Page 01.pub - Institute of Videography

Transcription

also this
month
The official publication of the Institute of Videography
Filming in
Church...
Fact & Fiction
By
Phil Janvier
Video
Artisan - The
Business of
Videography
By
Kevin Cook
Issue 139 - August 2006 - £3.50
Mac Move Part Two
By
Mike Hughes
INSTITUTE OF
VI DEOGRAPHY
Foreword
Learning a Living
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
No, the above is not a
typographical error. I feel the
need to draw some people’s
attention to the reality that if you
want to get on in this world you
have to put time into studying
whatever enterprise you have
decided to embark on. As
Francis Bacon used to say “Knowledge is Power”.
You can occasionally spot the
guilty ones within the IOV
forums. Those that continually
look for the quick fix on a
problem rather than working out
why the problem has occurred.
This industry in particular has so
many things that one should
understand - technical, creative
and commercial issues which are
absolutely ‘key’ bits of
information that you will need at
some point or another in your
business. The tricky bit is
establishing exactly what it is
you’ll need to know before you
find yourself challenged and
looking for an answer.
Having said this, the answer
might be just around the corner and in the form of the proposed
new qualification system within
the IOV - more precisely the core
competencies exam which is
currently being tried and tested
at local IOV meetings throughout
the organisation.
This is far from the
completed document, but this
mock exam paper includes 100
questions covering camera,
sound, editing, lighting and
business issues (including health
& safety) which the IOV believes
are the fundamental bits of
information that a professional
videographer should know. And
we’ve not just plucked these out
of the air. They are the result of
The Cook
Retort
a year’s worth of
engaging with a
broad cross section of
the industry and extracting the
information which - as a
professional - you really should
know.
The research has now
reached a more public platform.
The IOV Reps are now armed
with the mock exam paper and
will be getting their members to
complete it - not only by
attempting the answers but also
by scoring the questions
according to their relevance to
the industry - and in particular
the work of a professional
videographer.
Once this feedback has been
consumed and the papers
amended and added to, the
result will be a basic test of
knowledge that IOV members
can undertake in order to
progress along a path of
qualification within the IOV. The
entire qualification system is still
in its embryonic stage, but
getting this initial knowledge-set
established will be a huge leap
forward. At the very least it will
provide a comprehensive road
map of what any professional
should know - especially if they
are a newcomer to the industry.
So, if you notice that there’s a
mock exam taking place at your
local IOV meeting - get along.
Better still, contact your Rep and
ask them when its being done in
your area (see page 10 for contact
details of your local IOV Rep).
Kevin Cook
This Month
FEATURES
14
Mac Move
18
Premiere Pro 2.0
20
Filming in Church… Fact & Fiction
23
Video Artisan - The Business of Videography
Part two of Mike Hughes’ article on the move from PC to Mac
A combined review by Stuart Little and David Brindley
Phil Janvier looks at the thorny subject
permissions and fees when filming in Church
of
licences,
Things to consider when you are thinking of going professional
REGULAR ITEMS
5
IOV News
IOV and Industry News plus Local IOV Meeting reports
12
Mail Box
Reader’s Correspondence
24
Audio File
Phil Janvier’s column on all things audio
25
Classified Ads
Sales & Wants / Products & Services
27
Trade Directory
Subscribing Manufacturers & Suppliers
www.iov.com
Focus Magazine
August 2006
3
Industry News
IOV Awards Tickets
IOV News
Industry, Technology & Regional News
sessions and screening of the
IOV awards showreels - whilst
the other (Wedding & Event
Theatre) will be dedicated to
wedding videography and
screening of the best wedding
video from the IOV Awards
(showing the 2005 Awards
winners on 18th and the 2006
Awards winners on 19th).
The line up of presentations in
the Production Theatre will include
subjects such as Lighting, Tapeless
Production and how to produce
broadcast programme content
using DV/DVCAM and Adobe
Premiere. The Wedding & Event
Theatre will include presentations
from leading lights in the business
on ‘The Same-Day Wedding Edit’,
‘How to Produce the Ultimate
Wedding Montage’ and ‘How to
make your Wedding Video
Business look Attractive’.
Entry to the sessions will be
free to current IOV members,
and £10 per session for nonmembers. However, as in
previous years, those nonmembers who join the IOV at the
sessions - with two smaller
Convention can get their £10
theatres holding panel sessions
refunded on the day (please note
and presentations. Whilst this
- no refunds will be available
worked well, the most popular
after the event). Tickets will be
sessions were over-subscribed on allocated on the day on a firstcome, first-served basis.
both days - resulting in some
With registration already ahead
delegates being disappointed on previous events we are sure
especially on the sessions in the
that IOV2006 is going to be a great
smaller theatres.
place to network, get some great
At IOV2006 we will be
installing two large purpose-built deals on the latest equipment and to pick up some valuable
seminar theatres geared up for
information on the business and
both screening and presentation
craft of videography.
sessions - with sufficient room to
house 150 delegates in comfort.
IOV Executive Administrator
The ‘Production Theatre’ will be
[email protected]
dedicated to general production
Being held on the evening of 18th
October at the Chesford Grange
Hotel (only 5-minutes from the
exhibition hall at Stoneleigh Park),
tickets for the 2006 IOV Awards
are now available, and once again
the event is set to step up
another notch in both prestige,
entertainment value and as a
dining experience.
Learning and Networking
at IOV2006
After analysing the feedback
and success of previous IOV
Conventions, the finishing
touches are now being made
to the seminar line-up at
IOV2006 (18th & 19th
October - Stoneleigh Park, nr
Coventry) - and a full
schedule will be available on
the IOV website towards the
end of August.
The IOV has tried to reflect
the needs and desires of
delegates attending the
convention each year, and
IOV2006 will see yet more
improvements in the training and
development sessions which
makes this event simply
unmissable for the serious
videographer.
More Room - Less Hassle
One of the main changes this
year will be in the layout of the
theatres. Last year there was
one main theatre for screening
Apart from being the very first
time the 2006 IOV Award
winners are announced - which in
itself creates a wonderfully
exciting atmosphere for the
short-listed entrants - we also
have Debbie Greenwood as our
celebrity presenter to give the
evening a little extra pizzazz!
Once the awards
presentations are
complete we will
once again be
holding a charity
casino for your
enjoyment and to
raise funds for
good causes.
Tickets are available from the
IOV Awards Festival Team (which
includes Karen Snell and Dave
Parkhouse) at a cost of £55 per
person. This includes a 3-course
meal (with vegetarian option)
and wine/soft drinks.
To book your tickets contact
Karen or Dave on 01634 723838
or by email - [email protected]
(black-tie optional).
IOV2006
Hotel Bookings
The Chesford Grange Hotel will
also 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.
A list of local alternative
accommodation is also available
from www.iov.com/convention.
To book rooms at the
Chesford Grange please contact
Kevin Cook on 020 8502 3817 or
[email protected].
www.iov.com
Focus Magazine
August 2006
5
Industry News
Latest addition to ProHD series...
…while ProHD 100 Evolves
JVC has announced it’s latest HD
product to market with the
unveiling of the new GY-HD250U
high definition camcorder, during
NAB, Las Vegas. As part of its
ProHD line, this next generation
full HD resolution camcorder is
the first HDV model to offer studio
capabilities, and features 720/60p
capture and recording for
Electronic News Gathering (ENG).
Responding to demand for an
affordable studio-capable HD
camera, JVC developed the
versatile and compact GYHD250U to ease the transition
from SD to HD, allowing
customers to utilise much of their
existing infrastructure (including
cabling) while providing robust
performance in both standard and
high definition. In addition to its
studio capability, the GY-HD250U
offers the comfort and stability of
a shoulder-style camcorder with a
full complement of features
needed for ENG, and
cinematography applications.
“We designed the GY-HD250U
with multiple applications in
mind,” said Craig Yanagi,
National Marketing Manager,
Creation Products. “The fact that
the camera has flexible
connectivity, is lightweight and
can record in multiple
progressive formats is certain to
meet the various needs of the
professional industry.”
The GY-HD250 records true
1280 x 720 progressive at 60
frames per second thanks to a
new advanced codec that
provides ultra efficient
compression without visible
motion artefacts. It has built-in
genlock capability, component
and HD-SDI output, with
professional connectors mounted
on a magnesium die cast chassis.
The GY-HD250U also features the
choice of several interchangeable
lenses, enhanced cinema
gamma, external timecode
synchronisation, BNC connectors,
built-in mount for a 14.4V
professional battery, and the
patented focus assist feature.
The GY-HD250U offers flexible
recording options for any
production environment. The
camera’s built-in HDV recording
system records full raster highdefinition video on inexpensive
MiniDV cassettes. With the
optional DR-HD100U Direct-toEdit recorder, a hard disk
workflow can be achieved, while
simultaneously creating backup material on digital
tape.
JVC has introduced its new GYHD110 and 111 camcorders
superseding the 100 and 101.
The evolution from the GY-HD100
to the 110 was based on feedback
given to JVC by users worldwide,
with most of the enhancements
taking the form of additional
menu functions, increasing the
appeal of ProHD to cameramen.
Developments include
simultaneous use of both
eyepiece viewfinder and tri-mode
LCD display, the option of
switching the viewfinder to black
and white display, and a
selectable mirror mode on a
vertically flipped LCD display.
Additional changes have been
made to facilitate more accurate
audio monitoring and a choice of
three image formats for
composite monitoring is now
available. The HD111, like its
predecesor the HD101, has the
6
August 2006
The GY-HD250U can easily be
converted to a cost effective studio
camera with the KY-HD250 studio
adapter, following the tradition of
the popular GY-DV550U
professional DV camera. The
camera’s optional CCU provides
connection to industry standard
26-pin multicore cabling for power,
genlock, R/B gain, black level and
intercom up to 330 feet. An
optional pan and tilt head and 16:9
LCD studio viewfinder make it ideal
for educational, cable and
broadcast studios.
For ENG, the GY-HD250U is an
affordable choice for news
organisations migrating from SD
to HD. It's superbly balanced for
stable shoulder-style shooting,
with operation controls placed in
positions familiar to electronic
photojournalists. Its 60 frame
progressive capture and recording
provides high resolution and
smooth motion, necessary for
news and sports field production.
The built-in Anton-Bauer battery
bracket provides compatibility
with the most popular battery
systems for ENG. When equipped
with the optional DR-HD100U,
editing can be performed
immediately from the hard disk
without time-consuming transfer to
the NLE. Other attributes for ENG
include lens interchangeability and
a pool feed input.
For cinematography
applications, the GY-HD250
captures real 24p and 30p
acquisition that produces
polished, film-like quality HD
recordings. The timecode is
recorded in native 24p mode,
enabling the user to transfer
recordings to film for theater
distribution with ease. The
camera allows for extensive user
customisation with additional
gamma settings for cinema
applications. Its 1/3-inch
bayonet mount allows the use of
various interchangeable lenses
from Fujinon, Canon and other
third party lenses and
accessories.
The European, 50 fps version
of the GY-HD250U will be
showcased during IBC,
Amsterdam in September.
Delivery is expected to begin in
October 2006 - price to be
confirmed.
For further details contact JVC
Professional Europe direct - see
Video Manufacturers in Trade
Directory on page 29.
Focus Magazine
www.iov.com
same specification but includes
DV and HDV inputs, whereas the
HD100/HD110 features DV and
HDV output only.
Nick Fletcher, Marketing
Communications Manager, said:
“We listened to what cameramen
wanted before we built our first
ProHD camcorder and we
continue to listen and respond.”
For further details contact JVC
Professional Europe direct - see
Video Manufacturers in Trade
Directory on page 29.
Keeping it Sync’d
Edirol has announced the R-4 Pro,
a brand new four-channel portable
field recorder based on the popular
R-4. The R-4 represented
something of a milestone for
Edirol, featuring up to four
simultaneous channels of quality
recording, an on-board hard drive,
built-in effects and an intuitive user
interface. The R-4 already has
many admirers, but now Edirol has
released a Pro version with added
video sync appeal.
The new R-4 Pro accepts
SMPTE timecode meaning that it
can easily be sync’d to video
equipment as the slave device,
so as many as four channels of
high quality audio (up to 24
bit/96kHz) can be fully
synchronized with video.
Selecting four channels rather
than two gives users the ability
to capture more ambient sound
at a shoot, place mics on
multiple participants and increase
redundancy/backup in case of
camera mic noise or drop out also, most video editing
environments now support multichannel audio as a standard. In
addition, the R-4 Pro can also act
as the master, sending out
timecode to slave devices.
“The R-4 Pro provides the most
affordable four-channel portable
solution to users with timecode
in their workflow. We’ve
essentially halved the cost,” says
Massimo Barbini, Managing
Director of Edirol Europe. “It’s
an ideal solution for the growing
number of attractively priced
HDV cameras equipped with
timecode, such as the Canon XL
H1 and the recently announced
JVC GY-HD250U.”
The R-4 Pro comes with an
80GB drive installed, which is
enough for more than 100 hours
of audio at 16 bit/ 48kHz. For
back-up and more storage options,
the unit is also USB 2.0 compatible
so on board audio can be backed
up to flash keys, memory cards or
onto the drive of a connected PC or
Mac. The unit is also equipped
with a 4-pin XLR DC input to
enable use of Anton-Bauer style
external battery power. Like the
Edirol R-4, the Pro features wave
editing, recording resolution
selection, pre-buffer recording,
effects and limiter.
