also this
month
The official publication of the Institute of Videography
JVC’s GZMC500E
Microdrive
camcorder
The IOV
reaches the
grand old age
of 20
By
Nigel Cooper
By
Kevin Cook
Issue 130 - November 2005 - £3.50
Canopus
Edius Pro
version 3
By
Brett Allen
INSTITUTE OF
VI DEOGRAPHY
Foreword
The Cook
Marketing
& Sales
INSTITUTE OF
VIDEOGRAPHY
Contacts
Administration
& Membership Enquiries
PO Box 625, Loughton,
Essex IG10 3GZ
e: info@iov.co.uk
t: 0845 741 3626 (UK)
t: +44 (0) 208 502 3817 (Int.)
Executive Administrator
Kevin Cook F.Inst.V.
e: kevin.cook@iov.co.uk
t: 020 8502 3817
Membership Secretary
Martin Baker
e: martin.baker@iov.co.uk
t: 020 8502 3817
Executive Chairman
Ron Lee F.Inst.V.
13 Coleridge Avenue, Dentons
Green, St Helens, Lancashire
WA10 6RN
e: ron.lee@iov.co.uk
t: 01744 29976
Treasurer
Steven Abrams
2 Ingledene Road,
Liverpool L18 3HJ
e: steve.abrams@iov.co.uk
t: 0151 722 6692
Arbitration Officer
Ron Lee F.Inst.V.
13 Coleridge Avenue, Dentons Green, St
Helens, Lancashire WA10 6RN
e: ron.lee@iov.co.uk
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
e: chris.waterlow@iov.co.uk
t: 020 8851 0105
Institute of Videography Ltd
Executive Committee
Derek Latimer F.Inst.V.
Philip Wilson F.Inst.V.
Ron Lee F.Inst.V.
Jimmy Goodinson F.Inst.V.
Steve Abrams F.Inst.V.
Robert Scarfe F.Inst.V.
Peter Snell M.M.Inst.V.
Mark Quinn
Chris Waterlow F.Inst.V.
Published By:
IOV FOCUS Ltd
174 Roding Road, Loughton,
Essex IG10 3BS
e: focus@iov.co.uk
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
Retort
If there is one piece of business
advice that I would give any
fledgling entrepreneur it would
be - don’t ever confuse the tasks
of marketing and sales. They are
of course intrinsically linked, and
compliment each other, but to
treat them as two separate
activities will enable you to
perform better in both areas.
The best description of
marketing that I’ve ever come
across is - “Creating the desire to
purchase.” Thought of in these
terms and you can understand all
the various activities which might
create a desire to purchase in
your customers. They might
read a story about you in the
local press, or get that
inspiration from seeing you at
work on someone else’s job, or
by the way you answer the
phone - or simply by visiting your
website. Marketing is essentially
the way you expose yourself to
your potential clients - and no,
I’m not getting smutty! It
therefore must come before sales
in everything you do.
Without wanting to diminish
anyone’s importance, the sales
process is more mechanical.
Essentially, sales is about turning
the desire to purchase into an
actual transaction. There are, of
course, specific skills associated
with selling - and it too has a role
to play in the overall
marketing of the
business - but the act
of selling is relatively
uncomplicated when compared to
marketing. The ability to sell is
more reliant on someone having
the right kind of character - and
the key character trait is that you
should be ‘likeable’ - as nobody
buys things from people they do
not like.
In a previous lives I went
through quite a bit of sales
training - in both the retail
industry and in industrial/
commercial estate agency. I was
amazed at the commonality of
skills and techniques between
what you would have thought
would be completely different
businesses. Whilst the process
may have been different - the
techniques used to close a sale
are almost identical. Maybe the
words were different, but closing
sales lines such as - “Would you
like the blue one or the red one?”
- are common throughout
commodities and service
industries.
So, next time you see a
downward blip in your sales
figures - have a look at the effort
and expense you are putting into
your marketing and you might
find the answer.
Kevin Cook
This Month
FEATURES
14
DSR 450 Widescreen
18
What… no tape?
20
Edius Pro 3
Mark Stuart reviews Sony’s Widescreen replacement to the DSR570 DVCAM camera
Nigel Cooper gives an insight into JVC’s consumer Microdrive
camera - the GZ-MC500
Brett Allen reviews Canopus’s latest version of their NLE
program - Edius Pro 3
REGULAR ITEMS
5
IOV News
IOV and Industry News plus Local IOV Meeting reports
12
Mail Box
Readers' Correspondence
23
Light Snack
Our regular column on lighting by John Allard
24
Dr Q's Reviews
Book reviews by Quentin Budworth
25
Classified Ads
Sales & Wants / Products & Services
27
Trade Directory
Subscribing Manufacturers & Suppliers
30
The List
The Register of Qualified Members
www.iov.co.uk
Focus Magazine
November 2005
3
Industry News
IOV News
Industry, Technology & Regional News
The IOV 20-years on
Though the early days are
lost in the mists of time, all
the evidence would suggest
that the IOV will be 20-years
old this November. Like me,
some of the early members
will find this quite amazing not that the IOV should last
this long - but just how
quickly 20-years can pass!
The concept of the IOV was
established in 1985 by its
founder - Geoff Belmont-Rixon who recognised the need to
provide an association for likeminded professionals within the,
then, developing videography
market.
The World into which
the IOV was Born
Back then it was a very different
world indeed. The introduction
of home recording systems (VHS
and Betamax - and for those that
are old enough, V2000 and
Philips 1500) soon bred a whole
new type of entrepreneur - the
Professional Videographer. To be
able to film someone and then
show it back on a TV set was, to
most people, a dark art.
During the IOV’s existence the
technology of the craft has
moved on in leaps and bounds.
This might sound strange to
those that have only come into
this industry at the NLE stage,
but back then it wasn’t possible
to mix two non-synchronous
video sources. To do a simple
dissolve from one shot to another
took a whole boat load of
equipment. At the
‘videographers’ end of the
market, the effects were pretty
much limited to a fade or wipe to
black (or white if you were
lucky). Even then, there were
those that would overuse these
effects - with every shot being
wiped out and then back in to
the next. Why? Because you
could! A phenomenon that
continues today.
Focussing on the IOV
In 1996 the administrative office
moved from Accrington in the
north west of England, to the
offices of IOV Focus Ltd in
Loughton, Essex. IOV Focus
provides the main administrative
backbone for the IOV – including
its membership and support
office – and also publishes Focus;
maintains the IOV’s website; and
manages the IOV’s Annual
Convention & Trade Exhibition.
Whilst this might burst a few
bubbles, this is all carried out
from the shed (albeit glorified) at
the bottom of my in-law’s
garden.
The Assessment Panel met on
6th October 2005, when the
following qualifications were
awarded:
Master Membership
Frank Prince-Iles M.M.Inst.V.
(Steyning, West Sussex)
Brad Miles M.M.Inst.V.
(Whetstone, Leicestershire)
Keith Malone M.M.Inst.V.
(Co Wicklow, Republic of Ireland)
Ron Carmichael M.M.Inst.V.
(Broughty Ferry, Dundee)
David Lovett M.M.Inst.V.
(Barton on Sea, Hampshire)
Ross Campbell M.M.Inst.V.
(Braintree, Essex)
Tony Williams M.M.Inst.V.
(Southport, Merseyside)
Growing Up
The IOV and its list of
membership benefits started to
expand, and the organisation
adopted its present incorporated
form and constitution in June
1991. This completely changed
the emphasis of the organisation
- moving away from being a
privately owned company to a
trade association owned by its
members.
Assessment Results
Having shared this space with my
father-in-law’s various hobbies
and retirement projects for
nearly 10-years, we have
recently convinced him that we
need to stretch out a little and
pretty much occupy the whole
shed. Volume of work has
dictated this, and what was a
two-man band (Martin Baker and
myself), will soon be increase by
50%. At present we are
enduring builders to make the
necessary internal adjustments.
The next 20-years
Like any organisation, the IOV
cannot stand still if it wants to
survive. There will be the odd
Whilst sometimes the benefits of growing pain as the organisation
this are hard to appreciate - the
expands to meet its members’
real difference is that decisions in aspirations and desires - but
the IOV are taken with its
that’s a small price to pay for the
members’ best interests at heart. further development of a very
It should never be something
worthwhile trade association.
where those who run it are
I’d like to think that in
forced to make commercial
another 20-years (whether I’m
decisions based on their own
still around or not), you’ll be
personal well-being.
looking back and saying pretty
The Executive Committee
much the same thing - “The IOV
continue to run the organisation
has come a long, long way!”
on this basis today. They are
Kevin Cook
elected to office to not only
IOV Executive Administrator
oversee the IOV’s administration
(which is sub-contracted out) but also to develop policies and
new membership benefits for the
good of all members. The fact
that the Executive Committee
members are all involved in
professional videography
themselves ensures that the
organisation continues to reflect
the needs and desires of the
industry.
Chris Ellery M.M.Inst.V.
(Emersons Green, Bristol)
Nick Curtis M.M.Inst.V.
(Plaitford, Hampshire)
Andrew O’Leary M.M.Inst.V.
(Bridgend, Mid Glamorgan)
Congratulations to all those who
qualified. It was particularly
satisfying to be able to give
qualifications to those who have
been trying for a while to become
qualified - no names, but you
know who you are!
There were 14 applications
this time, 10 of which were
weddings and, contrary to a
popular IOV ‘urban myth’, it was
the weddings that generally did
much better than the other
entries this time. However,
please don’t feel that you only
have to send in weddings from
now on to pass!
The panel also feel that the
general overall standard of
applications does seem to be
improving, albeit slightly.
Members now seem to have a
much better grasp of the basics
and we are not getting a lot of
the horrendous problems we
used to have to watch in the
past. Long may this continue.
The next cut-off date for
assessments is 30th November
2005. Any work not received
by that date will not be
included in the December
meeting – no exceptions!
Chris Waterlow F.Inst.V.
