.M.Inst.V.
James Edwards M.M.Inst.V.
Peter Eggleston F.Inst.V.
John 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.
Midlands (Area 6)
Matthew Leech M.M.Inst.V.
James Mackenzie M.M.Inst.V.
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.
Peter Cluer 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.
01588 650456 ABCFGHIKN
01978 350122 ABCHKN
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
0121 308 1227
01902 342154
0116 275 2100
01283 515861
01530 836700
01283 567745
01676 541892
01676 541892
01782 746553
0870 080 1961
01455 848199
01453 832624
01386 47013
01527 878433
01926 864800
01926 497695
01782 514942
07837 276475
0845 606 6593
01902 893068
B
A
AB
ABKN
B
ACDKMN
ABCFKM
ABCFGJKM
ACFGJKLMN
ABJ
ABCK
AJMO
BC
East Anglia & A1 Corridor (Area 7)
Brian Gardner F.Inst.V.
Colin Goody 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.
Bernard Coe M.M.Inst.V.
Mike Deal M.M.Inst.V.
Extreme Video*
01603 260280
01473 257595
01449 614378
01603 610566
01362 822577
01775 822200
01733 370922
01508 570600
020 8517 6752
01449 720282
01206 241820
07836 595859
01223 441137
0800 970 6159
01603 630555
ACFGKMN
AB
ABC
ABCEKLN
CDKN
ABCGKM
ABCN
N
AB
ABCKN
ABC
ABCGJKLN
A
South Wales & Bristol Channel (Area 8)
Manolo Lozano M.M.Inst.V.
Dawn Morgan M.M.Inst.V.
Andrew O'Leary M.M.Inst.V.
Nick Pudsey M.M.Inst.V.
Colin Riddle M.M.Inst.V.
Alan Torjussen F.Inst.V.
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.
01792
01792
01656
01646
01437
029 20
01792
01453
01242
01443
01568
01242
029 20
520450
776121
650249
651555
769635
666007
816688
835422
579712
838715
620644
674462
520599
ABCN
ABC
ABCK
ACGJKLN
AFGLMN
ABC
ACFGN
ABCDN
BC
ABCJKN
ABCDIKN
ABCFK
West London, Middlesex & Herts. (Area 9)
Stuart Little M.M.Inst.V.
Anthony Myers 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.
020 8347 9567
020 8958 9838
020 7738 4162
020 8943 2666
07768 014503
01895 672890
01494 438904
020 7932 1190
ACFGKLN
BCK
ABK
ABCEKMN
AJM
Oxfordshire & M1 Corridor (Area 10)
Dave Collins M.M.Inst.V.
Driving Standards Agency*
First Sight Video*
Ken Franklin M.M.Inst.V.
Gillian Gee M.M.Inst.V.
Hamish Maclean M.M.Inst.V.
www.iov.com
01908
01234
01993
01993
01753
01582
522157 AB
744060
878252 AB
868479 ABC
553312
596935
Gordon O'Neill M.M.Inst.V.
John Snelgrove F.Inst.V.
Jennifer Roberts 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.
01494
01442
01367
01604
01536
01234
01604
786611
250088
870640
756576
526126
764883
403481
AM
ABCDJ
AB
AJKL
ABCK
E. London, Essex & Hertfordshire (Area 11)
Alan Legg M.M.Inst.V.
Tony Lench M.M.Inst.V.
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.
Two Dragons Film Studios*
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.
020 7193 4060
01702 525353
020 8923 6068
020 8220 6955
01992 461858
020 8521 3322
01702 232669
01375 483979
07812 410866
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
West Country (Area 12)
Chris Ellery M.M.Inst.V.
Mike Last M.M.Inst.V.
John Port M.M.Inst.V.
John Bentley M.M.Inst.V.
Mark Brindle M.M.Inst.V.
Pip Critten M.M.Inst.V.
0117 910 9704
0117 979 2858
01752 510999
01803 290999
01803 214414
01258 450850
01271 891140
01752 361210
B
ACE
ABCGN
AFKL
B
ABCHK
ACKN
ABCN
N
B
ABCFKN
ABCFKN
ABJKNO
ABN
ABCKN
ABCDKLN
BC
ABCH
ABCGK
ABCFGHIKL
ABC
ABCKN
ABC
ABCHJN
AB
ABCDFHIJKN
ABGI
ACDJKMN
Dorset, Wiltshire & Hampshire (Area 13)
Kazek Lokuciewski M.M.Inst.V.
David Lovett M.M.Inst.V.
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.
0118 965 6322
01425 615626
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
ABCDEFGIJKN
ABJ
AGIJN
ABCKN
BCKN
ABCN
BCK
BC
ACIKMN
BCKN
P
ABL
ABC
ABCD
ABCHIKMN
B
ABCKN
ABCDFIKMN
ABCKM
ABCFGKLN
ABCJKN
ACGKN
ABCGHK
Surrey, Berkshire & Sussex (Area 14)
Brian Hibbitt M.M.Inst.V.
Neil Hodgson M.M.Inst.V.
Martin Hooper M.M.Inst.V.
Peter Howell M.M.Inst.V.
Laurie Joyce M.M.Inst.V.
Robin Kay M.M.Inst.V.
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.
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*
01344 777010
0118 961 9981
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 360145
07966 416339
020 8661 7703
01323 430800
01825 873533
01372 273527
023 92 649946
01483 811999
Kent & SE London (Area 15)
Colin Fowler F.Inst.V.
Brian Harvey M.M.Inst.V.
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.
Katherine Shannon 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.
01732 454593
01892 652379
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
AJN
ABLK
ABCKLN
ACFKMN
ABL
ABCFGIKMN
AB
ABC
ABCK
B
ACFGM
ABCGHKN
ABM
AB
BC
B
B
ABCJKM
ABCEFIJ
BCKN
ABCGIK
ABJKN
ABCGIK
ABC
BCKN
ACFKMN
ACFHKN
ABCK
ABCDHK
ABN
ABCDEK
ACFKLMO
ABCHKM
BCD
ABCFGJKLN
ABNR
Channel Islands (Area 16)
Peter Laine M.M.Inst.V.
David Le Brocq F.Inst.V.
01481 200026 ACGJKM
01534 723166
Northern Ireland (Area 18)
Frazer Smyth M.M.Inst.V.
028 9267 1958
Republic of Ireland (Area 19)
Keith Malone M.M.Inst.V.
John Murphy M.M.Inst.V.
Brian Scully M.M.Inst.V.
John Daly F.Inst.V.
Tom Fortune M.M.Inst.V.
Michael Lynch M.M.Inst.V.
Rest of World
00353 87 681 4208 ABCKN
00353 93 35933
00353 86 606 1420
00353 1 495 3937 CM
00353 552 1785
00353 21 733 2240
Paul Svendsen M.M.Inst.V. (Spain) 0034 952 7 35 513 ACGHIJ
* indicates Corporate Member

Page 01.pub - Institute of Videography

Transcription

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