At £1,099 (€1590) the original
R-4 is still a most affordable and
effective choice for the existing
SD camera base and the growing
number of HDV cameras that are
not equipped with timecode. And
it is still possibly the only fourchannel solution equipped with
LANC capability as an alternative
way to sync to non-timecode
equipment. In fact, the new R-4
price point matches well with SD/
HDV cameras and even competes
with many two-channel solutions
with fewer features!
The Edirol R-4 Pro is expected
to ship in September, priced at
£1,499 (€2,199) both inc. VAT.
For further details contact Edirol
Europe direct - see Nonlinear &
Hybrid Systems in Trade Directory
on page 28.
Industry News
Contemporary Themes
Sounds Sweet
AKM Music, producers of high
quality copyright free music, has
announced the release of its
latest title - Contemporary
Themes (AK065) - a varied and
melodic collection of 10 themes
by Cormac Dorrian, who has
worked with Barrington
Pheloung (composer of
Inspector Morse and Dalziel &
Pascoe) and has written
numerous scores for the BBC.
This collection aims to stands
out, offering themes with great
diversity and superb string
arrangements. Light and shade,
differing moods and moving
evolving scores, similar in style
and feel to the work of Craig
Armstrong and Avro Part, gives a
rich instrumentation. It also
features strong emotional
themes ideal for documentary,
historic and scenic productions.
This music will make your
audience ask - “where did you
get that music from?” It’s
beautiful and original.
The tracklisting of Contemporary
Themes comprises: Life on Earth;
Prayer for the Fallen; My Place;
Myths and Legends; Angel's
Response; Happy Sunday;
Cradling Ashes; Trance no. 3;
Spooks; and Ghost Waltz.
Until 1st September 2006,
Focus readers can purchase this
CD at the discounted price of
Thanks to three triple-platinum
UK albums, four number one
singles, a Brit Award, a Q Award,
a Smash Hits Award and two Elle
Style Awards, the Sugababes
have already secured their place
in British music history. The
quality of their music has allowed
them a level of success beyond
their rivals, a fact that was
proved beyond doubt when they
became the first pop group ever
to grace the main stage of
Glastonbury in 2003.
Promoting their current album
‘Taller in More Ways’, the girls
have recently completed a
successful UK tour using
Sennheiser’s SKM 935G2 wireless
mics supported with Evolution
EW300G2 IEMs. The cardioid
SKM 935G2 features nine
frequency banks each with up to
20 directly accessible presets.
Sugababes Monitor Engineer,
Chris Trimby, said: “The SKM
935 vocal mic has proved to be
an excellent choice due to the
usual Sennheiser RF reliability,
and it also provides a very high
rejection level within the mix."
Sennheiser's EW300G2-IEM
system is Trimby's wireless
monitoring preference for the
Sugababes. "The Sennheiser G2
system is currently the most
reliable,stable and clean
sounding IEM system at the
only £29 - inclusive of VAT and
delivery. For overseas orders
please add £2 to cover postage.
After 1st September the CD will
return to the normal price of
£32.95.
To preview this CD visit www.akmmusic.co.uk/catalogue.htm
and scroll down to AK065
Contemporary Themes. Click on
the CD and you can listen using
Real Player or Windows Media
Player.
AKM has also released a new
edition of its popular ‘Cut to the
Beat’ series. Cut to the Beat vol.
4 (AK064) is also now available
to Focus readers at the reduced
price of only £29.
To take advantage of this offer call
01926 864068 and quote this article.
All AKM Music's tracks can be
previewed and purchased at
www.akmmusic.co.uk.
www.iov.com
moment. The tone and clarity
allows me to provide the girls
with exactly the mix they want to
hear. The extremely compact
size is also a convenient factor
with several costume changes
throughout their act."
As well as the technical
benefits, Chris Trimby also
praised the back up that
Sennheiser provides, and adds:
“On the rare occasion we have
had any issues with the
equipment, Sennheiser have
provided a very high level of
support and have resolved things
very quickly.“
For further details contact Sennheiser
direct - see Radio Microphones in
Trade Directory on page 29.
Focus Magazine
July 2006
7
Industry News
At Ease with Flash Mic
Now shipping in quantity, HHB’s
FlashMic Digital Recording
Microphone is already hard at
work capturing news from major
events around the world.
Stuart Alexander, Yachting
Correspondent for British
newspaper, The Independent, is
using a FlashMic to cover the
round-the-world Volvo Ocean
Race. Primarily a print journalist
Alexander is, like many,
experiencing a growing
requirement to produce audio
clips for web content, making the
case for FlashMic all the more
compelling.
“The quality of sound is
excellent and the download is
very fast,” reports a delighted
Alexander from the New York
pitstop. “The FlashMic is also
both easy to use and
authoritative in appearance
which makes the interviewer feel
better and the interviewee more
comfortable. A conventional
recorder draws attention to the
recording process, which can
make the subject more cautious.
What’s more, I rarely have to
replace the batteries and there’s
no more peering at the tape
footage counter.”
Back on dry land, this year’s
Classical BRIT Awards took place
in May at London’s Royal Albert
Hall. Classic FM Magazine
journalist, Sarah Kirkup
(pictured), used the FlashMic to
capture interviews with the stars
of the classical music world
including Plácido Domingo and
Lesley Garrett as they arrived at
this prestigious event.
“The FlashMic was so easy to
use,” comments Kirkup, who also
picked up on the effect that the
FlashMic’s physical presence had
on potential interview subjects.
“Everyone on the red carpet
seemed happy to stop and speak
into the FlashMic and I’m not
sure that that would have been
the case with a typical portable
recorder set-up.”
"The sound quality of the
FlashMic is so good that,
generally, I only had to
listen to each interview
once when transcribing.
On a tape, I would
usually have to rewind
several times in order to
catch the bits I missed.
Even with Hayley
Westenra, who I spoke
to as a band of Scottish
pipers arrived making a
terrific racket, the sound
quality was perfect and I
could hear every word.”
Combining a highquality Sennheiser
omnidirectional
microphone capsule with
an in-built broadcast quality
Flash recorder, FlashMic provides
an easy-to-operate, all-in-one
recording solution with simple
‘drag and drop’ file transfer at up
to 70 times faster than real time.
Eight hours of continuous power
comes from a pair of AA batteries
and the included FlashMic
Manager software supplements
the FlashMic's 'straight out of the
box' operation with more
sophisticated pre-configuration
and file naming protocols.
For further details contact HHB direct
- see Audio Equipment Supplies in
Vinten support the World Cup
Vinten provided vital support for
the FIFA World Cup television
coverage. With its head office in
the UK, Vinten has made many
of the tripods supporting the TV
cameras that captured the action
throughout the tournament.
Well known within the
broadcast market, Vinten has
found that orders to buy or rent
its products have soared. "This
year it's been great for us," said
Peter Harman, marketing
manager at the firm. "It's not
unusual for us to be selected to
cover these major events. We
are considered the standard
product worldwide for broadcast,
providing support both live from
the pitch and within the on-site
studios. Whenever these large
events come along, we always
see an increase in both bought
and rental equipment." With
eight outside broadcast trucks
covering events at the 12 World
Cup stadiums, the company
estimated it had around 200 pieces
of its equipment out in Germany.
“Because of the demand, we
had to bring in resources from
the US," said Mr. Harman.
Another factor was the use of
high definition television
equipment at the event, he said.
"You have got much longer, larger
lenses, so you need a much more
stable base for the camera. It's
exceptional. We had a very good
year last year and with the takeup of high definition, there has
been even more of a take-up of
the product."
For further details contact Vinten
direct - see Tripods & Camera
Supports in Trade Directory on
page 29.
New Verbatim Printable DVD’s
Penridge Multi-Media Ltd is
pleased to announce the
introduction of Verbatim Glossy
Photo Printable (16x) DVD-R to
their range of quality DVD's, this
new product is the nearest thing
to printing photo paper on a disc.
Features of the new Verbatim
minus R range include: 16x
speed; photo-printable; glossy
inkjet full-colour, high resolution,
photo-quality
printing; fast ink
drying; longer
lasting colours;
superior ink
absorption on
high-resolution
8
August 2006
5,760 dpi printers; crisp and
clear text reproduction; and
qualified for use with CD/DVD
inkjet printers from Primera,
Microboards, Epson and
others.
The new glossy discs
feature an exceptional
inkjet-printable surface that
provides superior ink absorption
and excellent drying properties.
When combined with any colour
inkjet printer, users can print
photo-quality images directly to
the disc surface to customize
their CDs and DVDs. The new
media will meet the needs of
individuals and businesses that
Focus Magazine
www.iov.com
want to produce professionallooking one-off and limited run
video, photo, music, and/or
data discs for sharing with
friends and family or sales
distribution. By
combining the ultrareliability of Verbatim's
advanced CDR and DVD+/R technologies with an
innovative glossy inkjet-printable
surface, users have the highest
quality in both recording and
print performance.
For further details contact
Penridge Multi-Media direct - see
CD & DVD Recordable Media in
A Lifetime’s
Achievement
The Graham Fenton Experience
Limited has great pleasure in
announcing its most recent
award - The Event DV25 Award.
The award was presented in
Orlando at the 4Ever
Group Convention.
The Event DV25 Award
recognises the twentyfive most influential
videographers,
worldwide, and those who have
brought special talents and
innovations to the industry; and
The Graham Fenton Experience
won this award on both counts.
Managing Director, Janet Fenton
(pictured), said: “This latest
award honours the company as
one of the top twenty-five
worldwide who have had the most
impact on the industry in recent
years, and as such is a ‘lifetime
achievement’ award, accrediting
us for our flare, talent and
excellence in all fields.”
Event DV25 cited the following
in their decision to award The
Graham Fenton Experience:
introduced the MTV-style ‘pop
video’ concept in wedding
videography at
WEVA 2001; Corporate Member,
Institute of Videography, UK;
helped create the IOV’s
Wedding & Event forum;
speakers at WEVA Expo, 2001–5
and IOV Convention 1999–2005;
presented with the WEVA Special
Award - ‘The Ambassador’ - at
WEVA 2004; Won WEVA CEA
Gold, 2001 and Bronze, 2002–3
and Finalist award, 2004; and
their work
featured in many
UK wedding
publications and
on major UK
television channels
including BBC ITV
and Sky.
Event DV25
organisers said:
“Graham Fenton’s
company
continues very
strongly. Janet has
a great business
sense and
builds on
Graham’s memory
while expanding
the company, and
they are still
changing the
landscape across
the pond.”
Janet concluded: “By
challenging stereotypes and
helping others learn how to raise
the bar that little bit further we
can maintain a high standard of
work produced by videographers
not just here in the UK, but
internationally.”
For further information on The
Graham Fenton Experience, visit www.thegrahamfentonexperience.com.
Industry News
Local IOV News
Find out about Local
Meetings in your Area...
North Wales & Borders
Keane from Panasonic along to
By Rowland Barker
give us a run down on the P2
The weather has only just been
Tapeless system and the HVX 200
back to what we all remember as Camcorder. Dave Clark of Mitcorp
being proper summer time,
also came along to help Jill. Dave
which makes a change from
has been to our group before and
some of the recent cold and
is well known by many members.
miserable stuff we’ve been
The presentation was excellent
experiencing in my part of Wales. with Jill and Dave managing to
So on to the meeting. We
progress seamlessly through the
have changed the day of our
talk in a great double act.
meetings to Wednesday and we
Without going into too much
are now beginning to get a
techie stuff (well, none really as I
regular bunch of guys and gals
am useless at recounting that
turning up. So, lets hope we can stuff accurately) the camcorder
keep them coming back.
was one of the most tactile and
Most recently, we had Jill
best looking pieces of kit I’ve
North East
England
By Mark Williams
We had a good
attendance for
our June
meeting. This
was intended as
Scotland North & South
By Brian Rae & Tony Nimmo
IOV Chairperson, Steven
Abrams, completed the normal
pilgrimage of the Chair by doing
a double visit to both the
Scotland North and South
meetings on consecutive
evenings in June.
The purpose of these visits is
more social than formal, but it
does give local members the
chance to quiz the Chair on
aspects of IOV management and
its further development.
Steven was given a very
warm welcome at both meetings,
and was particularly honoured by
a general meeting and we had a
good discussion about several
topics such as the current state of
music licensing and how do be
creative in video production.
I also showed the Joel
Peregrine training DVD for those
who were not able to attend the
May meeting and everyone who
watched it found it very useful in
terms of what can be achieved in
terms of creativity in Wedding
Videos.
Many thanks for an enjoyable
and informative evening and I hope
to see you all at future events!
the great turnout at Tony
Nimmo’s meeting in Lanark.
Steven commented: “These visits
are vital for the IOV’s Executive
to help us ensure that we
understand the needs and
desires of members at local and
regional level. I’d like to thank
both Tony and Brian Rae (who
was unable to be at the Scotland
North meeting due to holidays)
for making all the necessary
arrangements for my visit. I’d
also like to thank all the
members for their hospitality and
warm reception. I’m sure that
future IOV Chairs will enjoy the
same welcome in years to come.”
Apart from bringing members up
to date on key issues, Steven
also came away with a few ideas
and comments from members
regarding promotional items for
the IOV shop and also literature
that will help members to benefit
from their membership even
further.
Much to his surprise, Steven
discovered that one of the shop
items that has been dropped
recently - namely the IOV carrier
bags - are still very much in
demand. This will be rectified in
the very near future and made
available to members from the
IOV shop at the convention.
tomorrow as more and more of
our clients start to own
By Peter Snell
compatible viewing equipment.