Assessment Administrator
chris.waterlow@iov.co.uk
www.iov.co.uk
Focus Magazine
November 2005
5
Industry News
101E at the Used Car Roadshow
Rory Peck Finalists
The JVC GY-HD101E camcorder
is been used by lighting and
broadcast cameraman Tom
Paterson of Forager Films Ltd, to
shoot programme footage for the
‘Used Car Roadshow’.
The Rory Peck Trust has
announced the three finalists of
the Sony Impact Award.
In a year that has already
witnessed dramatic world events
from natural disasters, such as
the devastating Tsunami to the
continued battle against poverty
in the developing world, the
subject matter of this year’s
entries was not dominated by
any single event. What was
common to every submission,
however, was the cameraperson’s
unique ability to treat the subject
matter with compassion and
insight and to magnificently
capture human resilience in the
face of often unimaginable
hardships. All three finalists
demonstrated beyond question a
hunger to reveal the truth in
securing footage that can help
move people, governments and
institutions towards positive change.
The Sony International Impact
Award is one of four categories
that make up the Rory Peck
Awards, the annual ceremony
held by the Rory Peck Trust,
which offers support to the
families of freelancers killed
whilst on assignment.
This year’s judging panel
comprised senior broadcast
professionals from across
Europe , who selected three
unique reports best presenting
scenes which are not only
memorable and impactful, but
influential, with the power to
change perception and policy. The
finalists for the Sony Impact Award
2005 are (in alphabetical order):
inch bayonet mount 16x Fujinon
lens. This allows the cameraman
to work with a wide variety of
professional lenses. The
convenient menu operation
makes it easy to set timecode at
the beginning of a tape. The
camera is lightweight enabling it
to be easily shoulder mounted or
hand held.
“I found the professional lens
on the front of the JVC camera
very easy to operate. The
camera is of a solid construction
and the controls and switches are
all in established places and
within easy reach. The
Produced by Leeds-based
Daisybeck Productions, the Used combination of the camera and
the new IDX-100E power pack
Car Roadshow has been
travelling all over the UK meeting allows up to 4-hours recording
time and provides an even
buyers and sellers, and offering
balance when the camcorder is
tips and advice. The show is
positioned on the shoulder. A
broadcast on Men & Motors (Sky
lightweight Teletest (2.4 GHz)
programme guide 136) and is
audio and video transmitter is
scheduled to continue right up
also used.”
until Christmas. It has been
“Whilst the camera was not
running since June 2005 and is
used in 720p mode (the
broadcast every Monday at 8pm
production was not equipped for
and then repeated on Tuesdays
HDV editing), it performed
and Saturdays at 1pm.
extremely well in DV mode and
Tom has 16-years cameraman
performed favourably compared
experience in primetime
with other camcorders previously
broadcast tv and has worked on
used on this production.”
the BBC’s ‘Ground Force’ series.
Tom explained how the JVC
camera is being used: “Footage is
shot using three cameras
including the JVC GY-HD101E
camera. With each show's links
needing to be shot in one 12-hour
period at a major car event
around the country, it is crucial to
be able to inter-cut between the
three cameras.”
Ian Scott, director, Pro Video
“The GY-HD101E came into its
Operation UK at JVC Professional
own with its easy hand-held
Europe comments: “The GYoperation. Working in the
HD101E has been put through its
confined space of car interiors is
paces on this production and has
made easy by the GY-HD101E's
proved its ease of use, versatility
reduced size and simple
and quality of output. This
additions like the lockable
combined with the low cost of
recording button on the handgrip ownership make it an extremely
and the flip-out LCD screen,”
effective tool for television
commented Tom.
productions.”
The 1/3-inch 3-CCD GYHD101E camcorder has HDV and For further details contact JVC
Professional Europe direct - see
DV in & out, and is supplied as
Video Manufacturers in Trade
standard with a detachable 1/3Directory on page 29.
6
November 2005
Unilever, Imperial War Museum
Duxford, Halton Wild Life in
Lancashire, Etang des Moulinots
angling vacations in
France, and Munich's
Oktoberfest. He is
also currently
involved in a
number of
projects for IOV
members
across the
organisation.
For further details contact Geoff Annis
direct - see Voiceover Services in
Trade Directory on page 29.
Focus Magazine
www.iov.co.uk
● Inigo Gilmore and Hasyim for
‘The Man who Dared’ (self-funded,
broadcast on Channel 4 News,
January 2005). Inigo Gilmore’s
unique entry tells the story of how
Hasyim, an Indonesian wedding
cameraman captured some of the
most graphic and incredible
images of the Boxing Day
Tsunami in 2004.
● Cyrus Nhala and Sara for
‘Zimbabwe: Forced Evictions’
(commissioned and broadcast by
ITN, June 2005). These exclusive
and at times unbelievable images
record the ongoing demolition of
suburbs and villages by the
government of Zimbabwe, leaving
hundreds of thousands of their
own citizens homeless and
impoverished.
The winner will be announced at
the Rory Peck Awards on 8th
November 2005 at the National
Film Theatre, South Bank, London.
Tickets for the Awards are now
available from the Rory Peck Trust by
calling +44 (0) 20 7730 1411. Or by
email - awards@rorypecktrust.org.
Scratch Proof and anti-UV
Seeking to fill a gap for Master
DVD's, TDK has introduced
individually wrapped 8cm
‘ScratchProof’ DVD's.
TDK ScratchProof DVD is
premium quality recordable DVD
media that incorporates TDK’s nextgeneration hard-coating ‘Durabis’
technology to achieve high
It’s in the Voice
East Yorkshire-based Voiceover
Artist, Geoff Annis, has been
awarded AudioFile magazine's
Certificate of Excellence for his
audiobook non-fiction narration
of ‘The Six Wives of Henry VIII’
by well-known TV and academic
historian David Starkey. Geoff
has also recently completed a
Discovery Channel/Animal Planet
commentary for a documentary
entitled ‘A Man Called Mother
Bear’.
Geoff's recent and varied
promo video/DVD voiceovers
have included sessions for:
● Ali Fadhil for ‘Fallujah: The
First Eyewitness’ (commissioned
and funded by Channel 4
Independents Fund, January
2005). Ali’s film documents the
unknown and utter devastation
inside the city - buildings
reduced to rubble; bodies halfeaten by rabid dogs and the
humiliation of Fallujan men
ordered to ask permission to
reenter their own city. Ali Fadhil
successfully captures the physical
and psychological destruction of
a city and a people.
durability. As demonstrated in
rigorous laboratory testing, TDK
ScratchProof DVD media claims to
be 100 times more scratch resistant
than standard blank DVD media.
Durabis significantly increases
the durability of DVD and Blu-ray
discs - making them scratch,
dust and grime resistant and
eliminating the need for Blu-ray
discs to be encased in a
protective cartridge. The coating
is also anti-static to repel dust
accumulation. Because the TDK
Durabis technology protects the
recording layer, it can prevent
write/read errors, jitter or even
dropouts in recording and
playback. TDK ScratchProof DVD
media also includes an anti-UV
coating for protection against
sunlight, which can damage
standard discs.
Jamie Swanson of Penridge
Multi-Media says: "We
are always being asked
for a more durable disk
for mastering and
archiving and this new TDK
range is perfect, the Durabis
coating resists fingerprints,
smudges and other grime. What's
more, ink easily wipes clean from
the recording surface."
The new disks are available in
both +R and -R formats, in write
once and RW form, from
Penridge Multi-Media.
More information is available on a
return email from TDK@penridge.com.
Or simply call 01527 861911.
Industry News
Wedding Production Masterclass
In early 2006, Steve Kane and
Colin Fowler, both fellow
members of the IOV, will be
running a series of one-day
training courses in the art of
wedding video production. The
training will cover all the
essential production skills
necessary to produce
professional-looking
programmes. It will focus on the
elements within a wedding
production and identify and
explain what makes them work
or fail.
The classroom based training
will cover the equipment needed,
and planning and filming through to editing, structuring
and style. There will be
examples of programmes,
showing side by side what works
and what doesn’t, which will be
supported by explanations and
demonstrations showing
delegates how to achieve the
best results. The course will also
show participants how to make
money from this type of work.
Numbers will be limited and
participants will enjoy an
intensive day of training packed
full of information from two
highly experienced operators.
Steve and Colin have between
them been producing corporate
and wedding videos for over 25
The Future’s Solid
Panasonic Broadcast introduced at
IBC2005 the first working model
of the AG-HVX200, the world’s
first 1080i/720p/576i, P2 multiformat camcorder. Panasonic
claim that this much-awaited
camera has caused more internet
forum discussion threads than any
other launch of a similar product.
Offering flexibility and
versatility to video professionals
and productions alike, the AGHVX200 DVCPRO HD P2 miniCam
camcorder provides 1080i and
720p recording with the
production-proven image quality
of 100Mbps DVCPRO HD. The
AG-HVX200 shoots on a P2 card
in 1080/ 50i or 25p; in 720/ 50p
or 25p; and in DVCPRO50 or
DVCPRO or DV. By eliminating
Colin was a training and media
resource manager before starting all moving parts from the camera
recording path when shooting on
his own business. He is an
assessor on the IOV Assessment a P2 card, Panasonic has ensured
the AG-HVX200 is extremely
Panel and is aware of current
reliable and resistant to
trends in wedding production,
environmental hazards, such as
having seen both the good and
the bad, and the common pitfalls the shock, vibration, and
humidity that threaten cameraassociated with this work. Colin
recorders based on mechanical
(pictured with camera) will bring
recording transports.
a wealth of experience to the
The AG-HVX200 inherits many
course.
of the functions of the popular,
The Wedding Production
shoulder-mounted AJ-HDC27
Masterclass will take place at The Varicam, including exceptional
Kent Science Park, Sittingbourne, DVCPRO HD quality images,
Kent, in a brand new, state-ofvariable frame rates to capture
the-art training facility. The cost fast-speed and slow-speed
will be £150, which includes
action, and a cine-like gamma
refreshments and lunch at the
curve and cine-like colour matrix
on-site restaurant. The course is to emulate the look of film. In
addition, AG-HVX200 has Minidesigned for anyone who wants
to improve the way they produce DV tape recording capability
which allows customers to shoot
wedding videos. Everyone who
16:9 images on DV tape and edit
attends will go away with the
with existing workflow.
know-how, and the ability to
The DVCPRO HD format offers
produce truly professionalusers cost-effective, proven
looking programmes.
intra-frame compression, where
Colin and Steve are currently
each frame stands on its own for
developing further media
editing, and its full 4:2:2 colour
training. In addition they will be
sampling allows the image to
producing a training DVD to
hold up under colour correction.
support the course, which will be Additionally, the DVCPRO HD
available early in the New Year.
format includes robust
uncompressed audio, which is
For more information, dates and
perfect for audio sweetening in
timetable please call Steve on 01795
424248 or Colin on 01732 454593.
post production.