Clearly I am in
John just had time to briefly
good company
touch upon the world's first
in my
three-in-one video recorder - a
enthusiasm for
deck that records and plays from
the IOV and our
DVD, MiniDV, or hard disk in a
local meetings. This month we
compact, easy to use package.
had a good turn out for John
Dubbing, editing, archiving,
Kelly of JVC, including one
duplication or presentation, the
member all the way from
SR-DVM70U simplifies and
Lincolnshire.
speeds up the process, while
After a brief ‘PP’ John went
maintaining the highest, allthrough the features and benefits digital image quality… (see web
of the HD100 camera in detail.
site - http://pro.jvc.com/prof/).
Offering true high definition 16:9
I mean, unless you are at
recording onto existing
the top of the tree already,
inexpensive and reliable tape
where else but at an IOV local
stock, and/or hard disk, makes
meeting are top companies like
this a camera for today and
JVC going to bring their latest
Kent & SE
London
10
August 2006
seen in many a long year. It
gave me the longing that I had
for the first Betacam kit I saw
and my Alfa Romeo Guilietta.
I would recommend all Area
Reps to contact Panasonic and
get Jill or the local Panasonic rep
along to give a talk on P2.
The meeting ended between
9.45 and 10.30 - it just sort of
drifted on and on. Much of the
last half hour was spent talking
in the car park (well, it was a
beautiful warm evening!).
The next meeting will be on
Wednesday, 13th September at
Holt Lodge. See yah there!
Focus Magazine
www.iov.com
equipment direct to our
doorstep so that we can get a
chance to have some hands on
experience?
I could also go into one
about the projector John used suffices to say everyone was
impressed. As the meeting
ended, three visitors asked for
membership information packs
and two signed up there and
then. Surely this is something
we can all get excited about and we look forward to helping
them achieve everything they
want from IOV membership.
A sincere thank you to John
for his time an effort and I look
forward with anticipation to next
month to find out what Chris
Waterlow has in store for us.
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...
Dorset, Wiltshire & Hampshire
Colin North - [email protected]
01725 511688
Sussex, Berks, Surrey & SW London
Mike West - [email protected]
01903 892951
Kent & SE London
Peter Snell - [email protected]
01634 723838
Northern Ireland
John Doran - [email protected]
028 902 00736
Republic of Ireland
Mark Quinn - [email protected]
01 835 3389
If you would like to present your
products or services at local IOV
meetings - please contact IOV Rep
Coordinator, Peter Snell, on 01634
723838 ([email protected])
Mail Box
[email protected] - PO Box 625, Loughton, IG10 3GZ, United Kingdom
Anti-Dumping Issue
Following on from my foreword in
the July issue, I’ve published this
subsequent chain of correspondence
with Tim Felstead at Grass Valley
(Thomson) and further comment
from Ian Scott of JVC and Olivier
Bovis from Sony… ED.
Tim Felstead - Grass Valley
The headline of your “Cook Retort”
in the July issue was certainly eyecatching, but I fear it is completely
untrue. I think our rivals among
the non-EU manufacturers are
spreading misinformation and
mischief, so let me try to put the
record straight.
The proposed European Union
investigation is about broadcast
system cameras. It is nothing to do
with the sort of pro-AV camcorders
your members rely on for their
livelihoods, and it is most certainly
not about consumer products.
We are talking about an EU
ruling that has been in place for
more than a decade, and it exists
because the EU found clear
evidence that manufacturers were
attempting to dump broadcast
system cameras - sell them at
uneconomically low prices to buy
market share. What we are now
suggesting is that the ruling is
updated, because of HD, because
broadcast system cameras can now
produce good quality images from
smaller sensors, and because fibre
optic connections now exist
alongside triax.
But the key point is that this
investigation will be carried out by
the EU – not Thomson, not
anybody in the industry – and if
they find any evidence of unfair
competition they will try to rectify
it. Where there is no European
manufacturer in a sector of the
market – the sort of camcorders
used by readers of Focus, for
example – there can be no unfair
competition because there is no
European manufacturer to compete
with. So anyone who believes that
this action will double (or triple or
whatever the current hype is) the
price of camcorders for
videographers is simply falling for
scare tactics.
Let me say that once again.
There is no European manufacturer
of camcorders for videographers, so
there cannot be any unfair
competition against them. And if
there is no unfair competition the
EU has no reason – or power - to
act. It really is that simple.
Kevin Cook - Focus
You say that its about broadcast
camera systems, but the Notice of
Initiation under '2. Product' seems
to describe the very same HD
cameras that our marketplace will
be using for predominantly nonbroadcast applications. How will
the EU differentiate between a
broadcaster using a specific camera
and a wedding videographer using
the same? Taking the Canon XLH1, Sony Z1E, Panasonic HX200,
12
August 2006
JVC HD-101 and Sony DSR-450 as
examples - are these considered to
be typical of the cameras that
would attract import duties? If so,
my educated guess would be that
our market is responsible for a
considerable, if not the majority
percentage of overall sales in the
UK and Ireland of these cameras.
They are professional cameras that
happen to be used in the broadcast
production chain.
Perhaps you can confirm your
understanding of whether the
cameras mentioned above would
fall under the description. If not,
then we would certainly like to put
that on record with our readers.
We have of course heard
comment from other manufacturers
and suppliers who operate in this
part of the industry - but this has
not affected our judgement on what
we believe could be a potentially
disastrous outcome for our industry
and our members in particular.
It would have been favourable
if someone from Thomson could
have pre-empted this situation and
explained to us beforehand the
impact, if any, this action will have
on our industry.
Tim Felstead - Grass Valley
No, the models you mention and
others like them -- the camcorders
that your readers rely on for their
livelihoods -- would not be covered
by this action, because of the
simple fact that there are no
competing products manufactured
within the European Union.
We are talking about fair and
unfair competition here. Our
concern is about the broadcast
system camera market. By this I
mean a camera used in a studio or
on an outside broadcast, which is
plugged into a production switcher
and either broadcasts live or is
recorded somewhere downstream.
We believe that some non-EU
manufacturers have tried to distort
this market in the past by dumping
products, and the EU has rightly
used tariffs to stop this happening,
just as it has done in literally
thousands of markets from machine
tools to T shirts.
But I say again: there are no
European manufacturers of the
camcorders used by your readers.
All the models you quote are made
in Japan. That means that, in EU
terms, there can be no unfair
competition because there is no EU
manufacturer who might be
disadvantaged.
So to reiterate, I can clearly
state that our understanding is that
the models you quote and others
like them would not be covered by
the proposed modifications to this
long-standing anti-dumping
regulation.
Ian Scott - JVC Professional
Nice words from Mr Felstead, but
they don't make me feel much
better. If Grass Valley did not
intend for products such as GYHD100 to be included within the
Focus Magazine
www.iov.com
EC's investigation, why does their
complaint specifically mention
cameras and camcorders with CCDs
of 1/3" and over? Part of the basis
of their complaint is that
broadcasters are using products
designed for non-broadcast
applications - how do they expect
the EC to differentiate between a
GY-HD100 sold by a dealer to a
wedding videographer and one sold
to the BBC? (pay duty retrospectively?)
In other words, the response
from Mr Felstead simply does not
tally with the facts of Grass Valley's
complaint.
Olivier Bovis - Sony Broadcast
While the claim was raised by
Thomson probably thinking studio
camera (I will assume here
generously that they do not want to
"cleverly" anticipate Infinity
introduction.... as said
"generously") it is a clear fact that
at present and from July 2006 until
February 2007 the investigation is
based on the clear definition
provided by Thomson in their
original claim: “The product concerned is susceptible
for use in broadcast, news gathering,
digital cinematography or professional
applications. Professional applications
include (but are not limited to) the use
of these systems for creating
educational, entertainment,
promotional and documentary video
material, both for internal and external
distribution."
Now at a practical level the
definition in this listing is so vague
or open that as a matter of fact EU
AD Commission is investigating all
camcorders and cameras, SD and
HD, with all size of CCDs, and this
is an actual fact.
We can of course expect that as
explained in the mail from Tim
Felstead that the EU recognise that
Thomson is not in a position to
propose an alternative solution to
some product categories (i.e.
Canon XL-H1, Sony Z1E, Panasonic
HX200, JVC HD-101 and Sony DSR450 as examples) and therefore
decide to take it out of the final
scope of investigation: but simply
at that stage, it is not the case and
we will only know the outcome
toward may be the end of the year
and at the latest in February. But
again today these are part of the
investigation !
Now if I want to add a personal
comment to all of this I would like
to remind also that the all current
Studio System Cameras from Sony
are manufactured in Europe, so
whatever the outcome on this AD
issue is, these products are "not
concerned" by the enquiry.
Closing comment
The only thing that is clear from all this
is that nothing is clear. Personally, I’ve
already written to my MEP and we hope
that the industry will respond likewise.
There will be more on this later once
we have our plan of action! ED.
Forthcoming
IOV Events
Calendar...
August 2006
10th - SE London & Kent Meeting
‘Subject to be confirmed’
For details contact:
Peter Snell 01634 723838
15th - S. Wales & Bristol Channel Meeting
Jack Tristram 01792 816688
17th - W. London, Middx & Herts Meeting
Emerson Bovell 020 8575 2842
29th - North East England Meeting
Mark Williams 01642 651862
29th - Scotland South Meeting
Tony Nimmo 01555 661541
30th - Scotland North Meeting
Brian Rae 01224 313137
31st - Essex, Herts & N. E. London Meeting
Zulqar Cheema 01279 413260
September 2006
12th - Dorset, Wiltshire & Hampshire
‘Open Evening’
Colin North 0845 230 4077
13th - North Wales and Borders
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 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
This month, Mike looks at the
complete package - including
Compressor, Soundtrack Pro,
Motion 2 and DVD Studio Pro plus gives his overall Summary…
Compressor
When you want to export an
Final Cut Pro project to a video
file you are presented with the
Quicktime format but also
‘Export via Compressor’. If the
latter is selected, Compressor
opens its window within the FCP
work area.
Compressor is actually a
stand-alone application in its own
right and is a video and audio
format converter - rather like
ProCoder. At first glance it might
appear that it has fewer options
than ProCoder but that would be
a mistake. It is capable of
accepting plug-in CODECs to
extend its range of formats and
carry out many other processing
operations. In its native role it
will convert to MPEG 1, MPEG 2
and MPEG 4 formats and, as well
as WAV audio, it will convert to
AIFF or AC3. It is said that with
plug-ins it will transcode to AVI,
Windows Media and RealPlayer
formats (but I was not able to
check these).
It can also create ‘droplets’.
These are small programs that
can be used on their own
(without opening Compressor)
to carry out preset format
conversions with minimal
intervention by the user - very
useful to have as a set of tools
to be used for standard
repetitive work.
If one dives deeper within its
user interface it can carry out a
range of modifications to media
during the conversion process for example adjusting colour,
gamma, interlacing, image
cropping, letter-boxing and many
other options. It also has its own
display window with a split
screen that gives an indication of
‘before and after’ quality so that
settings can be optimised prior to
starting conversions.
Compressor would probably
be most used to create material
for later use in DVD Studio Pro.
To this end it will output at
various qualities in single or twopass VBR - either as a
multiplexed MPEG2 or as
14
August 2006
elemental streams of M2V with
sound in either WAV, AIFF or AC3
formats. If required, several
different format options can be
selected and all will be created in
the same operation. The
conversion rate to an elemental
MPEG2 stream with AC3 sound
was much the same as ProCoder
on a 3GHz PC.
Compressor is a complex
application in its own right with
many other features that I did
not have time to explore. For
example, it will convert between
international TV standards - PAL
to NTSC or vice-versa, convert
HD to SD and even SD to HD! It
will also convert Interlaced to
Progressive and Progressive to
Interlaced. Suffice to say it is
easy to use for basic conversions
and produces excellent results.
It would, however, require a bit
of time to get used to all the
image adjustments and
conversions that it offers.
Pro is actually a very powerful
stand-alone audio handling
package in its own right. It very
closely resembles Adobe’s
Audition (formerly Cool Edit) and
anyone experienced in using the
latter would have no difficulty in
converting across as it is
controlled in a similar manner.
It operates either as a single
stereo wave capture and editor
Soundtrack Pro
device or as a multi-track
FCP will handle and mix up to 24 compositor. When exporting to it
audio tracks with a large number from FCP you are given the
of effects filters, but sometimes
choice of going directly into the
it is necessary to carry out more wave or multi-track mode. Any
complex processes. Whilst
parameters or keyframes that
working in FCP one can export an have been set in FCP will be
audio track (or set of selected
transferred across and, if
tracks) directly into Soundtrack
necessary, can be further
adjusted or added to within
Pro where they can be reSoundtrack Pro.
processed or have features
As a wave editor a track can
added to them before being
be cut and pasted, have spikes
returned directly to FCP in their
or noise removed or have its
modified form.
dynamics altered using various
As well as having this direct
preset or user defined
interface with FCP, Soundtrack
Focus Magazine
www.iov.com
algorithms. Levels can be
altered or normalised and many
effects filters applied - from
normal equalisation and
parametric filtering to
reverberation and way out space
age sound effects. The number
and types of filters are too
numerous to mention but are on
a par with those found in
Audition. If a video soundtrack
has been exported the video
image is displayed in a small
window where it plays in sync
with the waveform on the
timeline.
As its name implies the multitrack mode handles sets of
stacked tracks - each containing
its own wave file - that when
played together will output a
composite mix of the tracks. If a
video with several audio tracks
has been exported to it all the
individual tracks are shown
together with any rubber bands
and keyframe markers that
might have been set in FCP. Like
the wave editor the video is also
displayed and plays in sync with
the audio. This is very useful for
accurately adding synchronised
sound effects on extra tracks.
Effects can be added to the
individual tracks but the prime
function of the multi-track mode
is to add material and create
accurate mixes. There are many
permutations in which this can
be done and for complex projects
selected tracks that have had
their individual parameters
adjusted can be assigned to a
busbar as a pre-mix, and
separate busbars mixed to create
an output.
Review
If required, the final mix can be
dubbed onto a new track and
returned as a ‘fait accompli’ to
FCP. The multi-track mode will
also act as a musical compositor
in its own right (for those who
have the necessary skills) and
Apple has supplied a large
library of ready captured sound
effects including rhythmic and
musical loops.
Soundtrack Pro is a very
powerful piece of audio handling
software that has many more
features than most of us would
ever need to use.
to the screen, 3D rotations,
perspective distortions, fade-ins
plus many other effects can be
applied and all have user
adjustable properties. Motion 2
also has a basic sound capability
that is useful to help synchronise
animations.
There is a set of built in
particle generators that are
especially effective - creating
very realistic firework displays,
sparklies, auroras and some very
nice swirling fog and smoke
effects - all achieved by simply
dragging and dropping. It took
no more than a minute or two to
create a sinister talking head that
Motion 2
materialised from a swirling mist
Motion 2 is a video compositor
by stacking a smoke generator
and, like Soundtrack and
Compressor, has hooks linking it that was blended over the
‘keyed’ head as it zoomed in with
to FCP meaning that video
a fade.
material created in FCP can be
There is a huge library of
sent to Motion or received back
over 500 effects and behaviours.
from it. As a production tool its
Some are pretty basic like colour
role is to create animations and
correction, 3D rotation, keying,
complex screen layouts of many
extrusion and opacity but other
types of objects - videos,
more interesting ones include
graphics, text, etc. in much the
same manner as After Effects, but ‘gravity’ that gives a realistic
falling effect (used to good effect
I found it much more intuitive to
in the showers of fireworks) and
use than its competition.
‘magnetism’ that causes objects
Its ease of use comes from
to fly together or fly apart. The
the inbuilt set of pre-defined
‘Replicator’ behaviour makes
objects, effects and behaviours
multiple copies of any type of
all of which can have their
object that can then be animated
properties ‘tweaked’ and all being
to create a multitude of
key-frameable.
fascinating swirling effects.
For example. To add a
As well as moving, zooming,
motion path to any object rotating and distorting blocks of
video, text or otherwise - it is
text there are behaviours that
simply a matter of dropping the
work on the individual letters
object into the work area and
within a text string. By simply
then dragging and placing a
typing in the required text one
‘motion behaviour’ from the
such behaviour makes the
library on to the object. The
individual letters bounce into
object gets a linear motion path
their positions on screen without
assigned to it and this is drawn in any complex time-consuming
the work area. The path can
user intervention.
then be adjusted by dragging its
Like everything in the FCP
start and end points to the
suite the versatility and flexibility
required places. Extra drag
embodied in Motion 2 makes it
points can then be added along
impossible to review it in
its length and used to create
anything other than a superficial
complex Bezier curves.
manner. This is a shame
Multiple behaviours can be
because it is a most powerful
added to an object in this
application and, amazingly, easy
manner so, as well as flying on
to get into and use. )
www.iov.com
Focus Magazine
August 2006
15
Review
Its power and functionality can
best be described by saying it
takes a 999-page manual to
cover all its features. Sadly, I
was only able to scratch the
surface in the time available and,
as just one example, wish I had
had time to play with the MIDI
interface that allows ‘playing’
effects in real time!
DVD Studio Pro
The fifth and final package in the
Final Cut Studio suite is DVD
Studio Pro. As its name implies,
it is a stand-alone high end DVD
authoring and encoding package.
It will handle both SD and HD
material encoded as MPEG 2 or
the H.264 format (Compressor
will create either) so is ready for
the arrival of the next generation
of HD-DVDs and associated
burners. At the risk of being
repetitious, the manual is much
more than a guide to the program
- it describes in great detail the
principles of DVD structure and
the up-to-date variations brought
about by the advent of HD in its
various forms.
DVD Studio Pro has a very
neat and uncluttered default
screen layout with a pane that
shows available assets, another
shows the assets that are
actually in use (called the
‘Outline’). There is a library pane
of in-built templates, buttons and
images, a properties pane, a
timeline and a tabbed viewer pane
that is used to create menu
layouts, display navigational links
and act as a preview monitor.
Several of the other panes have
tabs that cater for other functions.
Like Encore 2 it takes a little
time to get used to the way links
and object properties are
handled and I did not find it quite
so intuitive as the other
packages. For speed I again
resorted to the LA User Group’s
tutorial examples. However,
once I had overcome this initial
hurdle, it became relatively
straightforward to create menus
for both multi-track video and
audio applications and
slideshows. As is usual it is
important to rough out a list of
all the required assets and
navigational structures before
embarking on anything but the
simplest project as it is all too
easy to become lost within one’s
own spider’s web or to forget to
set properties correctly!
Video and audio assets first
have to be imported and
transferred to the timeline to
which extra audio tracks can be
added for multi-lingual
applications. Each video can be
played from the timeline and, if
necessary, chapter points added.
As this is done the used assets
together with any chapters are
shown in the Outline pane. A
click on any asset shown in the
Outline will then open a
corresponding properties pane.
Menu creation is simply a
matter of dragging and dropping
assets into the working pane and
their properties set. If required
motion can be applied to menus
and buttons that use video
assets. Duration and looping
points can be applied to any
motion menu items.
Navigational paths are created by
selecting a menu button and this
opens its property pane. It is
then only necessary to select the
name of the destination from a
drop-down menu of used assets
in the button’s property pane.
This became a very simple and
quick process once I had got to
grips with the technique and it
was relatively easy to create
quite complex interactive menu
structures using this simple
technique.
I cannot claim to be anything
but a novice to all the features
within DVD Studio but my first
impression is that it is more than
capable of handling any project
Review
that I am ever likely to handle
and, on balance, I found it much
easier to use than Encore 2 and
as easy to use as Ulead’s DVD
Workshop (but with much more
latent functionality). With hardly
any effort it should be possible to
produce work that easily equals
the functionality and appearance
of some of the Hollywood
blockbusters - subject, of course,
to the quality of the content!
constantly having to think about
which program would be best to
do this or that, and then chop
and change between programs
with little common uniformity in
their interfaces - and sometimes
having to change formats!
During a long stint at the
keyboard and switching between
applications I, once again, had to
be constantly thinking about
saving and re-booting to prevent
memory overflow and the
inevitable crash - there were no
Summary
such worries when using the Mac
My brief was to look at the
system.
system as a total newcomer to
In order to get close to the
the Apple range of video
total functionality of Final Cut
products and to convey my
Studio I would be using a
impressions. I must, therefore,
apologise to the Mac experts out combination of Premiere Pro 2,
Audition 2, After Effects, Encore
there if this review lacks depth
2, ProCoder and, probably,
but, if it is of any consolation to
them, I openly acknowledge that Imaginate 2. Even then I doubt
if I would be able to achieve
this ‘dyed in the wool’ PC
some of the superb features
merchant has now had his eyes
offered by the Apple package
well and truly opened.
that is also HD compatible
The combination of the
MacBook Pro and Final Cut Studio throughout the suite.
Although relatively expensive
is an incredibly powerful and
at
around
£900 (incl. VAT) the
comprehensive arsenal for
software package is extremely
anyone who wishes to vie with
good value for money if you are
the best in the video business.
Apart from its lack of a top of the looking for a complete state-ofrange graphics handling package the-art package. It is, however,
considerably cheaper than the
it is difficult to think of anything
individual prices of the PC
that one could not do with this
formidable set of tools. I assume equivalents I have mentioned.
The MacBook Pro is a
that Apple has not included a
beautiful
piece of equipment
graphics program because most
people contemplating something although I do not think that the
15.4” screen version is really
as sophisticated as Final Cut
suitable for working at for long
Studio would already have
periods. It is, by PC standards,
PhotoShop or Aperture.
quite expensive - costing around
I have had to ask myself if
my all too brief experience would £1,800 (incl. VAT) but, maybe,
worth it if you want to get the
persuade me to scrap my PC
benefit of Final Cut Studio.
systems with the plethora of
The total cost of around
assorted software in favour of
£2,700 is less than the cost of a
the integrated approach offered
half decent camera and for this
by the Final Cut suite. The
price you would have studio
answer would have to be an
facilities to equal those of many
unequivocal ‘Yes’ (finances
high definition broadcasters.
permitting!).
When I later reverted to my
PC system it felt ‘clunky’ and old
Mike Hughes M.M.Inst.V.
fashioned in comparison. I was
Pic Productions
www.iov.com
Focus Magazine
August 2006
17
Stuart Little writes:
As a long time
heavy user (and
fan) of Adobe
Premiere I
guess that I'm a
good choice to
review the
latest version.
Since version 6.0 I have been
purchasing upgrades as they
are released and was up to
Premiere Pro version 1.5.1.
But for this review those nice
people at Adobe provided me
with a fresh box enabling a
full pristine install of
Premiere Pro v2.0.
In this review I propose to
cover just three major features
which are new or significantly
changed from the previous
version of Pro. These are: native
HDV capture; multi-camera
editing; and the titling system.
Additionally my Swanrose
colleague David Brindley will
later on in this article be looking
at Adobe Bridge.
Install
Hitherto I have never had a
problem loading Adobe products
but my initial attempts to load
Pro v2.0 met with a stubborn
refusal from my souped-up Dell
computer. Eventually, on advice
obtained from the Adobe Support
Knowledgebase, I was able to
load up the software by disabling
Windows start up items and
services via the msconfig utility.
However, I have to say that I felt
somewhat nervous about doing
this and was unhappy that it was
necessary to resort to a
procedure that I didn't fully
understand the reason for.
multi-camera edit facility in Pro
v2.0. The concert that we
recorded with three cameras
lasted an hour and a half but
there were various bits of the
concert that I wished to edit out
and I wanted to cut down the
final programme (to be
distributed on DVD) to about an
hour.
Having captured all the
material (i.e. 90-minutes per
camera) I placed the clips on the
Premiere timeline with the clip
that was to include the master
soundtrack on Video 1/Audio 1
and the other two clips suitably
synced up on tracks 2 and 3.
In order to use the multicamera facility this timeline
('Sequence 1') has to be nested
into a new timeline ('Sequence
2') and this I duly did. When I
played the programme from the
multi-camera monitor window I
was duly presented with a view
of cameras 1, 2 & 3 playing (a
further sub window for Camera 4
was blank there being no Camera
4 in our production) plus a larger
view of whichever camera was
‘live’. To my delight during
playback within the multi-camera
monitor I was able in real time to
click on a camera view to make
that camera 'live' and each
change was reflected in the
Sequence 2 timeline.
Dissolving from one camera
view to another was no problem
as I could go back to the timeline
and simply add a dissolve at the
appropriate point. This is great,
Handling HD
Since as long ago as March 2005
Adobe has been claiming that
Premiere will capture HDV
material derived from both Sony
and JVC camcorders (at that time
via a free download third party
plugin for v1.5). But, in practice,
whilst the plugin, which upgraded
v1.5 to v1.5.1, could be used
with both the UK and US variants
of the HDV2 (Sony) system, it
could capture and play only the
US variant of the HDV1 (JVC)
system.
For the latter an expensive
was required. With the advent of
Pro v2.0 and the incorporation
therein of native HDV capture
(i.e. not reliant on a third party
plugin) I confidently expected
that capture of HDV material
Delivery of the software
coincided with a multi-camera
shoot that my company was
undertaking (an annual concert
that KLA has covered every year
since 2000) so I was naturally
looking forward to using the new
August 2006
on the audio track in the
Sequence 2 timeline ceased to
bear any relationship to the
actual sound at any given point.
I should emphasise that the
actual sound remained in perfect
sync with the picture - it was just
that the waveform ceased to
represent that sync sound.
Unfortunately I was never able to
get to the bottom of why this
was happening (I had a concert
to edit to a tight deadline) but I
guess that with foresight a quick
fix would have been to have
made the deletions prior to
creating Sequence 2.
Using this new facility
undoubtedly aided me in meeting
the deadline and I am hopeful
that Adobe will continue to
develop this particular facility to
eliminate these problems as it
really does increase work flow
and is otherwise fun to use.
third party software purchase
Multi-Cam Shoot
18
I thought. But what if I wanted
to re-balance the colour between
the clips?
In Sequence 2 the three
clips are integrated together
onto Track 1 but by going back
to Sequence 1 I could adjust the
colour (or make any other
changes I wanted) to the
relevant clip and this would be
reflected in that clip in
Sequence 2.
Additionally, had I wanted to
'follow sound' by playing each
camera clip's own sound as I cut
to that camera view rather than
sticking with a single sound track
this is also possible by selecting
the 'Follow Sound' option. So far
so good - but I now discovered a
couple of problems.
The first problem was that
whenever I stopped the multi
camera window from running the
programme I ran the risk of
inserting a cut in the timeline
regardless of whether or not I
wanted to make a change at that
point. This occurred only
intermittently which in some
ways was worse than if it had
occurred every time.