Partnerships with NLE
manufacturers are increasing all
the time as they see the value of
the IT migration path in place
with P2. Avid, Apple, Canopus
and all of the companies
committed to the format are
looking to the future where
seamless acquisition, editing,
and delivery becomes a simple
and cost effective reality.
With the AG-HVX200, HD and
SD video is recorded on the P2
card as IT, MXF files that can be
downloaded to a nonlinear
editing system or server - or
edited virtually instantly from the
P2 card by connecting an
IEEE1394 or USB2.0 interface.
P2 cards mount like a regular
hard drive from a NLE system’s
point of view, which eliminates
the time-consuming task of
digitising footage.
The AG-HVX200’s pictures are
years, on a full time basis. Steve
(pictured editing) has been a
businessman for many years and
says: “Having a full-time
business helps focus your mind
on what works and ultimately
what pays.” Participants will
learn from his realistic down-toearth approach.
www.iov.co.uk
enhanced with its built-in news
gamma curve that assists the
cameraman by suppressing oversaturation in highlight areas during
sudden contrast changes. With its
pre-record function, the AGHVX200 starts recording from the
moment it’s switched on, so users
can feel confident that they won’t
miss an important shot. With easy
selection of SD or HD recording,
production companies that commit
to the AG-HVX200 today are
assured a future-proof migration to
HD output in their own time.
The AG-HVX200 combines a
native progressive 16:9, 3-CCD
high definition imaging system
and a HD-quality Leica Dicomar
wide-angle zoom lens with a
super-smooth, cam-driven
manual zoom, focus ring, and
aperture dial in a rugged package.
On the newly-announced 8G P2
card, the AG-HVX200 records for
32 minutes in DVCPRO or DV, 16
minutes in DVCPRO50, and eight
minutes in DVCPRO HD. The
Standard for 1080 signals support
50i and 25P and for 720 standard
P2miniCam supports 25 and 50 in
progressive mode. In variable
frame rate mode the capacity of
the card will depend on the frame
rate chosen. The camera-recorder
includes two P2 card slots to
permit continuous recording, and
the cards are hot-swappable to
assure non-stop recording.
The viewfinder displays a 16:9
image allowing the user to view
camera operating information in
areas above and below the image.
In addition, its 3.5” LCD monitor
is available to assist shooting as
well as to view and select
thumbnail clips to speed editing.
The LCD monitor allows random
access to the thumbnail-displayed
scenes (on the P2 card) for
instant playback and the creation
of an in-camera storyboard.
The AG-HVX200 is highly
customisable with features
including six user scene files,
three user setup buttons, and
Camera Setup Memory (camera
setups can be saved to a SD
Memory card). Other key
features include Shot Mark and
Time Code Stamp functions, and
interval recording.
The AG-HVX200 will be
available in the first quarter of
2006 at a suggested list price
below €10,000 Euros, including
two 8GB P2 cards.
For further details contact Panasonic
Broadcast direct - see Video Manufacturers
in Trade Directory on page 29.
Focus Magazine
November 2005
7
Industry News
AKMs Ambient World
Keeping it Simple
In an industry that leads the way
in media technologies, it is worth
remembering that Bryco Products
continues to offer simple cost
effective storage for a range of
media tapes and discs, including
the popular
mini-DV, Hi8, DVCAM and the
original DAT mini disc.
Amidst the bright lights and
razzmatazz of IBC2005, it was
good to see that these simple,
stylish storage units proved a
winner with European visitors
who endorsed the need for basic,
physical storage for archive and
library purposes. In addition to
the professional users there was
a growing demand from the
education and medical sectors.
After the show, Bryan Simms
of Datavision said: “We were
really pleased with the response
from this year’s show and
experienced increased UK sales
immediately. As to the European
market, we will be setting up UK
offices to handle European sales
and we are actively looking for
resellers around Europe.”
To see the range of Bryco
storage units visit - www.brycoin-europe.com. For UK and
European reseller information
please email - reseller@bryco-ineurope.com.
analogue converters;
Balboxes - standalone modules
for conversion,
distribution,
extraction, embedding
and switching of audio
and video signals;
Penpal - possibly the
smallest handheld test
generators in the
world, offering a wide
selection of test
patterns and formats
to suit your needs; Firestore FS4 and FS-4 PRO - portable DTE
disk recorders for use with
handheld DV camcorders, both
featuring an internal disk drive
and high speed 400 Mb/s
transfer speeds when using a
FireWire cable; ClockAudio - a
quality range of microphones,
mostly engineered in brass,
rugged for all applications and a
favourite for video shoots; and a
wide variety of
presentation
products, including a
huge selection from
the ever-widening
Kramer and TV ONE
ranges.
From our base in
Surrey, our Sales
Team can advise you
on the latest
products available,
as well as providing
technical support on
a wide variety of products.
Composite Video also
manufactures audio and video
leads to our customers’
requirements, from simple audio
cables to camera and VTR cables.
Call us for expert advice and
competitive pricing.
For further details contact Datavision
direct - see Nonlinear & Hybrid Systems
in Trade Directory on page 28.
Composite Catalogue
Following the success of its
recent launch, Composite Video
would like to remind Focus
readers of the availability of its
2005/2006 Catalogue. The
catalogue features more than
350 new products.
As one of industry’s longest
established video and audio
equipment and accessories
suppliers, with over 3,000
products and 50,000 items in
stock ready for immediate
despatch, Composite Video aims
to fulfil your need for quality
products at competitive prices.
Featured new products include:
an enhanced range of Cobalt
Digital HD/SD/SDI converters including HD/SD up/down and
cross format converters, HDSDI
to HD analogue converters, a
broad range of SD standalone
10-bit analogue to digital and
digital to analogue converters
and low cost 8-bit digital to
For a free copy of the Composite
Video Catalogue, please telephone
+44 (0) 20 8687 9700 or visit www.compositevideo.co.uk.
DV7-DL Pro upgrade suite
Edirol has announced a suite of
advanced editing functions and
production tools as part of a new
upgrade kit for their Direct Linear
Editor.
Since Edirol first
introduced the Direct
Linear platform, the DV7DL has gained a loyal fan
base among broadcasters
and corporate users alike,
with academic and amateur
users also enjoying Edirol’s
trade mark mix of build quality
and user-friendliness. Shipping
on a removable 80 gigabyte hard
drive (which can be re-used as a
storage drive after installation),
and an accompanying CD-ROM,
the new DV7-DL Pro Studio
upgrade kit unlocks yet more
creative potential via a host of
advanced new features.
With the introduction of Infinity
Roll providing real-time multi
8
November 2005
camera editing you can now adjust
transition duration even after
combining clips. And
new Zoom, Stretch, Blur, and
Rotation effects will bring new life
to your title sequences. The
graphical user interface of the
VariSpeed processor allows
intuitive manipulation of motion
tempo, giving you maximum
control over the pace of your edits,
while a Vectorscope and Waveform
Focus Magazine
www.iov.co.uk
Monitor facilitate precise
adjustment of colour correction in
real-time, their enhanced graphical
displays making these tasks easy
to undertake.
Audio content also gets a
massive boost with
improved cross-fading, and
the addition of Double
Audio Effects. This latter
feature lets you exploit a
wide range of
simultaneous DSP effect
combinations (such as EQ and
Reverb, or Mixer and
Compression), affording the user a
wider and more expressive sonic
palette.
The DV7-DL Pro Studio upgrade
is available now at a SRP of £499
including VAT.
For further details contact Edirol Europe
direct - see Nonlinear & Hybrid Systems
in Trade Directory on page 28.
AKM Music announces the
release of ‘Ambient
World’ (AK057) as part of its
copyright free music library.
Ambient World is a gorgeous
audio feast of shimmering
textures and floating
atmospheres. Chilled and
evocative, perfect for
underscoring your production,
the music is pure electronica
drawing its influences from
composers such as Karl Jenkins,
Hans Zimmer and Enya. This
production is
contemporary in
style and
reflects
soundtrack
trends of today.
Lose yourself in
the glow of the
Ambient World.
This CD comes complete with 60and 30-second commercial cuts,
sparse underscores, loops and
stings. The full tracklisting is as
follows: Atmosphera; Beyond the
Void; Glassy Arps; Whatever; Dens
Atonale; and Magnesium Falls.
Until 30th November 2005,
Focus readers can purchase
Ambient World at the discounted
price of £27 for audio CD (normal
price £29) or £29 for CDROM
(normal price £30.95). These
prices include VAT and postage
and packing for UK orders. For
overseas orders please add £4.
To take advantage of this offer call
01926 864068 and quote this article.
All AKM Music's tracks can be sampled
at www.akmmusic.co.uk.
New Premises for JVC
JVC Professional Europe Ltd has
moved its headquarters to brand
new premises at Staples Corner,
North London.
The company has moved to a
purpose-built facility that houses
an improved and highly efficient
service workshop, and
administration and showroom
facilities. This move brings the
head offices of the two
(consumer and professional) UKbased JVC companies closer
together since both will now be
situated under the same roof.
Ideally located at the junction
between the North Circular Road
and the southern access/egress
of the M1 motorway at Staples
Corner, the new premises allow
for particularly easy access from
London and the North.
For further details contact JVC
Professional Europe direct - see
Video Manufacturers in Trade
Directory on page 29.
Industry News
Local IOV News
Find out about Local
Meetings in your Area...
Kent & SE
London
By Peter Snell
Here follows the
report on the
September
meeting recorded by Alan
McCormick.