But the second problem was
even more irritating. As I
previously mentioned it was
always my intention to remove
some portions of the concert and
this presented no difficulty in
itself; in the Sequence 2 timeline
I simply used a razor to cut out
the unwanted material. But I
discovered that at a point beyond
the first excision the waveform
Focus Magazine
would now encompass the UK
variant of the JVC system. But
to my disappointment this is not
the case. I cannot imagine why
Adobe continues to drag its feet
over this but let's hope that they
catch up soon!
www.iov.com
Review
Fortunately KLA has both types
of camcorder so I was able to
test the HDV feature with a Sony
HCR1 camcorder. I logged a
number of clips using the capture
screen and then asked the
system to batch capture them.
This worked perfectly - as I
expected it would. But I was
surprised at how smoothly I was
able to scrub through the clips on
the timeline given that they were
native HDV (i.e. MPEG2) and not
conformed to full 25 frame mode
as per the v1.5.1 plugin.
Similarly the addition of
transitions produced smooth
results even prior to rendering.
Titling Experience
The title system in v2.0 appears
at first glance to be pretty much
the same as that in earlier
versions (going back as far as
v6.5). But although the actual
process of adding a title is the
same, the way that titles are
saved is fundamentally different.
In the earlier versions you
created a title and saved it as an
individual file which you could
use in other projects. In v2.0
when you create a title you are
invited to give it a name but
once created it simply becomes
integrated into the project file
(i.e. when you go to save your
title it's the project file that you
save); each title you create will
be individually listed in your
project assets as a still image but
you will search in vain for any
title files in your Windows
management system.
So how do you export a title
to another project? Fortunately
you can highlight a title in the list
of project assets and use File/
Export/Title to create a Windows
file. Having now got used to this
system I find it perfectly okay.
management. Then I bought
Adobe’s ‘low budget’ package of
Premiere Elements and
Photoshop Elements and, guess
what! Yes, they both come with
Adobe Bridge’s beautifully
integrated file management. And
now, at last, Premiere Pro 2 has
caught up.
Bridge is accessed from the
File menu. Click on Browse and
the main window is displayed.
This can be sized to sit alongside
Premiere’s Project window and
files can be dragged from Bridge
into the current project. It can
also be displayed in full screen or
compact mode.
With Bridge, you can view
your entire computer filing
system displayed in typical
‘browser style’. In the illustration
here you can see selected folders
in the left panel displayed on the
right in filmstrip mode. Also on
the left of the Bridge main
window are two other panels:
one is a preview window to
display stills, or play videos and
animations; and below that, a
panel containing tabs for
Metadata and Keywords.
wedding) or graded ratings to
indicate the quality of the clip.
In addition to the star rating,
clips can be colour coded and
allocated Keywords allowing for
quite sophisticated searching.
And searches themselves can be
saved into ‘Collections’ so that
they can be easily repeated. In
addition to all this is a facility to
add a mass of metadata to each
clip.
purchasing online. The blurb
from Adobe says that these are
all at ‘reasonable prices’ but you
may not agree with that bit.
Nonetheless, if you do wish to
buy the rights to use some of
these brilliant images then the
option is there.
Stuart Little
writes:
There are a
number of
features of v2.0
which I haven't
covered such as
the dockability
of different work areas enabling
the re-sizing of one window to be
reflected in other docked
As a clip is reviewed it can be
given a Star Rating (one to five
stars). A typical use for this
might be a 5 star rating for all
clips that MUST be included in
the edit (e.g. key guests at the
Listed in the Favourites panel is
another welcome new addition.
This is the link to Adobe Stock
Photos which, assuming you are
connected to the Internet, will
display a search panel providing
access to over 200,000 stock
photographs. You can view these
and even download a ‘comp’ (a
low resolution copy) of the image
and drag this into your project to
evaluate its suitability before
David Brindley writes:
On The Bridge
At last, real
media
management
within
Premiere! My
earliest
relationship
with Premiere was v4.2 and
since then I have yearned for
some better file management
facility within Premiere itself.
Each time I paid a vast sum
of money to Adobe for yet
another ‘latest’ version I again
cursed the lack of file
windows (i.e. make one work
area bigger and the other(s) get
smaller to accommodate it) and
the creation of simple menus for
DVDs both of which were first
featured in Adobe Premiere
Elements. But I have chosen to
concentrate on features which
are of vital importance to my
particular working pattern.
Overall I feel positive about
v2.0 but look forward to further
improvement of the multicamera feature and the
incorporation of capture and
playback of native HDV from JVC
camcorder-derived material.
Stuart Little
& David Brindley
Note: Stuart Little is a director
of KLA Film and Video
Communication and is an
approved trainer for Swanrose
courses in London. David
Brindley is the proprietor of
Swanrose Video and New Media
Training - www.swanrose.com.
www.iov.com
Focus Magazine
August 2006
19
As a Church of England Team
Rector, as well as being a
Master Member of the IOV, I
have read with interest the
many questions posed on the
IOV website by videographers
who have been required to
sign a contract to video a
service in a Church of England
church, chapel or licensed
place of worship. Questions
have ranged wide both in
content and passion, but at
heart many videographers
are asking - “Why do we have
to sign a contract to video in
church when we already have
paid for our MCPS and PPL
licences?” To add to the
confusion many are asking “Where does the church’s CCL
licence come into this?”
The beginnings of this story
date back to the 1980s before
the word ‘videography’ was part
of our working language,
cameras were big, heavy and
expensive and video camera
operators were springing up all
over the place. There was no
regulation and due to the
linear method of editing much
was done in camera and ‘on
the hoof’.
Many of our premier
established IOV members cut
their ‘video teeth’ in this
environment, and some now look
20
August 2006
back with a nostalgic smile and,
if they are honest, a slight shake
of the head at the quality of the
work they produced. However, if
it was a time of innovation and
challenge it was also a time of
‘cowboys’ and some saw this
period as opportunity to ‘make a
quick buck’ and move on. Issues
of copyright arose that effected
both the Church and the
videographer alike, and as a
result the Church of England took
legal advice from the Legal
Advisory Commission and then
duplicated that advice to its
Dioceses and Churches.
generated from the use of their
music in a variety of productions,
which includes video production.
PPL
The Phonographic Performance
Limited company collects licence
fees for over three thousand
record companies for the public
performance of its member’s
material; this licence fee is then
distributed to the record
company members and
performers.
Do we Need to have
these Licences?
The simple answer is “yes” - the
law requires that if we want to
record copyrighted material or
The Legal Advisory Commission
copyrighted pre-recorded
of the Church of England gives
material that permission is
advice on legal matters of
obtained from the copyright
general interest to the Church
holder or a licence is obtained
which are referred to it by the
from either MCPS or PPL.
Archbishops’ Council, the General
Wedding services are no
Synod, the Church
exception; whenever they are
Commissioners and the Church
filmed or video-recorded a licence
of England Pension Board and by must be gained. In most
diocesan clerical and lay office
weddings a MCPS Limited
holders. The opinions of the
Availability Product Licence (LAPL)
Commission on matters of
is all that is required and, at
general interest are published
present, for reproducing 1-100
under the title Legal Opinions
copies of a wedding with less than
Concerning the Church of
30-minutes music a fee of £17.63
England (© The Central Board of (£15 + VAT) is all that is required.
Finance of the Church of England
A PPL Private Function Video/
1994 - Church House Publishing
DVD Dubbing Licence is what is
ISBN 0 7151 3756 5). It is from required if your planning to rethis source that the permission to record recorded music and their
record comes from.
rates are not only more
However, before we look at
complicated to use but
their guidelines we need to have substantially more expensive
a quick look at MCPS, PPL,
than MCPS. At present, if you go
www.videolicence.co.uk and CCL to PPL direct their prices are: 5 to
and what areas of copyright they 9 copies £8.39 (including VAT)
cover.
each, 10 to 24 - £7.41, 25 to 49 £6.91, 50 to 99 - £6.79, 100 to
MCPS
199 - £6.48 and 200 plus - £6.18.
The Mechanical-Copyright
Protection Society exists to act
The IOV
on behalf of its composer and
publisher members. It negotiates PPL Licence Scheme
Although not yet in operation, the
agreements on their behalf and
IOV Executive has arranged, on
collects and distributes the
‘mechanical’ royalties for the use our behalf, a deal with PPL (extract
from June issue of Focus):
of their music which are
The Legal Advisory
Commission
Focus Magazine
www.iov.com
“Hopefully, we are now in the
final stages of entering into a
formal agreement with PPL to sell
their stickers. For those that
missed the announcement in
Focus, after many months in
negotiation, the IOV will be
selling the PPL stickers for a
much-reduced rate compared
with those available through
www.videolicence.co.uk.
Members will be able to buy 50
stickers for £235 inc. VAT –
compared to £339.50 inc. VAT
from www.videolicence.co.uk.
Additional stickers will be
available in units of 20 at £58.75
inc. VAT.”
Hopefully, the final
arrangements will be sorted out
soon. If you are out of stock of
these stickers now I suggest you
hold on for a few more weeks
until the IOV will be in a position
to process your orders.
www.videolicence.co.uk
www.videolicence.co.uk offer a
service that allows you to purchase
on-line MCPS and PPL licences and
many videographers have found it
convenient, especially for the
MCPS licence that can be obtained
immediately. Hopefully, the IOV
will be able to negotiate on our
behalf in this area also.
CCL
The Church Copyright Licence
cover is a scheme designed for
churches to cover them for any
recordings made on their
premises for non-commercial
use.
The CCL does not cover any
post-productions rights, be that
dubbing or recordings made from
commercially recorded sources
and certainly does not cover
anything recorded outside of the
church such as at the reception.
Therefore videographers should
make their own MCPS and PPL
arrangements as the CCL cover
is essentially just for the
churches’ protection.
Article
Permission to Record
and Video in the
Church of England
However, if that is what MCPS,
PPL, www.videolicence.co.uk and
CCL do, what additional
permission is required or
recommended by the Church of
England? The Legal Advisory
Commission have stated the
following:
a. Professional recordists should
hold a current licence issued by
the MCPS. The responsibility for
ensuring compliance with the
requirements of the law rests
primarily with the professional
recordists.
b. The incumbent has no
authority to give a copyright
licence for a recording to be made
in church; authorising or
permitting the recording or public
performance of a copyright work in
a church may put him at risk of
being sued for an infringement.
Nevertheless, copyright aside, no
recording can be made in church
without his permission.
c. If the incumbent gives
permission for recording
equipment to be brought into a
church he is at liberty to impose
conditions concerning the
manner in which the recording is
to be made, for example:
i. The number of cameras to be
used in a church;
ii. Whether only fixed camera
positions may be used or
whether mobile cameras will be
permitted;
iii. Whether extra lighting will be
permitted and, if so, where it is
to be sited;
iv. Any directions for turning on
and off of extra lighting;
v. Any directions for recording
specified parts of the service or
event, e.g. the signing of the
register;
vi. Any necessary licences, e.g.
from the MCPS or the PRS, and
consents of performers, to be
produced before the day on
which the recording is to be
made.
d. Similarly, copyright aside, no
recording may be made in a
church without the permission of
the Parochial Church Council
(PCC).
e. Certain ‘blanket’
arrangements have been made
to facilitate the recording in
church of the text of marriage
and baptism services from the
Book of Common Prayer and the
Alternative Service Book (and for
ease I have abbreviated these
conditions):
i. Apart from the original
recording sold to the couple or
parents no copies may be sold
commercially
ii. No more than three copies
may be made.
iii. Neither the recording nor any
extract from it may be exhibited
in public.
f. If a professional recordist is
employed to record a wedding or
baptism then it is for the couple
to ensure that the professional
recordist complies both with the
three conditions (above) and
with any directions of the
incumbent.
g. Notice that the incumbent has
no authority to permit the lawful
recording of any copyrighted
work other than the works
covered by the blanket
permission.
h. Generally neither the
recording nor the copyright in it
would belong to the incumbent or
the PCC and certainly would have
no claim in the copyright of the
works recorded.
i. Parochial Fees Orders made
under the Ecclesiastical Fee
Measure 1986 do not prescribe a
fee for granting permission to
record a wedding or baptism. It
is for the PCC to determine
whether a fee should be charged
for using audio or video
recording equipment inside a
church, but the incumbent
retains the right to refuse to
allow a particular service to be
recorded. Any fees paid by
either the couple or the recordist
are payable to the PCC and not
the incumbent.
As a consequence of all this
advice the Legal Advisory
Commission produced a ‘Model
notice to permit Use in Church of
Video Recording Equipment for
Marriage and Baptism Services’,
it is this model that has formed
the basis of the so-called church
video licence, which is not a
licence but ‘permission’.
However, from the formal
advice given, even in my cut
down version, the advice is
detailed and complicated but it
does break down into two distinct
parts - ‘Permission to record video
in a church’ and ‘Permission to
use liturgical texts’. )
www.iov.com
Focus Magazine
August 2006
21
Article
The Next Step?
A lot of videotape has gone
through our cameras since the
above advice was given and
while the industry has forged
ahead in leaps and bounds, and
our customers’ expectations have
grown, the legal advice given to
the churches has not kept up
with the developments in
videography.
In an effort to address this
Ron Lee and I went to see
Christopher Tyne, the Registry
Clerk, at the Diocesan Registry
for the Diocese of Liverpool to
see if we could discover what the
‘next step’ would be. Chris was
immensely helpful and it was he
who pointed us to the Legal
Advisory Commission documents.