In September we had a full
meeting with 20+ members old,
new, and future(?) all ready to hear
our own Kulvinder Babbra (Vince of
Stormfield Productions) present an
eagerly awaited session on Audio in
Films.
Vince started with an insight
into his background from University,
through his No.1 in the Dance
charts, to his arrival into the
wedding video market. An
interesting trip. Without taking us
back to school, the basics of sound
engineering were explained – the
Environment, the Basic Audio setup,
and how different factors can
greatly affect the final product.
To make sure we remained
interested, Vince then asked
everyone - “What do you call this?” as he pointed at a deep red coloured
speaker on the table. “A speaker, of
course” came the shouts and then,
“a Monitor” – which one I hear you
say? Well, it is a Monitor, from then
on I got sucked in and concentration
mode perked up a bit. The following
banter clarified how you cannot use
headphones to monitor your audio
correctly and I will not try and
explain why, maybe a session in
your area could do that.
The remainder of the evening
was filled using Sound Forge 8 on
the big screen and, apart from
knowing the new terms and where
you could access them; I reckon a
few people were becoming rather
puzzled. Vince rescued us again as
he explained noise gate,
equalisation, and compression, etc.
All these tools were brought to our
attention to give us insight into the
next step. Using some recent
wedding footage, hot off the timeline,
Vince walked us through the original
clip and then the various stages of
audio cleanup, before showing the
final clip - which was awesome.
We soon ran out of time, a few
more days would have helped.
Sound Forge was on display but the
whole emphasis was on how we can
use the audio tools available to
enhance our videos and put our
finished product higher up the
quality ladder.
Perhaps his great start into the
Wedding Video business has
something to do with that extra
step (or 10) to improve the audio.
Food for thought!
North West
England
Together we watched all the
sections on Corporate,
Documentary, Best Wedding and
Open and then made our own
mind up about which we thought
was the best. A collective
amnesia struck the group as
between us we were quite unsure
whom all the actual winners were.
One excuse for our
forgetfulness was related to the
amount of alcohol consumed on
the awards night, however a quick
check on the web site was all that
was needed to put that right.
We were impressed by the
standard of much that was shown
and we all had great fun ‘nitpicking’ the presentations. We
had a good night and we look
forward to more of our local
members joining us for the next
meeting.
he joined the executive
committee of the IOV.
It was some time after this that
Kevin suggested to a friend,
Martin Baker, that they should
get together and produce the
IOV’s magazine - and Focus was
created to replace Storyboard.
This may be well known to most
of you I'm sure but as a new
member, it was news to me.
Kevin went on, under
enthusiastic questioning, to talk
about how active the web site is
and changes that are coming.
Discussions ensued about new
assessment for membership,
whether there should be
qualifications systems for
particular disciplines, the poor
state of our relationship with the
copyright licensing authorities
(all their fault apparently), what
can be done to raise the profile
of the IOV in the outside world,
how the IOV awards were judged
last time and how they'll
probably change in the future,
why we should bother to become
qualified, etc.
He covered a lot of ground in
a short time, far too much to be
able to go into very much detail
here. It was all very interesting
and raised awareness in the
group of just how much there is
involved in running such an
organisation as this.
The meeting concluded with a
free raffle for IOV members
present. The second prize
consisting of an IOV Mug and
Mouse Mat went to David
Lamyman.
Yours truly was fortunate to
win the first prize consisting of
an IOV Mug, IOV Mouse Mat,
First Aid Kit/Lamp and 25
Verbatim printable DVD-R.
By Phil Janvier
Our first meeting
back after the
summer break
was a quiet
affair with only
11 of our
members
turning up for the showing of this
years’ IOV Awards 2005 DVD.
West London,
Middlesex &
Herts.
By Emerson
Bovell
Here follows our
September
meeting report
by Gillian Gee.
Our own
Kevin Cook came along to talk
about his role as editor of Focus
magazine and Executive
Administrator of the IOV. He
talked of his beginnings in the
video business, doing videos for
house sales - before discovering
that there was no market for it.
First lesson – video is a moving
medium, houses don't.
Kevin joined the IOV in 1989.
After a period doing wedding
videos, he then went on to the
corporate market. Then after
leaving the industry for a while,
Sussex, Berks,
Surrey & SW
London
By Mike West
An excellent
evening... yes
indeed!
Although
attendance was
limited (as
10
November 2005
anticipated) it all turned into an
enjoyable and interesting
meeting for all that made the
effort.
Not only did we use this as
an opportunity to see some
recent examples of members
work, but in addition Tony
brought his new HD camera and
monitor and gave us a demo of
Focus Magazine
www.iov.co.uk
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 - brian.rae@iov.co.uk
01224 313137
Scotland South
Tony Nimmo - tony.nimmo@iov.co.uk
01555 661541
North East England
PENDING
North West England
Phil Janvier - phil.janvier@iov.co.uk
0151 487 9338
Yorkshire & Lincolnshire
Roger Staniland - roger.staniland@iov.co.uk
01652 631237
North Wales & Borders
Martyn Chidlow - martyn.chidlow@iov.co.uk
01978 350122
Midlands
Bob Langley - bob.langley@iov.co.uk
0845 606 6593
East Anglia & A1 Corridor
Bill Platts - bill.platts@iov.co.uk
01733 370922
some trial footage. The quality
was certainly quite amazing.
Remember, November 15th is
the next meeting when Chris
Waterlow will be visiting us and
telling us about how to pass
assessment. Nobody, but nobody
can really afford to miss this one.
Keep an eye on the website
for more info.
South Wales & Bristol Channel
Jack Tristram - jack.tristram@iov.co.uk
01792 816688
West London, Middlesex & Herts.
Emerson Bovell - emerson.bovell@iov.co.uk
020 8575 2842
Oxfordshire, M1 Corridor & NW London
Anthony Barnett - anthony.barnett@iov.co.uk
01536 526126
Essex, Herts, N, E & Central London
Zulqar Cheema - zulqar.cheema@iov.co.uk
01279 413260
West Country
Pip Critten - pip.critten@iov.co.uk
01752 361210
Dorset, Wiltshire & Hampshire
To be announced...
Sussex, Berks, Surrey & SW London
Mike West - mike.west@iov.co.uk
01903 892951
Kent & SE London
Peter Snell - peter.snell@iov.co.uk
01634 723838
Northern Ireland
Mark Quinn - mark.quinn@iov.co.uk
01 835 3389
Republic of Ireland
Mark Quinn - mark.quinn@iov.co.uk
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 (peter.snell@iov.co.uk)
Mail Box
Constructive Criticism
In reply to Roger Lowe’s letter in
September Focus re constructive
criticism. Whilst I applaud his
confidence in submitting a video
and understand his delight in
receiving an award it does seem as
though he is upset by receiving
what he perceives as damaging and
unwarranted criticism. Indeed,
showing a need to hit back with
“My question…. Who are the
critics .. did we see their work?”
Why ask those questions? I think
we should remember that we are
all professionals and we all have
opinions.
As a member of Area 5 who
was at the meeting I can only say
that the ‘criticism’ was meant as
valid constructive comment. I find
it disappointing that he should
dismiss a particular comment as
‘laughable’. The original statement
made about copyright music was a
valid one and deserves the right to
some respect. It may not be
Roger‘s view and he has the right
to ignore it but it is a valid point. I
would say that if one listens to
Radio and TV feedback
programmes we would find that
many people have an abhorrence of
too much music laid over what they
consider to be inappropriate
scenes. Again it doesn’t mean it’s
right but it is a valid comment.
I have to say that there was no
intention to “slate the videographer
and judge” in the comments given,
just to state our opinion. In the
case of this video our view was that
there were certain pieces we didn’t
like and also to ask valid questions
as to judging criteria. Was the
criteria based on a biased personal
opinion? i.e. like a parent watching
a son or daughter’s wedding, or a
technical view by someone in the
video field or even a balanced
judgment of both.
With regard to Roger’s
comment about constructive
comment and balancing what was
good and bad, that’s fine if one has
three pages to write a critique but a
bit difficult in the context of an Area
report. On this I would draw
Roger’s attention to the Area 11
review which does seem to draw
many of the same conclusions
although I must admit in a less
pithier style.
Suffice it to say, I’m sorry
Roger’s feathers have been ruffled
but if he would like a full and
detailed critique along the lines of
his request in the letter feel free to
send me a full copy of the video
and I will get all the culprits (sorry)
members of Area 5 to give him a
full and detailed review.
Rowland Barker F.Inst.V.
Denbighshire
WWW Difference
With 15 years experience within the
Scottish Wedding Film business we
thought it was about time we got a
decent website. So at the beginning
of 2005 we started putting together
various wedding clips, blurb and,
also, we thought a small section on
the Corporate side of the business
would beef up the site.
We sat down with a graphic
designer and agreed a theme, we
thought although we have been
burning discs for about 4 years now
the market which we wanted to be
in was seeing a transitional period
as we move from video to DVD so
we introduced a DVD with a film
strip coming out of the disc.
Once that was sorted we
planned the pages, a nice intro with
information, some wedding clips,
packages and prices, news and
events, contact details and finally
an opportunity to book online.
Still to be added is a
noticeboard where we will ask
bridal couples to post a message
about how happy they were with
the finished film. We want this to
have some form of authenticity so
we will ask the couples to post their
email addresses - that way any
interested clients can verify directly
with the happy couple.
The site went live in May, we
thought the membership would like
to know that the response
has been incredible. In a five
month period the site has
generated 8 times the investment
cost alone and this is not taking
into account the various
photographers/hoteliers that are
now recommending us after
viewing the site.
We have now bought a
duplicator and send out sample
packs to interested couples. The
pack includes our pricing and
packages along with a DVD that
has the full website on it which can
be watched on a PC - or if you put
it into a DVD player you can view an
interactive wedding. This has
impressed interested parties and is an
excellent way of showing those who
don't have broadband our website.
On a final note, I don't know if
its the same throughout the IOV
but in the Scottish market we are
noticing a few companies that two
years ago would have laughed in
your face at filming Wedding
Video's. Well, guess what? They
are now popping up in the Wedding
market!
Graham Mackay M.M.Inst.V.
Grahams Digital Productions
www.dvdwed.com
12
November 2005
You never know, one day we might
get the awards judging spot on. And
then again - pigs might fly. Ed.
Its good to hear from people who are
willing to share their success stories.
If only more members were a little
more web-savvy when it came to
promoting their business. Ed.
Focus Magazine
www.iov.co.uk
mailbox@iov.co.uk - PO Box 625
Loughton
IG10 3GZ
Mark Stuart reviews the switchable widescreen DVCAM camera from Sony
The Sony DSR-450WSP
4:3/16:9 widescreen
switchable camcorder is the
successor to the DSR500/570 series DVCAM
camcorders. The price
remains the same with a
street price of around £7,500
plus VAT for the camera body.
The model number
progression from the old DSR570 to the new DSR-450 initially
causes confusion by going
numerically backwards and being
closer to the model number of
the non-widescreen DSR-400
which is a more logically
numbered replacement to the
DSR-390. The DSR-400 is
essentially the same camera as
the DSR-450 except for around
£3,000 less money the camera is
4:3 aspect only and does not
have the progressive scan (25p)
recording option which is new to
the DSR-450.
Upgrade features
Sony claim a ‘dramatic’
improvement in imaging quality
in their marketing literature with
the DSR-450’s new 3 x 2/3”
Power HAD EX CCD. The
improvements include an
increase in the signal to noise
ratio from 61dB to 63dB and
smear being improved from
-120dB to -140dB. Low light
performance remains the same
with sensitivity quoted as F11 at
2000lux. The VTR records to
large and small DV/DVCAM tapes
in DVCAM as before plus a new
option of recording to DV, which
provides a massive recording
time of 276 minutes from a
DVCAM 184 tape.
Small print from the DSR-450
brochure states that - “The
transition from cut to cut may
not be smooth when recording in
DV (SP) format.” Having
recorded over 6-hours in DV
mode I have not personally
noticed any drop out or problem
with any scene changes.
In View
The viewfinder is the same DXF801CE model supplied with the
DSR-570. It is disappointing to
see the same 1.5” 4:3 aspect
screen, which gets letterboxed
when recording in 16:9. This
600-line viewfinder is acceptable
for 4:3 filming, however, in 16:9
the letterbox blanking area
reduces the number of effective
horizontal lines in the picture
area making focusing difficult.
When you see the excellent and
larger 16:9 viewfinders that
other manufacturers like
Panasonic supply on their
equivalent 16:9 camcorders it is
unfortunate that Sony do not
apply the same practice.
The most obvious new
feature found on the DSR-450 is
the flip out colour 2.5” LCD
screen which doubles as a black
and white information panel at
the touch of a toggle switch. The
information displayed whilst
toggled in the status display
mode is similar to that found on
the backlit LCD found on the side
of the DSR-570. The LCD can be
closed into the camera body with
the LCD facing in or out as
preferred by the operator. The
LCD, like the viewfinder, is also
4:3 aspect, which results in 16:9
recordings being letterboxed,
again making the effective
picture area very small and low
resolution.
Sound recording controls and
switches are similar to before.
The fixed mic input sensitivity
can often be too high with
sensitive microphones such as
the Sennheiser K6/ME66. Such
microphone’s in high sound
pressure environments often
leads to overloading unless
attenuating with a physical
10db pad.
November 2005
Focus Magazine
www.iov.co.uk
Lens Op
Sony supplied the review camera
with a Canon YJ19x9B4 KRS lens
which is a popular configuration
which dealers offer as a cost
effective package. This lens from
Canon’s professional range is a
well matched weight balance for
the DSR-450 body. Fitting my
own Canon J17ex7.7B4 broadcast
lens does make the front end
heavier but is better balanced
than it is with my DSR-570 and
doesn’t produce the same degree
of nose dive which I have
When you consider that the
counterbalanced by adding a
lower costing Sony HVR-Z1E is
second stackable IDX80 battery.
fitted with an excellent 3.5”
The YJ19 picture looks
widescreen LCD, it is a shame
slightly softer when
that an LCD panel of the same
interchanging with my J17
quality and size is not engineered between tests shots and, of
into larger Professional and
course, has less angle of view at
Broadcast camcorder models like the wide angle end. Flaring is
the DSR-450.
good on both lenses. The only
The image produced on the
quality issue that I have
DSR-450 LCD is useable for
experienced is chromatic
approximate white balance checks aberration, this is a normal
and for framing when operating on limitation of zoom lens
a tripod or under arm/low level
technology and produces a blue
filming. As you would expect,
fringe on high contrast edges
focus and aperture adjustments
under certain conditions on both
cannot be accurately judged on a
lenses. Having been used to the
colour LCD of this size and low
J17 for the last two-years, the
pixel resolution.
zoom servo speed on the YJ19
seems very slow in comparison.
On Sound
14
I checked the new menu system
on the DSR-450 to see if Sony
had added input sensitivity
settings like Panasonic have on
their comparable model cameras.
Panasonic allow you to set the
inputs at 40db, 50db and 60db,
Sony still do not have such a
feature and it is missing from the
DSR-450 menu.
Power Up
The review kit also contained a
Sony mains adapter and battery
system comprising four BP-GL95
Lithium Ion batteries and a high
tech BC-M150 quad
simultaneous charger. Sony’s
95Wh batteries are physically
wider and taller than the
IDX80’s, however, they fit the
wider DSR-450 chassis well.
Review
The harder material received
mixed reviews by IOV members in
North Scotland at a recent
meeting, who largely prefer the
previous rubber shoulder pad. I
agree the previous pad feels more
comfortable but I personally did
not find any notable comfort
issues having operated the DSR450 for several hours at a time on
four different shoots.
The V-mount Sony batteries are
not stackable. However, that is of
little concern with batteries of
enormous 95Wh capacity, which
incidentally is near the maximum
Lithium Ion capacity available that
complies with IATA (International
Air Transport Association)
transport regulations for regular
aircraft transportation.
The four stage LED on the side
of the Intelligent ‘INFO’ battery
shows remaining capacity and also
communicates digitally with the
DSR-450 to display remaining
percentage capacity on the
viewfinder display, whereas IDX
batteries fail to do the same.
The Body
It is evident that the DSR450WSP is not a slight upgrade
to the DSR-570, the DSR-450
chassis has been completely
redesigned. Interestingly the
new PDW-F330 XDCAM HD
camera that Sony showed preproduction models of at IBC is
based on the same chassis
design as the DSR-400/450.
Incidentally, the significantly
higher priced PDW-F330 (around
£12,000 indicative price) has a 3
x 1/2” HD CCD compared to the
DSR-450 3 x 2/3” CCD.
The new chassis build quality
is very solid and robust. It feels
bulkier than the DSR-570 with the
camera body being wider,
particularly at the back end. The
handle has a chunky rubberised
feel in comparison to the
traditional hard metal feel.
Tapes now load from the top
direct into the camera body, unlike
the DSR-570 where the tape
drawer hinged out from the side of
the camera body which sometimes
interfered with audio or monitor
cables. The new improved tape
mechanism offers faster FF/REW
times and is of substantial build
quality.
Ins & Outs
The back panel where the XLR
audio and power connectors are
situated has also been redesigned.
Surprisingly, the 26-pin CCU
connector, which is found on the
DSR-570, is now gone on the
DSR-450, a move that will not suit
some studio or OB applications.
The DSR-450 is fitted instead
with an 8-pin remote connector
which connects to optional Sony
Remote Control Units. An SDI
output is available from the
camera via an optional board.
The S-output which was
available on the DSR-570 is also
gone on the DSR-450 which will
disappoint those who use their
camcorders to do multi-camera
shoots such as shows and other live
events and prefer to wire a Y/C
signal rather than composite
through analogue mixers where
high-end Triax based setups are not
logistically nor commercially viable.
A FireWire connector exists as
before and offers the final output
option.
Memory Settings
A Sony Memory Stick slot is a new
addition which allows quick transfer
of user-customised menu settings,
particularly useful in multi camera
or multi operator situations given
that the new menu system has
more options of customisation than
before, now totalling a seemingly
never-ending 79 pages!
Accessing the standard user
menu starts by bringing up 9
pages with the most commonly
used items listed such as;
changing from 4:3 to 16:9, dial-in
white balance settings, and so on.
The remaining 70 pages are
accessed from the advanced menu
by holding the menu wheel button
at the same time as flicking the
menu switch.
The advanced menu gives
options to customise the existing
standard user menu pages and a
further 11 blank pages so you can
arrange the menu items as you
wish. A further 59 advanced
pages and the standard 20 user
pages are accessed all under one
menu option or under sub menu
options named: Operation, Paint,
Maintenance, File and Diagnosis.
The level of customisation
really is quite incredible. Some of
the new menu options include
adjustment of Gamma curves,
Knee points and slopes, Dynamic
Contrast Control, Edge detail, and
a more advanced 3-point skin
detail system - to list just a few.
With knowledge of how these
settings work there is more scope
than before to preserve detail in
shadows and highlights to increase
the video dynamic range.
Progressive Mode
Another new feature to the DSR450 is 25P progressive recording
which adds to the realism of
simulating a cinematic film look
when combined with the scene file
adjustments.
Sony has released an excellent
white paper, which explains a
number of camera technical terms in
an easy to read and understandable
manner. A copy is available at:
http://www.sonybiz.net/images/edit
orial/E/CameraTechnologyBasics.pdf
Colour Correction
The 5600K daylight filter is no
longer tied to the ND filter wheel
like conventional cameras of this
grade. The DSR-450 now has a
new electronic daylight colour
correction system, which is
engaged by a push button
separate to the filter wheel. This
results in all four filter/ND settings
being selectable for both indoor
and outdoor filming, allowing more
control over aperture range and
Shoulder Pad
The shoulder pad is smaller than
before and now has almost 1½inches travel backwards and
forwards to suit the operators
comfort. The pad is moveable by
a simple clip that does not require
tools to operate. The shoulder
pad material is now a harder foam
type material in comparison to the
previous full-length excellent
softer air cushioned rubber.
www.iov.co.uk
therefore, depth of field.