In a letter following this meeting
he wrote:
and if I understand it properly it
should be possible to negotiate
more with the owner of the liturgy
not the local church! Simply the
restriction to three copies is a
waver given by the copyright
owners to save undue paperwork if you want more you have to deal
with the copyright owners
direct. It may well be the IOV
could work out a deal direct with
copyright owners. Also the local
church cannot claim the copyright
of the works recorded.”
A Brief Guide to
Liturgical Copyright
The authorised texts of services
has been updated to include all
the latest liturgical texts
including ‘Common Worship’.
The copyright owners have also
agreed that the agreed material
may be recorded on either video
tape or audio tape without any
application for copyright
permission and without paying a
fee to the copyright owners,
provided certain conditions are
observed:
a. No more than 25 copies may
be made of the recording.
b. No rights in the recording and
no copies of it may be sold or
transferred in return for a money
It has become clear that if we
payment or anything else of
want to move forward on the
value (a professional recordist
copyright aspect of the
permission to record and video in who has been commissioned to
make the recording by the
church then we needed to go
couple/parents, etc. may sell
directly to the copyright holder
“As mentioned, the policy which is which is The Archbishops’
copies to the persons who
still in place here is that which I
Council, administered at Church
commissioned it, but apart from
inherited nearly 18 years ago, so a House, London.
that neither the person making
review would be more than
The copyright holders have
the recording, that person’s
timely… The Opinion which I
produced a document - ‘A Brief
employer (if any), the couple/
copied to you and your colleague
Guide to Liturgical Copyright –
parents, etc., nor anyone else,
dates from 1997 and the form of
Third Edition’ - which is available may sell copies or transfer them
agreement was last updated in
for viewing at www.cofe.anglican.org/ in return for something of value).
1994 - on any view therefore, a
worship/downloads/litcopy.rtf. While
review would not come amiss…
their advice is similar it has been c. Neither the recording nor any
extract from it may be exhibited
Whilst I accept entirely that events updated and amended. In a
and practices have moved on
or played in public.
section marked ‘General
greatly over the past ten years or
information’ it states:
so, it is arguable how much the
These arrangements do not
“If a video or audio recording is to extend to any part of the service
Church should move to meet
secular expectations. Marriage is a be made of the whole or part of
other than the text of the
any service, it is essential to obtain authorised services and psalms
Sacrament and I personally have
the permission of the incumbent or from the Psalters indicated. Thus
misgivings over the relaxation of
priest-in-charge and of the
rules which you seek.”
biblical passages (even if they
minister who is to conduct the
are recommended readings),
service
(if
that
is
someone
other
Ron and I also ran past him a
other prayers, hymns, anthems,
than
the
incumbent).
It
is
within
‘Best Practice Document’ to see
music, etc. are not covered.
the complete discretion of the
what he thought, to which he
Finally, the document when
incumbent/priest-in-charge/
replied:
referring to obtaining copyright
minister whether or not to allow
permissions and licences makes
“As regards the Best Practice
the recording to be made, and if
the following observation:
Document you left with me, I
recording is permitted the
should be uneasy over the two
“The person who wishes to make
incumbent/minister may impose
points as follows: unlimited
conditions, including conditions as
the recording is normally
number of copies of the final
to the manner in which the
responsible for applying for and
video; promotional use, which in
recording is to be made (e.g. the
obtaining the necessary
my view would amount to
number of cameras to be allowed, permissions and licences.
advertisement. I am not sure that
whether they are to be fixed or
However, in the case of, for
you would be able to prevent so
mobile, and whether additional
example, a wedding or baptism, if
called "unreasonable" clauses, as
lighting is to be permitted). A fee,
the couple/parents, etc.,
the church is the property of the
payable to the parochial church
commission a professional firm to
Vicar and with his Churchwardens
council, may also be charged for
may withhold or grant conditions
make the recording, the recording
the permission, and this is a
under which licences are awarded.”
firm is considered to be their
matter for the discretion of the
agent, and the firm is responsible
parochial church council; there is
In an email to Ron shortly after
for ensuring that the necessary
no nationally recommended scale
this meeting I noted a few issues
permissions are obtained and any
of fees. The incumbent/priest-inthat had become apparent from
conditions are complied with.
charge/minister is recommended
the interview and my subsequent
to give the permission in writing,
Nevertheless, an incumbent/priestreading of the legal guidelines:
setting out any conditions and the in-charge/minister who imposes
fee to be paid, if any, and to obtain conditions on a permission to
“I have read some of the relevant
payment of the fee and the written make a professional recording of a
pages in the legal advice book I
agreement of the person who is to service is recommended to give a
purchased and I have noted a few
things of interest. For example the make the recording to comply with copy of the conditions to the
the conditions before the service
restriction to three copies of the
recordist direct. In the case of
final video only applies to
takes place… It is also essential to
weddings, baptisms, etc., the
items which include copyright
obtain the permission of the
material managed by the owners
organist/director of music/worship couple or parents should if
necessary also make it clear to any
of the Church liturgy (and even
leader and any other musicians
guest who might wish to make
then it is out of date because it has whose performance is to be
recordings on his or her own
not been updated to include the
recorded. Here again, fees or
initiative that the guest in question
new Common Worship liturgy),
additional fees may be charged.”
22
August 2006
Focus Magazine
www.iov.com
must obtain the necessary
permissions in advance, comply
with any conditions and pay any
fees involved.”
Conclusion
So where does that leave us?
Well, to proceed from here I note
that there are now two
conflicting sets of advice, those
published in the ‘Legal Opinions
Concerning The Church of
England’ originating from the
1980s and revised in 1994, which
have not been amended, and
those of the Liturgical
Commission published in ‘A Brief
Guide to Liturgical Copyright’
published in 2000.
That's good news for us
because it means we have a
good case for it to be updated.
We need to recognise that there
are now three main issues that
need to be addressed:
a. Permission to record video in
a church as it is still within the
complete discretion of the
minister whether or not to allow
the recording to be made.
b. Permission to use liturgical
texts.
c. What fees are necessary to be
paid to obtain the permission of
the organist/director of music/
worship leader and any other
musicians whose performance is
to be recorded.
I am convinced that the General
Synod will never allow the
situation to develop where a
minister is forced to allow a
videographer to make a
recording, therefore a) above will
probably never change, but a
professional, friendly manner can
work wonders and it is more
often the case that the younger
the clergy are the more open
they are in using/allowing
modern multi-media technology
in their churches.
I feel unqualified to comment
on c) as to what we should be
prepared to pay a performer for
their permission to record their
work, as that very much depends
on how good they are at their art
and what the ‘going rate’ is.
However, it is in b), the
permission to use liturgical texts,
that we may be able to make the
most inroads and it is my hope
that the IOV will be able to do a
deal with copyright holders
directly and in so doing we can
move forward.
Finally, I believe there is a
place for producing a ‘Best
Practice’ document that can be
used nationally that tells the
churches what we need and
expect if we are to record in a
church and, in turn, what the
church can expect from us as
videographers.
Revd. Phil Janvier M.M.Inst.V.
Article
Golden rule number two - “Needs
must when the devil drives!”
Don’t look at these as
compromises to your plan, but
more of a ‘means to an end’.
When you are simply stacked out
with the type of work that you
are aiming for, that’s the time
when you can pleasantly say,
“No, sorry, that’s not the kind of
work we are prepared to do”.
work as opposed to quality of
work and I’m sure that its
worked extremely well for them.
However, to get the volume of
work as a newly formed business
it is going to take a considerable
amount of start up capital to
fund the marketing and
promotional resources that this
requires.
So, despite all the words of
business can exist quite happily
There is obviously that
warning from your friends
alongside other sources of
slightly sticky point in a
and family, your accountant’s income or even a full-time job.
First Steps
videography business where you
dire projections of cash flow
The only exclusion to this is the
are trying to establish yourself
It’s
not always that easy to plan
and life-style changes – and
corporate video market where
and form your portfolio of
your own niggling thoughts
clients will simply not understand the stages between being a
serious hobbyist, to being a part- satisfied clients. Having a cheap
and self-doubt – you’ve
a videographer who says, “Oh, I
time videographer, to going the
price tag will obviously attract a
decided to take the plunge
can only do things at
whole hog and setting up an
wider audience as there will be
and start up a videography
weekends!”.
exclusive business. However, a
more people able to afford you.
business. Well done – but its
Weddings are predominantly
retrospective look at anyone who However, one of the hardest
going to take more than just
weekends, and producing and
has gone down this route and
challenges will be to increase
enthusiasm and a keen
selling SIVs (Special Interest
they will nearly always tell you
your prices as essentially you’ll
interest in making movies to
Videos) can normally be fitted in
have to re-establish your
get the thing to work. Golden as and when you need. With the that had they been better
businesses in a different market
rule number one - “The only
Internet now an accepted means informed, and more prepared,
each time you try to creep your
place where success comes
of supplying and ordering things, then they would have done
things a different way.
prices up. The best work you
before work is in the
an SIV title (or preferably, a
This phenomenon is not
can get is that which comes from
dictionary!”
series) can easily be set up to
exclusive to videography – but
recommendation, but that
Unless you are literally
sell itself off a website. Come
nonetheless learning from other
recommendation is normally
burdened with cash that you
home from work, download the
people’s mistakes is the cheapest qualified by how much they paid.
simply don’t know what to do
orders, process the payments
and most realistic training you
with, you’re first few years in
and package the goods. You
If all of a sudden you start telling
business are going to be a
could be sweeping the streets all can obtain.
these recommended leads that
Golden rule number three –
struggle. It’s not the case with
day for all the customer knows!
your prices have doubled your
“Start as you mean to carry on”. good reputation will be tarnished.
everyone who embarks on this
I can remember when I first
Whatever avenue of
adventure – but the norm is that started out in this business and
Sure, do work at a
production you are entering into, discounted rate just to get your
most will fall by the wayside
had the obligatory meeting with
within 3-years. In fact, most
our bank manager who told us to your ultimate goal is to get your
foot on the ladder – but make
businesses will fail within the first go away and prepare a cash flow potential market to think of you
sure your customers know that
first when they are thinking of
year – normally through lack of
forecast. What? How can we
the rate they have paid has been
buying, commissioning or using
funding. In the second year
possibly prepare a forecast for a
heavily discounted. This way
you’ll still be ploughing money
business that doesn’t have a
video. Envisaging yourself in this anyone they recommend to you
into the business whilst it builds. trading track record and there’s
position – where you can almost
will also, hopefully, know the real
In the third year you might break nothing out there to compare
pick and choose your clients – is
cost of employing you. Call it
even.
against?
the frame of mind you need to
what you like – ‘Special
But once you break the 3This is the point where you
adopt from day one. And there
Introductory Offer’ or ‘Early
year barrier you’ll be able to join need to forget all the hairy fairy
is no more important part of your Booking Offer’ or any other
that exclusive club of
ideas about what a videography
business planning than the way
creative tag you can give it – but
entrepreneurs who knowingly
business might or might not
you price your services.
make sure that you know what
laugh when people say - “Cor’ I
turnover. What you have to do
Too many videographers
you will need to be charging in
wish I had my own business!”.
here is, as mentioned previously, start off by trying to attract
order to return the profits your
It’s not the ‘easy route’ – and its work out what you need the
business by being the cheapest.
business will need to survive.
not going to be the bed of roses
business to return. In turn this
Make no mistakes, this policy will
You’ll also get a whole lot
that those in ordinary
will then show you what business work. You will get business
more respect from your fellow
employment tend to think it is.
you need to generate in order to because you are the cheapest –
craftsmen if you are not
succeed. It should also lead you but not because you are the
undermining their efforts in
Get a Plan
on to think about what additional best, or the most innovative and
attracting a fair reward for a
No businesses plan to fail – but
and associated services you need creative, or the most technically
professional service.
many fail to plan. Part of that
to offer in order to reach the
competent - or even because you
planning process includes taking
financial goals dictated by what
provide the best value for money
Next Month
a course of ‘reality pills’ that will
you need the business to return. (which are the reasons that you
enable you to see exactly how
I’m going to cover the pros and
Hopefully, all this math will
will eventually want to become
hard it is to establish a business. tie up with your market research!
cons of working from home
successful for).
You will need to know facts and
You should by the end of this
You will get the work because compared to working from
figures of how much you will
business premises - and the
exercise know whether the
you are the cheapest – and
need the business to generate in market can sustain your
variations in between.
unless this is tied in with
net profit in order to live the
In the meantime, there are
projected turnover and profit.
producing
the
greatest
volume,
lifestyle you desire - or in the
some people who you will need
you
are
not
likely
to
generate
meantime, enough that you can
complete understanding and
sufficient profits to achieve the
Open your Mind
survive on. This will vary quite
support from - and that’s your
You will end up doing some work financial goals that you should
considerably depending on
family and close friends.
have by now set yourself.
that you originally had intended
whether you are creating a fullSomething has to give when you
I
can
honestly
say
that
I
to
avoid.
There
are
many
time business that’s got to
are putting all this extra time
know of no example where
videographers in the IOV who
generate all of your income – or
someone is both the cheapest
into setting up your business - so
a small sideline business that will would rather not do weddings or
and the best. The two simply do these people will have to make
duplication jobs – but if doing
supplement other sources of
not mix.
these makes the difference
compromises too. You’ll need
income.