A conventional white balance
switch with preset and A & B
memory positions allows the usual
storing options of white balance
settings. There is now a much
finer and more accurate
incremental adjustment to white
balance settings which go up or
down in as low as tiny 4K steps
(compared to jumping in 100K to
400K steps at a time, as is the
case with the DSR-570). The
ability still exists to go into the
menu and change indoor and
outdoor white balance preset by
dialling in the user-determined
setting. The level of control is
more precise due to the smaller
incremental steps available. The
white balance temperature in
degrees Kelvin now displays
permanently in the viewfinder
even when auto white balance is
set or when setting a custom
white balance to memory.
Interestingly, the temperature will
display as the camera hunts to
lock onto a reading.
Another new feature is four
customisable buttons, two on the
side of the body and two on the
handle that can be set in the menu
to a limited range of functions
such as turbo gain, auto white
balance and record start/stop.
The side panel near the back of
the operator side of the camera
houses a similar range of physical
switches to that of the DSR-570.
What’s it Like to Use?
The improved ergonomics and
better weight balance towards the
back of the camera makes the
DSR-450 handling and operation
slightly more comfortable than its
predecessor.
I must admit my eyes could
not see any obvious difference
comparing the DSR-450 picture
quality with that of the DSR-570.
The pictures were stunning and
very clean with low noise but then
again so are the pictures from the
DSR-570. Whilst I do not doubt
the improvements to the paper
specification that Sony claim, I
would have liked more time with
the camera before it was required
to be sent to IBC.
I did find myself pushing up
the white balance to slightly
warmer in between settings than
the standard 5600K setting I
normally use for direct sunlight
and 5900K setting for overcast
conditions. The next step up
available on the DSR-570 jumps to
6300K - this 400K jump is often
too much. Tweaking up to 5700K
or 6000K or any exact setting in
between is a breeze with the DSR450 and its increased WB control
allows you to get colours spot on or tweak them in a particular
direction to achieve a deliberate
creative effect.
Focus Magazine
November 2005
15
Review
The white balance capabilities are
the best I have seen on any
camera and gives the operator
maximum control and assurance
in always seeing what the camera
is giving you.
The colour LCD is a very
handy aid for doing a rough check
on your white balance when you
do not have an external monitor
on location. I say rough because
being LCD and 2.5” it is not ideal
to make a critical assessment of
colour; however, it is good enough
to know when you are within an
acceptable range and not wildly
out. Naturally the LCD is less
useful outdoors where it is more
difficult to see in bright daylight
conditions.
The LCD and viewfinder both
being 4:3 models is the biggest
disappointment with the package
given this camera is otherwise
designed for optimum
performance in 16:9. After
letterboxing the 4:3 viewfinder
and LCD to display 16:9, the
image is really too small to judge
focus in difficult conditions. Users
would not expect to be able to set
focus or exposure accurately
based on the image on the small
low resolution colour LCD,
however, users would always
expect to do so with the supplied
high resolution black and white
viewfinder.
Setting exposure does not
cause any difficulty particularly
when using zebra. It is setting
focus that can be challenging
when shooting in widescreen. I
quickly adopted a work-around
when I first got my DSR-570 by
forcing the viewfinder to display in
full height anamorphic 4:3
regardless of recording in
widescreen. This has the effect of
making the picture appear
vertically stretched which is not
ideal but does make the image fill
the whole viewfinder.
This is a temporary distortion
that you learn to live with by
compensating for the distortion in
your head. Strangely, this option
is not available in the new and
otherwise improved menu system
found on the DSR-450. The new
menu setting that controls the
viewfinder aspect now only has
two options - 16:9 and Auto. The
4:3 option that previously existed
on the DSR-570 is now gone
making the work-around
technique impossible.
16
November 2005
Another feature missing from the
DSR-450 is a switch that toggles
the timecode display in the
viewfinder from total record
duration to scene record duration.
Scene duration is handy for timing
individual shots when you know
the minimum shot durations
typically required for editing.
There is a common tendency
on a shoot when stress levels are
running high for the camera
operator to speed up which results
in shots not being held long
enough.
The Sixty Million Dollar
Question
At a recent North Scotland local
IOV meeting, and in the words of
Stuart Young from Sony who
kindly demo-ed the new HVR-Z1E,
“If I had a pound for every time I
was asked that… ” - the question
on the tip of everyone’s tongue
was “Does the DSR-450 have
HDV?” Sadly, the answer is no.
With so much buzz about High
Definition within the industry and
all the manufacturers trying to sell
us their new HD product lines,
surely Sony expected the question
to be asked.
Sony set a new benchmark in
feature set for the money when
they launched the HVR-Z1E, which
not only brought native
widescreen to an affordable price
level but also delivered HDV for
not much more than the cost of a
PD170. Sony’s marketing
campaign at this year’s IBC
featured the slogan ‘HD for
Everyone’ - well, not if you are a
DSR-450 owner it would seem.
Of course, there will be plenty
demand for programme making
on Standard Definition for years to
come; it will clearly take years for
High Definition plasma/LCD TV
sets and DVD players not only to
come down in price but also to
penetrate the mass volume of
homes and offices around the
country in sufficient volumes to
overtake Standard Definition from
being the preferred distribution
format. However, shooting HD in
order to future proof rushes and
down converting the edit meantime
to SD is becoming a popular
compromise workflow throughout
the transition period to HD.
Had the DSR-450 launched
two years ago, HD would have not
affected a purchase decision, but
now it does whether we like it or
not. With the amount of
depreciation on equipment there is
in this industry, buyers want to
get the maximum number of years
out of their kit to get a healthy
return on their investment.
Buying an SD-only camera in this
day and age would hardly seem to
be future proofing your investment
when who knows what is just
Focus Magazine
www.iov.co.uk
around the corner, whether from
Sony or another camera
manufacturer.
Conclusion
If you require the flexibility of
shooting in 4:3 or 16:9 at the flick
of a switch whilst squeezing every
last bit of quality from the
DV/DVCAM format, the DSR-450
is undeniably the camera of
choice. Sony has a fine reputation
for the quality of their cameras
and the pictures that come off the
DSR-450’s new Power HAD EX
CCD raise the benchmark
previously set by the DSR500/570 series.
The DSR-450 is a good step
forward with improvements made
to: ergonomics; white balance;
picture performance; ND filters; a
new highly advanced image
control; and new features such as
the flip out colour LCD panel and
25P. However, not everything is
forward progress, there are some
steps backwards from the DSR570 feature set to consider.
The 26-pin CCU connector is
the main feature that is gone on
the DSR-450 therefore restricting
its OB and studio applications.
Output options are also restricted
with S-output missing from the
new chassis design. The loss of
the timecode scene duration
display is relatively minor but is an
unnecessary omission all the
same. The 4:3 viewfinder remains
the biggest personal
disappointment of mine, the
letterboxed 16:9 image is really
smaller than is ideal for focusing in
difficult circumstances. Not being
able to force full height anamorphic
on the 4:3 viewfinder to display
more picture lines to aid focusing is
a step backwards from being able
to do this on the DSR-570.
This could likely be corrected
by a software upgrade to the
menu system or, better still, if
Sony offered the option of
supplying a 16:9 viewfinder
without pushing up the price
significantly.
With all the fuss about high
definition and the increasing
number of low cost HD equipped
camcorders entering the
marketplace it is unfortunate
timing that Sony launched this SD
camera amongst all this HD
frenzy. Interest in the DSR-450
was rather lack-lustre at our local
IOV meeting when I brought it
along and ran through its features.
Many camera operators I
speak with are extending the life
of their existing cameras whilst
waiting for a camera manufacturer
to release a cost effective (£5K £10K) shoulder mounted 1/2” or
2/3” CCD HD camcorder that
offers improved low light
performance and longer record
times than the current crop of low
cost HDV camcorders.
You can’t help but think that
the DSR-450 is two-years too late
on the market and Sony could
have run the DSR-570 a while
longer until they were ready to
launch the DSR-450 with HDV.
However, such decisions are
no doubt inevitably based on
marketing and political factors
rather than technical issues.
Sony are, of course, pushing the
high end of the DVCAM market
towards XDCAM and the
forthcoming PDW-F330 XDCAM
HD camcorder. XDCAM HD
however is in another price
bracket and only time will tell if
Sony plan to address the price
gap below. All Sony
representatives will commit to
saying at this moment in time is
they have no concrete plans to
develop a full size HDV
camcorder at present.
Personally, I am not enticed to
trade in my DSR-570 for a DSR450 although I admit the
convenience of the colour LCD
would be nice and I would
welcome the improved white
balance control. For new buyers
the decision comes down to the
kind of work you do and how you
view HD will impact on your clients
and project needs over the next
few years.
Mark Stuart F.Inst.V.
There is no denying that this
compact camcorder is aimed
squarely at the consumer
market and has no place in the
corporate or wedding
videographers work area; so
why am I reviewing this little
camcorder (or should I say
‘palmcorder’) for Focus
magazine? Well, I’m a bit of a
fan of non-tape recording
devices, which is what this is.
The GZ-MC500 is not your
usual DV tape format
camcorder, it actually records
onto small Microdrives; the
one supplied with this
palmcorder is a 4GB affair.
After taking this tiny 400gramme palmcorder out of its box
and playing around with it for an
hour, I decided that it is in fact more
a hybrid stills camera/palmcorder,
with a built in voice recorder thrown
in for good measure.
Let’s get one thing straight.
Although the GZ-MC500 is a nontape recording device, it is not in
the same ballpark as camcorders
such as the Panasonic AG-HVX200
camcorder, which uses P2
technology, or the much more
expensive Sony PDW-510P, which
records to a disc. This little
palmcorder is aimed at the home
moviemaker or those who want
something very small and
lightweight to take on holiday to
grab memorable footage.
Features
The GZ-MC500 does not record on
the standard DV format that you
might be used to - instead it
records using the MPEG-2 format,
which is basically the same as
your standard DVD codec.
To keep the size small there is
no viewfinder, so all shooting is via
the 1.8” TFT LCD screen. When
shooting outdoors in bright
sunlight the screen was virtually
impossible to see as there is no
built in shade, so I found myself
having to hold my left hand over
the top to shade it from the sun.
However, this is normal for LCD
screens in bright conditions.
18
November 2005
Recording Format
The Microdrive included with the
camera has a 4GB capacity,
though you can buy them in
bigger capacities. If you are not
familiar with Microdrive
technology, it’s basically the same
as the Compact Type II cards that
digital stills cameras use, only with
a spinning mini hard drive housed
inside. The recording capacity for
the 4GB drive with the GZMC500’s four quality settings is as
follows:
UltraFine (720 x 576 pixels PAL)
At 8.5 Mbps Constant Bit Rate =
60 minutes
Fine (720 x 576 pixels PAL)
At 5.5 Mbps Constant Bit Rate =
90 minutes
Normal (720 x 576 pixels PAL)
At 4.2 Mbps Variable Bit Rate =
120 minutes
Economy (352 x 288 pixels PAL)
At 1.5 Mbps Variable Bit Rate =
300 minutes
You can also record to standard
SD/CompactFlash cards, though
this method will only bag you 16
minutes in best quality UltraFine
mode using a 1GB card.
The audio quality settings are
at 48kHz (fine), 16kHz (standard)
and 8kHz (economy). The used
audio format is WAV, Dolby Digital
Audio (2 ch.)
Camera Control
Focusing is via a full auto mode
with servo focusing, though you
can override this by pressing the
focus button on the lens; you can
then use the focus ring, which I
found worked well enough.
Zooming is done via the tiny
zoom rocker switch, which is
positioned on top of the camera
towards the back. I found this
little micro rocker switch a bit
finicky for my liking and would
have liked something a bit more,
shall we say, manly, but then that
would not be in keeping with the
overall miniature design of this
palmcorder. However, once I got
used to it I found it worked well
enough and it is relatively easy to
control the zoom speeds.
The GZ-MC500 has a DIS
(Digital Image Stabilisation)
system, which is handy on a
palmcorder of this size. I found
this feature worked very well on
wide, but zoom in too close and
the system simply can’t handle
Focus Magazine
www.iov.co.uk
anything other than very steady
shots, otherwise it has a tendency
to create a very annoying
juddering effect with strobe like
qualities.
The Gain Up feature will force
the exposure up when shooting in
situations where the light is very
low. Though, as you probably
know, this feature will whack up
the grain in the image, something
I personally can’t tolerate.
However, many people actually
like this grainy effect.
Other features include 16:9
anamorphic widescreen mode and
the lens hood has a 16:9 mask,
headphone out socket.
Performance
There is no doubt that the GZMC500 is designed for leisurely
use and certainly nothing that
requires more than very average
consumer quality footage.
After recording over half an
hour of mixed indoor and outdoor
footage and playing it back direct
from the camera via my Sony 29inch TV, I found the quality of the
footage to be a little too soft for
my liking and the colours seemed
a bit on the de-saturated side;
slightly disappointing for a 3-chip
model.
If left on fully automatic mode
(which is where it will probably
spend most of its time considering
the market it is aimed at), the
Additional Features
camera constantly overexposes
Apart from the MPEG-2 video
the shots by a good stop, which
recording and digital stills
results in a distinct lack of colour
capabilities of this tiny palmcorder,
saturation and lot’s of ‘illegal’ hot
it also has a built in voice
spots (bleaching out). I would
recorder. In fact, the GZ-MC500
have to advise anybody buying
could be described as an ideal
one to fit a polarizing filter for all
budget journalists tool. The way
outdoor shooting in auto mode to
the LCD lays out all your shots,
help bring back some of that lost
either video or stills, reminds me
colour. However, with a small
of my digital stills camera; in fact I 32mm filter thread, this might not
would almost go as far as saying
be that easy.
that this palmcorder is really a
The indoor footage under
good quality 5-Megapixel digital
regular household lighting
stills camera with some decent
rendered better results. The
MPEG-2 video recording features.
colours were more alive and the
There are numerous built-in
overexposure on auto problem
effects including three faders and
disappeared. However, the overall
three wipes and some video
softness to the images still
remained. Then again, this is only
effects, which are: Classic Film;
a £750 palmcorder so I would be
Strobe; Sepia; and Mono Tone.
However, I found that they looked crazy to expect broadcast.
I also noticed that when
a bit cheesy and should really be
zoomed in close, unless the
avoided if you want your footage
camera is locked off on a tripod
to be taken half seriously.
and perfectly static, the images
judder in a very noticeable way
MPEG-2
and it is recorded this way.
The fact that the GZ-MC500
Whether this has something to do
with the built in MPEG-2 codec or
records using an MPEG-2
the image stabilisation system, I
compressed video stream similar
don’t know. All I know is that it
to that used with standard DVD
was very annoying, which pretty
video recordings means that
FireWire technology has no role to much rendered the use of the
zoom at the extreme long end
play here, so only a USB 2.0 mini
useless when hand-held.
connector is supplied for
The built-in microphone only
transferring your stills and video
really seems to pick up sound
footage to a Windows PC (Mac not
coming from above and when
supported) using the supplied
shooting in anything other than
Cyberlink Power Director and
totally placid weather environments
PowerProducer capture, editing
the microphone picks up the wind
and disk authoring software.
adding a horrible digital distorted
When connected, the Director
effect as the recording levels peak
software will detect the clips on
beyond it’s capabilities. Even the
the camera's internal Microdrive
cameras built-in Wind Cut feature
and import them to the in tray.
did little to help this. There’s no
place for a Windjammer here I’m
Once there, you can then build
afraid, so maybe super-gluing a
sequences prior to disk authoring
small piece of acoustic foam over it
using the Cyber Link Power
could help reduce this.
Producer software.
Review
The Fit
I did find that the ergonomics of
this tiny palmcorder were just a
little bit too small for my liking; I
don’t exactly have hands like
Rachmaninov either. I would
imagine that any hand size other
than that of a child will struggle to
hang on to this tiny camera. The
first thing I did was attach the
wrist strap to the camera and it
was around my wrist at all times
just in case I did drop it.
I found that I could not wrap
my hand around the camera,
which meant that my fingers could
not operate the various buttons.
Little of the palmcorder was in
direct contact with the palm of my
hand, instead I had to sort of grip it
between the tips of my fingers and
the base of my palm. I also had to
place my thumb on the left hand
side to prevent it dropping. This
was a pain as it meant each time I
wanted to press the record start/
stop button I had to move my
thumb away from it’s supporting
position, which meant I always got
a very jerky start (lead in) and end
(lead out) to each shot.
I had the same problem when
trying to remove the tiny
Microdrive - which is activated by
a tiny button that you have to
push in. I was almost tempted to
use a pen as there is little room to
push this button down because of
the surrounding casework. Then
when I did manage to press the
Microdrive release button, the
actual Microdrive only pops up
about a centimetre, again, making
it difficult to grab with your
fingernails to remove it.
On the whole, I suspect this
camera was designed (from an
ergonomic point of view) by a very
small, nimble-fingered person who
gave no thought to the larger
handed world.
Editing
One very big annoyance with the
GZ-MC500 was the fact that it is
not Apple Macintosh compatible.
Although JVC told me that this is a
Mac issue, I know that it is not as
there is an unofficial download
which allows you to use the
camera with your Mac. However,
if some kid in America can knock
up a plug-in between a morning
lecture at University and going for
a burger in the evening with his
friends, then I simply cannot
understand why JVC with all their
billions of pounds could not
implement similar software to put
on the included Windows-only CD!
I do tend to see red whenever
a box doesn’t read ‘Works with
Mac OSX’ or in this case, where
the manufacturer has prioritised
the major 95% of the computer
using market and forgot about all
us Mac users. Zero points there
for JVC.
Although I couldn’t get to
download any footage from the
camera into my Mac, I would
hazard a guess that editing MPEG2 footage is not going to be quite
so easy, certainly not as easy as
editing your standard DV (AVI and
MOV files on PC and Mac) footage
anyway. This is because of
MPEG’s streaming characteristics
and the GOP (Group of Pictures)
scientifics; you simply can’t place
the playhead on any frame you
want. A transition, for example,
would have to start on a GOP,
which means they might not end
up exactly where you want them.
Stills Photography
When it comes to digital stills
photography the GZ-MC500 is a
good quality 5-Megapixel model
with most of the usual digital stills
photography features with quality
sizes ranging from 640x480 right
up to 2560x1920, in both Fine and
Standard modes - with virtually
every setting in-between. Using
an SD card of 1MB capacity you
can fit 435 still images in Fine
2560x1920 mode or 6040 in Fine
640x480 mode, not forgetting all
the variations in-between.
The built-in flash will pop up
automatically if required when
shooting stills, and luckily the auto
feature can be turned off in the
menus for those annoying times
when your creativity tells you that
you don’t need the flash for this
shot.
Conclusion
The GZ-MC500 is an expensive
stocking-filler at best. Something
to give the iPod-generation kids
for their birthdays or simply to
take on holiday. Though it could
also be used to keep in the glove
compartment of your car for those
rare once-in-a-lifetime news
pieces, where you happen to be in
the right place at the right time to
capture something spectacular on
camera. It will certainly be a big
improvement over the usual cell
phone footage that is becoming
more commonplace on the TV
news these days.
I would treat this as a decent
5-Megapixel stills camera, that has
some half decent video recording
capabilities and a built-in voice
recorder. A general all round home
movie budget media device.
Nigel Cooper
Notes: Nigel is the founder and
main contributor/reviewer of
www.dvuser.co.uk
Brett Allen reviews the latest version of the Canopus Edius NLE
What the…? Where is…?
How…? These are the words
that spring to mind when you
first start Edius Pro, the latest
version of Canopus’s top of
the range editing software.
I must admit I am quite
happy with Premiere 6.5 running
on my Canopus Storm hardware
but the system is beginning to
creak a bit, and with the
possibility of a big job coming up
where I will be editing HDV it
was time to look at new options.
After a few weeks of research
I’d come to the conclusion that it
was either Premiere Pro or Final
Cut Pro. Having run demos of
both I liked Final Cut Pro but was
frustrated with Premiere Pro
which seemed very slow and
kept conforming files all the time.