I’m not saying that this is an
them to be fighting on your side
I touched on this last month, between your business dreams
becoming a reality or not, then
unviable business proposition.
but the latter of the two
- so start buttering them up!
you’d be a fool to turn your back There are many videographers
scenarios mentioned above is
on them.
out there who go for volume of
common. A videography
www.iov.com
Focus Magazine
August 2006
23
Microphones (Part 2)
You are standing next to the
A58 dual carriageway
wearing your long sleeved
yellow safety jacket trying to
interview a traffic policeman
about the dangers of driving
in heavy traffic. The traffic
noise is constantly loud but
peaks to deafening as each
lorry goes by. Which type
microphone will give you the
clearest results?
Knowing the answer to this
question depends on your
understanding of the different
types of microphones that are
available to you and of the
particular polar patterns
associated with such
microphones. So if polar
patterns are to you the marks
left in snow by a white fur-coated
bear that lives on ice, or you
want to a know a little more
about the design of microphones,
then read on.
Directional Response
Knowing that every microphone
has a directional response or
pattern is an important
advantage that every
videographer can have to ensure
that they get the most effective
and clean recording possible. It
is essential that we use the
design of the microphones we
have to minimise the pickup of
sound from sources other than
our chosen subject.
The directional response of a
microphone refers to its
sensitivity to sound in relation to
its front and the angles of its
central axis and the resulting
output level. This sensitivity is
known as the ‘polar pattern’ or
‘polar response’. In the diagram
below I have roughly reproduced
the polar patterns of the six main
types of microphone -
24
August 2006
omnidirectional, bi-directional,
cardioid, supercardioid,
hypercardioid and shotgun.
In preparing this basic
diagram I am aware that the
graph I have produced is not as
accurate as it could be, partly
due to my poor computer
drawing skills, and partly
because even the manufacturers
of the microphones themselves
will label a microphone type
based around the closest pattern
to their microphone. However, it
does serve as a simple guide to
polar shapes involved and that is
usually adequate to be able to
use your microphones effectively.
In Scott Hunter Stark’s book
- ’Live Sound Reinforcement’ - he
uses three-dimensional
representations of polar patterns
provided by Shure and
Sennheiser to illustrate the polar
patterns of microphones. I found
them so helpful that I have
redrawn them from scratch and
adapted them to match the
previous basic polar diagram.
and they do not suffer from the
proximity effect. Also
omnidirectional microphones do
not add much to the sound as
they have a smoother frequency
response than directional
microphones and are therefore
considered to be the ‘purest’ of
microphones in their ‘passing-on’
of original sound.
Bi-directional
Bi-directional microphones are
often used in radio studios where
there are two people involved in
an interview one on either side of
the microphone. Interestingly,
most ribbon microphones have
this type of polar pattern.
Cardioid
Of all the microphone pick up
patterns available, cardioid is by
far the most commonly used.
Typically it gets its name from its
heart shaped polar pattern. The
cardioid microphone is sensitive
to sounds coming in on its
primary axis, or front, and it
rejects sounds from the rear or
sides. More often than not these
microphones are used in live
sound reinforcement as their
directional attributes can cut
down on feedback, however,
they are more sensitive to breath
popping and wind noise.
Supercardioid
The supercardioid microphone
If you think of the polar pattern
has a highly directional element
of any given microphone as a
that enables it to concentrate its
balloon around the microphone
reach farther than its cardioid
that expands in all directions as
cousin. As a result, it is often
you increase the gain, or shrinks
used in situations where the
as you decrease the gain, then
subject is further away and there
you will see how external noise
needs to be a rejection of side
or interference can creep in.
noise, however, in contrast to
the cardioid microphone it does
Omnidirectional
pick up more sound from its rear
Omnidirectional microphones, as pickup lobe and therefore care
their name suggests,
must be taken. The
theoretically pick up sound
supercardioid microphone is
equally in all directions, although related to the hypercardioid
in practice this is not the case,
microphone and although not
and more often than not they are identical it is similar.
used in lavalier systems. The
omnidirectional pattern for
Hypercardioid
lavaliers has several benefits,
they can be clipped upside down A hypercardioid microphone is
very similar to that of a cardioid
without the sound quality
changing and therefore they can microphone but with a closer
area of front sensitivity and a
cut out breath pops altogether
Focus Magazine
www.iov.com
much smaller area of rear
sensitivity, more often than not
this is used as a speech
microphone as it reduces or cuts
out unwanted sounds from other
directions.
Shotgun
Shotgun microphones are the
most highly directional of all the
microphones available to us and
they are used to pick up sounds
usually from longer distances particularly where it would be
impossible to place any other
microphone closer. Most
shotgun microphones are
distinguished by their long thin
tube-like structure, featuring a
series of calibrated holes
designed to displace as much
unwanted sound as is possible.
Practical Applications
You are once again standing next
to the A58 dual carriageway
trying to interview a traffic
policeman about the dangers of
driving in heavy traffic, which
type of microphone will give you
the clearest results? There are
two possible solutions to this
problem. I would use two
omnidirectional lavalier
microphones which I would clip
as high up to the speakers’
mouths as is humanly possible I believe that it would be possible
to keep the gain down and limit
the sound lobe and as a result
you would be able to distinguish
the human voice from the
environment. Alternatively,
others I know would use an
accurately aimed shotgun
microphone.
Phil Janvier M.M.Inst.V.
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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 excerlent
electrial order but has signs of
cosmetic deteriation, the paint has
worn away and some of the audio
slider knobs have been lost. Apart fron
this, everything works fine. The asking
price is £1000-00 ono.
Contact Cam 3 Media on 01588650456
Allan Heath GL 2200 mixer
With Flight Case. £350.
[140]
SALES & WANTS
SALES & WANTS
CALL 020 8502 3817 OR ORDER ON-LINE AT WWW.IOV.CO.UK
Various items
PANASONIC BT-H1490Y HI RES 14"
PROFESSIONAL MONITOR immaculate,
with swivel turntable £400. PANASONIC
VX100A PROFESSIONAL MINI-DV
CAMCORDER immaculate, 100 hours on
head, extra battery, Hoodman
viewfinder covers, Tiffen filter, plus all
standard accessories £1250. VARIZOOM
STEALTH REMOTE ZOOM AND RECORD
CONTROL £85. ACARD 3 stack DVD
Duplicator (Pioneer dual layer DVDs,
Hard disk drive) £120. KATA MC-60
MULTICASE, immaculate £85. SONY
ECCM lapel MIC 77BC (4 pin connector)
£70. MIC STAND £20
Contact Andy: 01622 204801
[140]
"NEW" 1:9 STANDALONE DUAL
LAYER DVD/CD DUPLICATOR
5 x "NEW" 1:9 STANDALONE Dual
Layer DVD/CD DUPLICATOR
AVAILABLE AT £620.00 each incl. VAT
& UK delivery. Features tall 12 bay
silver tower case configured with 9 x
PIONEER DVR 110 Dual Layer DVD+RW writers, 1 x PIONEER DVD-ROM, 1
x 160GB MEDIA HDD & 1 x Duplication
Controller. LIMITED OFFER OF
£620.00 EACH INC. VAT & DELIVERY.
Contact George: 01527 544883 [139]
Email:[email protected]
Lilliput Video Lighting kit
Consists of two 650W video lights, two
lighting stands and carry bag. These
lights have had very little use and are
in as new condition. Spare bulbs
included. £295.00 ono
Contact Colin: 01992 461858
DVD Duplication Equipment
Two drive DVD Producer II Protégé.
Includes Protégé II automation station
with two 8x DVD+/-R recorders, Everest
II PRINTER, STANDARD Dell Control
Centre and Producer software suite
including QuickDisc 2 and software
developer’s kit. Input capacity up to 300
DVD/CDs. The Everest II Printer is a
first class quality printing system. Price
£6,000 plus Vat.
Contact Chris Male 01425 625020
[138]
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
Contact Nigel: 01494 524706
[140]
Call 020 8502 3817 or order on-line at www.iov.co.uk
26
August 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
August 2006
27
DVD & CD Applications
Equipment Dealers contd...
Equipment Service & Repair
Media Heaven Ltd
Tel: 0113 244 3550
Tel: 01527 861911
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
MVS Video
Tel: 01303 891468
DVD & CD Replication Services
24-7 DVD Ltd
1 Ravenscourt Park, London W6 0TZ
Tel: 020 8748 2247
Fax: 020 8237 1247
Web: www.24-7dvd.co.uk
Intelligent Television and Video Ltd
ITVV House, Norwood Street, Scarborough,
North Yorkshire YO12 7EQ
Tel: 0800 137423
Fax: 0800 0265050
Web: www.itvv.net
Media Heaven Ltd
Tel: 0113 244 3550
Tel: 01264 336330
Tel: 01527 861911
DVD Duplication Equipment
Microboards Technology Ltd
7 Harriott Drive, Heathcote Industrial Estate,
Warwick CV34 6TJ
Tel: +44 (0) 870 350 3581
Web: www.microboards.co.uk
Tel: 01264 336330
Tel: 01527 861911
Planet PC
Tel: 01274 713400
RPA
Tel: 020 3183 0000
SkyCom UK Ltd
Suite 17, 2nd Floor, Fifty7 Frederick Street,
Hockley, Birmingham B1 3HS
Tel: 0121 236 2594
Web: www.sky-com.co.uk
Editing & Facility Hire
Activelight
Coppins, West Road, Stoney Common,
Stansted, Essex CM24 8NQ
Tel: 01279 647682
Web: www.activelight.co.uk
Equipment Rental
Equipment Dealers
Calumet Pro Video
93-103 Drummond Street, London NW1 2HJ
Tel: 020 7380 1144
Web: www.calumetphoto.co.uk
Priory Mill, Castle Road, Studley, Warks. B80 7AA
Tel: 01527 854222
28
August 2006
Kitroom Monkey Limited
Ealing Film Studios, Ealing Green,
London W5 5EP
Tel: 0845 166 2597
Mobile: 07739 806807
Web: www.kitroommonkey.co.uk
RPA
Tel: 020 3183 0000
Focus Magazine
www.iov.com
Field Production Cases
MVS Video
Tel: 01303 891468
Grip Equipment
LCC Photon Technik
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Insurance Companies
Aaduki Multimedia Insurance
2d Cranmere Road, Oakhampton,
Devon EX20 1UE
Tel: 0845 838 6933
Fax: 0845 838 6944
Web: www.aaduki.com
AUA Insurance
De Vere House, 90 St Faiths Lane, Norwich NR1 1NL
Tel: 01603 623227
Fax: 01603 665516
Web: www.aua-insurance.com
Golden Valley Insurance
The Olde Shoppe, Ewyas Harold,
Herefordshire HR2 0ES
Tel: 0800 015 4484
Fax: 01981 240451
Web: www.photographicinsurance.co.uk
Towergate Camerasure
Funtley Court, Funtley Hill, Fareham, Hants. PO16 7UY
Tel: 0870 4115511
LCD Monitors
MediaAtlantic
Tel: 0870 161 5050
Fax: 0870 161 5051
Lighting
ARRI (GB) Limited
2 High Bridge, Oxford Road, Uxbridge,
Middlesex UB8 1LX
Tel: 01895 457000
Web: www.arri.com
Cirro Lite (Europe) Ltd
3 Barretts Green Road, London NW10 7AE
Tel: 020 8955 6700
Web: www.cirrolite.com
David Lawrence Lighting
Unit 7, New Lydenburg Commercial Estate, New
Lydenberg street, Woolwich, London SE7 8NF
Tel / Fax: 020 8858 2820
Web: www.studiolighting.co.uk
Desisti Lighting (UK) Ltd
15 Old Market Street, Thetford, Norfolk IP24 2EQ
Tel: 01842 752909
Web: www.desisti.co.uk
Gekko Technology Ltd
Deer Park Business Centre, Stoneleigh Deer
Park, Stareton, Warwickshire CV8 2LY
Tel: 07005 942686
Fax: 024 76 531844
Web: www.gekkotechnology.com
Ianiro UK Ltd
Unit 7, Walkers Road, Manorside Ind. Est.,
North Moons Moat, Redditch, Worcs. B98 9HE
Tel: 01527 596955
Fax: 01527 596788
Web: www.ianiro.com
Lighting contd...
Photon Beard Ltd
Tel: 01525 850911
Studio & Lighting Services
3 Cedar Drive, Loughton, Essex IG10 2PA
Tel: 020 8418 9848
Web: www.slservices.co.uk
Tel: 01372 800404
LCC Photon Technik
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Mini Cams & Special Facility Cameras
Extreme Video
Alexander House, 7-13 Rose Lane, Norwich NR1 1PL
Tel: 01603 630555
Web: www.evgroup.co.uk
Nonlinear & Hybrid Systems
Adobe Systems UK
3 Roundwood Avenue, Stockley Park,
Uxbridge UB11 1AY
Tel: 020 8606 1100
Fax: 020 8606 4004
Web: www.adobe.co.uk
Apple Computer UK Ltd
2 Furzeground Way, Stockley Park East,
Uxbridge, Middlesex UB11 1BB
Tel 020 8218 1000
Fax: 020 8218 1310
web: www.apple.com/uk/pro
AT Computers (Apple Centre Glos.)
48 Barton Street, Tewkesbury, Gloucs. GL20 5PR
Tel: 01684 291112
Web: www.atcomputers.co.uk
Avid Technology
Pinewood Studios, Pinewood Road, Iver Heath,
Bucks. SL0 0NH
Tel: +44 (0)1753 655999 Fax: +44 (0)1753 654999
Web: www.avid.co.uk
Canopus Europe
Unit 4, The Duran Centre, 14 Arkwright Road,
Reading, Berkshire RG2 0LS
Tel: 0118 921 0150
Web: www.canopus-uk.com
CVP Imaging Solutions Ltd
Priory Mill, Castle Rd, Studley, Warks. B80 7AA
Tel: 01527 854222
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
Edirol Europe
Studio 3.4, 114 Power Road, London W4 5PY
Tel: 0870 350 1515
Web: www.edirol.co.uk
Holdan Ltd
Tel: 0845 1304445
Hybrid Media Production & Distribution
7 Birches House, 245 Birchfield Road,
Redditch, Worcestershire B97 4LR
Tel: 01527 544883
Web: www.hybridmedia.co.uk
In-Deep
15 Abrahams Road, Henley on Thames,
Berkshire RG9 2ET
Tel: 0870 350 2450
Web: www.in-deep.co.uk
Nonlinear & Hybrid contd...
Studio Lighting Design
Video Accessories
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
LCC Photon Technik
Watt House, Pirbright Rd, Normandy, Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Photon Beard Ltd
Tel: 01525 850911
Composite Video Ltd
Unit 15, Liongate Enterprise Park, 80 Morden
Road, Mitcham, Surrey CR4 4NY
Tel: 020 8687 9700
Web: www.compositevideo.co.uk
DVStuff
PO Box 389, Maulden, Beds. MK45 2WG
Tel: 01525 406886
Web: www.dvstuff.co.uk
Holdan Ltd
Tel: 0845 1304445
Keene Electronics
Old Hall, Unit 9, Mills Bus. Pk, Station Road,
Little Eaton, Derby DE21 5DN
Tel: 01332 830550
Web: www.keene.co.uk
MVS Video
Tel: 01303 891468
Outside Broadcast
MVS Video
Tel: 01303 891468
Post Production Software
New Media AV
(Avid distributor)
25 Basepoint, Caxton Close, East Portway
Industrial Estate, Andover, Hampshire SP10 3FG
Tel: 08456 446663
Web: www.nmav.com
Planet PC
Tel: 01274 713400
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
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
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
In Focus magazine
and on the IOV web site
- www.iov.co.uk from £145 per year
(£20 for each additional listing)
Call
+44 (0) 20 8502 3817
for details...
All these benefits from
a trade subscription
of just £145 p.a:
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exhibition space
Tripods & Camera Supports
Hague Camera Supports
Mile End Road, Colwick, Nottingham NG4 2DW
Tel: 0115 987 0031
Web: www.b-hague.co.uk
Libec Europe
Unit 7, Walkers Road, Manorside Ind. Est.,
North Moons Moat, Redditch, Worcs. B98 9HE
Tel: 01527 596955
Fax: 01527 596788
Web: www.ianiro.com
Louma UK
Tel: 020 8959 3082
Web: www.verycam.com
Manfrotto Tripods
Distributed by DayMen International
Tel: 0870 420 5113 (Customer Services)
Web: www.manfrotto.co.uk
Miller Fluid Heads (Europe) Ltd
Unit 21, Ford Lane Business Park, Ford Lane,
Nr Arundel, West Sussex BN18 0UZ
Tel: 01243 555255
Fax: 01243 555001
Web: www.millertripods.com
Vinten
Western Way, Bury St Edmunds, Suffolk IP33 3TB
Tel: 01284 752121
Web: www.vinten.com
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 Manufacturers
GET YOUR
COMPANY
LISTED
Video Editing
Hattrick Studios
P.O.Box 8, Whetstone, Leicester LE8 6WX
Tel: 0116 2234 119
Web: www.hattrickstudios.co.uk
Planet PC
Tel: 01274 713400
Video Measuring & Signal Processing
HAMLET VIDEO INTERNATIONAL LTD
Maple House, 11 Corinium Business Centre,
Raans Road, Amersham, Bucks. HP6 6FB
Tel: 01494 793763
Web: www.hamlet.co.uk
Video Streaming
Planet PC
Tel: 01274 713400
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!
Voiceover Services
Colin Days Overnight Voiceovers
The Old Rectory, Ombersley, Worcs. WR9 0EW
Tel: 01562 822222
Web: www.voiceover-uk.co.uk
First Person Digital Media
40 Viaduct Drive, Wolverhampton,
West Midlands WV6 0UX
Tel: 01902 772455
Web: www.firstpersondigitalmedia.com
Geoffrey Annis
261 Boothferry Road, Hessle, East Yorkshire HU13 0NG
Tel: 01482 647461
Web: www.voiceovers.co.uk/geoffrey.annis
www.iov.com
Call Kevin Cook (Sales)
on +44 (0) 20 8502 3817
Kevin Cook
IOV Focus Limited
PO Box 625
Loughton
IG10 3GZ
United Kingdom
Focus Magazine
August 2006
29
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.
Mike Waring M.M.Inst.V.
1a
1b
4
3
19
5
6
7
10
8
9
13
14
11
15
12
16 - Channel Is.
THE LIST is designed to help qualified IOV
members to share work on a national scale and
for potential clients to find the right kind of
videographer for their needs. The List is divided
into geographical areas, as shown above, and
specialist work types as listed below...
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.
Scotland North (Area 1a)
Mark Stuart M.M.Inst.V.
Brian Rae M.M.Inst.V.
Ron Carmichael M.M.Inst.V.
Iain Johnston M.M.Inst.V.
Colin Sinclair M.M.Inst.V.
01224
01224
01382
01764
01847
782777
313137
520437
655655
895899
ABCDJKMN
ABCK
ABCK
ABC
Scotland South (Area 1b)
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.
Graham Mackay M.M.Inst.V.
Douglas Miller M.M.Inst.V.
Lee Mulholland M.M.Inst.V.
Ken Neil F.Inst.V.
Tony Nimmo M.M.Inst.V
Pro-Create.Co.Uk *
Jonathan Robertson M.M.Inst.V.
Paul Russell F.Inst.V.
Steve Towle M.M.Inst.V.
Michael Ward M.M.Inst.V.
Graeme Brown M.M.Inst.V.
0141 643 1651
01555 665236
01563 542195
020 8551 9399
0131 221 1697
0141 954 0840
01236 730770
01555 860382
01294 217382
0141 779 3915
01555 661541
0141 587 1609
0131 476 5432
01563 523424
0131 561 6280
0141 644 1136
01577 865000
ABC
AB
P
AB
ABC
ABN
ABFILMN
ABC
ABCK
AB
ABCKL
BCKN
01429 824177
0191 549 3675
0191 252 7354
01388 605386
0191 270 9063
01325 241821
07786 705066
01661 844542
North West England (Area 3)
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.
Gavin Gration M.M.Inst.V.
Mark Higham M.M.Inst.V.
30
August 2006
AKN
AB
ABKN
ABCD
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
07930 431662
01625 523237
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.
Gordon Simpson F.Inst.V.
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
01724 720111
ABC
ABCFGJ
AB
ACFGIKM
ABCJ
ABCK
ACFGKL
ACDFGIKN
ABC
BK
AB
ABCG
North & West Yorkshire (Area 04b)
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.
Dave Redmond M.M.Inst.V.
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
0113 263 2496
ABCFG
ABCDEFHIKMN
ABCFGHK
BCKN
ABCFIKN
ACFJKLNR
AGI
ABCFHK
ACDFGHJKLMN
AIKMNR
ABCHJK
AB
ABCHKN
ABCGIKN
North Wales & Borders (Area 5)
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.
Cam 3 Media *
Midlands (Area 6)
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.
Simon Hammond M.M.Inst.V.
Stephen Hart M.M.Inst.V.
ICE *
David Impey F.Inst.V.
David James M.M.Inst.V.
Colin Jones M.M.Inst.V.
Bob Langley M.M.Inst.V.
Michael Leach F.Inst.V.
Matthew Leech M.M.Inst.V.
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
01588 650456 ABCFGHIKN
01902 342154
0116 275 2100
01283 515861
01530 836700
01283 567745
01676 541892
01676 541892
01782 746553
0870 080 1961
01455 848199
01386 47013
01527 878433
01926 864800
01926 497695
01782 514942
07837 276475
0845 606 6593
01902 893068
0121 308 1227
A
AB
ABKN
B
ACDKMN
ABCFKM
ABCFGJKM
ACFGJKLMN
ABJ
ABCK
AJMO
BC
B
East Anglia & A1 Corridor (Area 7)
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*
Brian Gardner F.Inst.V.
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
01603 260280
AB
ABC
ABCEKLN
CDKN
ABCGKM
ABCN
N
AB
ABCKN
ABC
ABCGJKLN
A
ACFGKMN
South Wales & Bristol Channel (Area 8)
North East England (Area 2)
Andrew Crinson M.M.Inst.V.
Glenn Huntley M.M.Inst.V.
Brian Jenkinson M.M.Inst.V.
Peter Watkinson M.M.Inst.V.
Neil Wood-Mitchell M.M.Inst.V.
Michael Bell M.M.Inst.V.
Roger Brown M.M.Inst.V.
Andrew Charlton M.M.Inst.V.
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
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
01704 531576
ABCFGHJKLMN
ABCFGHJKLN
ABCFHJKN
ABCFK
ACHIKN
ABC
ABCKN
ABCJK
ABCNP
ABCK
AGJKMN
ABCK
B
KLN
BC
ABCN
ACFK
ABCKM
ACGKLN
ABCN
ABCHJKN
ABC
ABCKMN
BC
Focus Magazine
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.
Manolo Lozano M.M.Inst.V.
01792
01656
01646
01437
029 20
01792
01453
01242
01443
01568
01242
029 20
01792
776121
650249
651555
769635
666007
816688
835422
579712
838715
620644
674462
520599
520450
ABCN
ABC
ABCK
ACGJKLN
AFGLMN
ABC
ACFGN
ABCDN
BC
ABCJKN
ABCDIKN
ABCFK
West London, Middlesex & Herts. (Area 9)
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.
Stuart Little M.M.Inst.V.
020 8958 9838
020 7738 4162
020 8943 2666
07768 014503
01895 672890
01494 438904
020 7932 1190
020 8347 9567
BCK
ABK
ABCEKMN
AJM
ACFGKLN
Oxfordshire & M1 Corridor (Area 10)
Driving Standards Agency*
First Sight Video*
Ken Franklin M.M.Inst.V.
Gillian Gee M.M.Inst.V.
Hamish Maclean M.M.Inst.V.
Gordon O'Neill M.M.Inst.V.
www.iov.com
01234
01993
01993
01753
01582
01494
744060
878252 AB
868479 ABC
553312
596935
786611
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.
Dave Collins M.M.Inst.V.
01442
01367
01604
01536
01234
01604
01908
250088
870640
756576
526126
764883
403481
522157
AM
ABCDJ
AB
AJKL
ABCK
AB
E. London, Essex & Hertfordshire (Area 11)
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.
Alan Legg M.M.Inst.V.
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
020 7193 4060
West Country (Area 12)
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.
Chris Ellery M.M.Inst.V.
0117 979 2858
01752 510999
01803 290999
01803 214414
01258 450850
01271 891140
01752 361210
0117 910 9704
ACE
ABCGN
AFKL
B
ABCHK
ACKN
ABCN
N
B
ABCFKN
ABCFKN
ABJKNO
ABN
ABCKN
ABCDKLN
BC
ABCH
ABCGK
ABCFGHIKL
ABC
ABCKN
B
ABCHJN
AB
ABCDFHIJKN
ABGI
ACDJKMN
ABC
Dorset, Wiltshire & Hampshire (Area 13)
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.
Kazek Lokuciewski M.M.Inst.V.
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
0118 965 6322
ABJ
AGIJN
ABCKN
BCKN
ABCN
BCK
BC
ACIKMN
BCKN
P
ABL
ABC
ABCD
ABCHIKMN
B
ABCKN
ABCDFIKMN
ABCKM
ABCFGKLN
ABCJKN
ACGKN
ABCGHK
ABCDEFGIJKN
Surrey, Berkshire & Sussex (Area 14)
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*
Brian Hibbitt M.M.Inst.V.
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
01344 777010
ABLK
ABCKLN
ACFKMN
ABL
ABCFGIKMN
AB
ABC
ABCK
B
ACFGM
ABCGHKN
AB
AB
BC
B
B
ABCJKM
ABCEFIJ
BCKN
AJN
Kent & SE London (Area 15)
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.
Peter Snell M.M.Inst.V.
Brett Allen F.Inst.V.
Vince Babbra M.M.Inst.V.
Ben Bruges M.M.Inst.V.
John Chilton M.M.Inst.V.
Colin Fowler F.Inst.V.
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
01732 454593
ABJKN
ABCGIK
ABC
BCKN
ACFKMN
ACFHKN
ABCK
ABCDHK
ABN
ABCDEK
ACFKLMO
ABCHKM
BCD
ABCFGJKLN
ABNR
ABCGIK
Channel Islands (Area 16)
David Le Brocq F.Inst.V.
Peter Laine M.M.Inst.V.
01534 723166
01481 200026 ACGJKM
Northern Ireland (Area 18)
Frazer Smyth M.M.Inst.V.
028 9267 1958
Republic of Ireland (Area 19)
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.
Keith Malone M.M.Inst.V.
Rest of World
00353 93 35933
00353 86 606 1420
00353 1 495 3937 CM
00353 552 1785
00353 21 733 2240
00353 87 681 4208 ABCKN
Paul Svendsen M.M.Inst.V. (Spain) 0034 952 7 35 513 ACGHIJ
* indicates Corporate Member

Page 01.pub - Institute of Videography

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