Maybe it was my hardware.
At the IOV2005 show I
started watching a demonstration
of Edius, a program I had
dismissed because it didn’t look
like a serious program. But while
watching the demonstration I
suddenly realised that this looked
like a bloody good bit of software
and was anxious to get my hands
on it and give it a try.
Graphical User
Interface
Well, here it is installed on my
office PC and I must admit on
first looks all the words in my
first paragraph entered my head,
although I suppose that changing
to any editing program from one
you know back to front would
produce the same result.
The designers of the Edius
program, apparently out of some
dark sense of humour, have
decided to abandon a traditional
GUI for an interface where
simple functions and features are
hidden away in obscure places or
given strange names! Once you
find them, you can usually find
them again but your first few
hours (or days) with Edius can be
a very frustrating, head
scratching experience as you
look for something as simple as
‘Save As’. There is none of the
traditional pull down menus at
the top. If Edius wants to
capture a bigger market share,
they need to include a traditional
menu system ASAP. Editors are
not going to be impressed with
the amazing real time features of
Edius if they can't figure out how
to do the simplest of functions
because they are hidden away.
But you should look further
because this software is a wolf in
sheep’s clothing.
I can’t possibly go into all the
operational things of Edius. So
this is a review of how it feels
and how it compares to
Premiere. I tried Edius installed
in a 2.3GHz Pentium machine
with a bog-standard OHCI card.
Using an OHCI card you don’t get
the same real time flexibility that
you get using a Canopus Edius
NX card or even the Storm card.
However, there was still a good
real time response on the
timeline.
The Manual
First things first, let’s have a look
at the manual. Canopus provides
a large reference manual plus an
extra manual that includes bits
they have added since the first
manual was printed. At first
glance it looks pretty
comprehensive. It is only when
you start reading it you find that
it is in a form of Japglish. The
translation from Japanese is not
good and I found searching the
manual pretty difficult. There is
a help system but this is mainly
for reminders rather than a list of
‘how to’.
OK, that’s the negative things
out of the way
Personalisation
There are various ways of setting
up Edius Pro. You can make it
look like Premiere 6.5 using AB
track editing or if you prefer the
Premiere Pro way of doing things
you can set it up to have single
track editing. It is up to you.
What I found very good was the
VA tracks where the video and
audio stay together – the audio
under the video unlike in
Premiere where the audio tracks
are put at the bottom of the
timeline and the video tracks at
the top of the timeline. In Edius
these tracks can be together (if
you wish).
There are comprehensive
keyboard shortcut settings and
you can change all of these to
your hearts content. So if you
are used to Premiere shortcuts
you can set the shortcuts in
Edius to the same.
You can also set up the screen to
show single monitor or dual
monitors. I used Edius on a
single 17-inch screen to good
effect but a dual monitor system
would have been better as the
screen can get a bit cramped at
times.
There is a whole range of
settings under the setting menus
that you can use to modify the
way Edius works. The monitors
can be set up to show timecode
and audio levels which I found
very useful. The only way to
really test software is to use it in
a real situation, so I edited a
two-camera live dance show.
Capturing
Getting the footage into Edius
isn’t a problem once you
understand how to do it. You
just set the source monitor up as
a capture monitor, windows
appear, and you capture. The
manual says (I think!) that you
can capture by scene detection
but I couldn’t get this to work.
Maybe I was doing it wrong but I
would still choose to stick with
my capture program of choice
Scenalyzer (www.scenalyzer.com)
which is an excellent application.
You can also batch capture in
Edius if you can work it out for
yourself from the scant
instructions (it did work!) and
import an EDL. Importing an
EDL from Premiere worked OK
but you have to make sure there
aren’t any clever editing tricks on
the Premiere timeline before
exporting.
For instance, I imported a
project that had some clips
Hey presto - the
hidden functions!
20
November 2005
Focus Magazine
www.iov.co.uk
Review
where I had extended the audio
from one clip under the video of
the next clip. Edius couldn’t cope
with this and I ended up with
clips on the timeline OK, but they
were the whole clips with all their
audio. Whether this is a problem
with the export from Premiere or
the import to Edius I am not
sure.
Titles
There are two titling options
supplied with Edius. One is
called Quick Titler and its name
belies it power. You have a lot of
control over your text and it does
rolls and crawls - all in real time.
The other option supplied is
Inscriber’s Title Motion Pro,
which is probably a great bit of
the information window. From
software if you can understand
here it can be dragged to other
how it works. It is not easy to
Timeline
clips and you can set it as a user use but does a very good job of
I liked the timeline operation.
animating titles once you have
defined filter if you wish so you
There are different ways of
editing a clip and it doesn’t force can use it again in other projects. got over the frustrations of its
idiosyncrasies. Again, the help
This applies to all filters.
you to do it in a specific way.
files were a bit lacking.
Something I missed from
You can drag clips to the timeline
Premiere
was
the
Motion
tool
from the bin (a pretty good bin
until I discovered the Layout tool Output
system, by the way) and then
which seemed far better than the There are various output options
drag the end of a clip on the
e.g. MPEG2, WMV, DV, and HDV,
timeline or you can adjust in and Premiere equivalent.
and most use a cut down version
out points in the source window
of Canopus’s Procoder, which
and click a button to place the
Acid Test
produces excellent results. Tapes
clip on the timeline.
The best way to try a program is
can be recorded with timecode
Edius uses a system of
to do some real editing. I had
embedded which is very useful
having to enable a track to
just filmed a children’s dance
(can’t do that in Premiere!).
accept the incoming clip and only show with two cameras so
one track can be enabled at a
decided to edit it on Edius. I had
HDV
time. This was a bit confusing at the main camera footage on VA
first as I kept losing the audio
track 1 and the camera 2 footage So, that’s enough of that. “But
because the audio wasn’t
on VA track 2. Once synched up what about HDV?” I hear you
cry. One of the big selling points
enabled on the track I wanted to it was simple to edit the second
of Edius is its ability to import
place the footage on, but I soon
camera in and out because as
and edit HDV footage - there are
got used to it after I understood
you drag the, say, left hand edge
not many programs that can do
what was happening.
of the clip the source monitor
that successfully. But, but, but,
Most commonly used
shows you the last frame from
you do need a machine that can
functions are on buttons at the
the other track while the
handle the data rate of HDV
top of the timeline. You can
program monitor shows you the
footage. Ideally a 3GHz Xeon
personalise this as well by adding first frame from the current
with RAID array.
your favourite buttons or
track. It certainly made editing a
Unfortunately my machine
removing buttons you rarely use. two-camera shoot easy. I ended
was not anywhere near this spec
The cursor is intelligent and
up finishing the edit much
and when I tried to run some
changes to different functions
quicker than I would have done
HDV footage on the timeline
depending on where you are
in Premiere.
everything ground to a halt.
pointing. For instance, move near
The most amazing thing about However, I went to see fellow
the end of a clip and it changes
Edius is its ability to edit various
member Colin Fowler who has
to a ‘drag end of clip’ symbol.
video formats at the same time
just bought an Edius system
Hold shift down and hold near
from DVC to see how it coped
on the same timeline - in real
the end of a clip and it changes
with HDV. I can report that
time! I loaded a bit of DV, an
into a ‘J cut’ symbol where you
MPEG2, a VOB file, and an MPEG1 everything worked fine - in real
can adjust the end of either the
time.
file all to the same timeline and
video or audio only.
We captured some HDV from
they all played in real time (well,
Right click on a video clip and nearly!) and output to tape OK.
the Sony Z1, put it on the
timeline, and it played out
you are presented with a large
Loading just an MPEG2 to the
perfectly. We put 7 filters on it
menu of selections.
timeline I was able to edit it as if
and it was still playing in realScrubbing along the timeline
it was a normal DV file. To me
time. We then added some
was quick and responsive. In
that is worth the price of
MPEG2 to the timeline together
fact it was a joy to use. Even
admission alone.
with some SD DV and everything
with a colour correction filter and
Cutting a clip is a pretty
played with no hitches at all.
some transparency on clips it still simple process and in Premiere
When putting some MPEG2
did everything in real time. There you use the razor. Does what it
on the timeline it is best to wait a
says on the button. Where is the couple of minutes before trying
was a comprehensive supply of
razor in Edius? Is it called ‘split’? to scrub as it seems Edius needs
transitions, which were easy to
No. Is it called ‘divide’? No. Is it to sort itself out first. Even
place and is more like Premiere
called ‘cut’? No. There is
adding VOBs directly from a DVD
Pro than 6.5. You drag the
worked OK, except when the
transition from the bin and place actually a button called ‘Match
VOB came from a domestic DVD
Cut’. Why?
it on the end of a clip or at the
recorder, then Edius couldn’t
Once you know what and
join of two clips. Works a treat
seem to cope.
where it is you don’t have a
and it doesn’t matter on what
problem but it makes the
track you place the transition.
learning curve just a little more
Filters are easy too – just
drag onto the clip. I used a very frustrating. A couple of other
things that you have to work
comprehensive and accurate
around if you are coming from
colour correction filter on the
Premiere are that there is no
clips from my second camera to
frame hold on in-point and no
match the clips up. The
parameters for the clip appear in nudge clip (alt> on Premiere).
22
November 2005
Focus Magazine
www.iov.co.uk
When you add SD DV to an HD
timeline (as set in the project
settings) the SD is automatically
upsized to the same size as the
HDV so, depending on the
footage, it may look a bit
‘squidgy’. Likewise, when you
add HDV to an SD timeline the
HDV is downscaled but this time
there is no loss of quality - in fact
it looks stunning.
Tools
There were a couple of tools
available called MPEGcapture and
DISCcapture. MPEGcapture
creates MPEG files on the fly as
you capture and DISCcapture
allows you to rip audio from an
audio disc and DVD files from a
DVD.
For MPEGcapture you need
the Canopus card in your system
and although I could use
DISCcapture OK for audio files, I
couldn’t get it to work on my
machine for DVD capture.
However, it worked OK on Colin’s
much more powerful machine.
Conclusion
Even though my PC was below
the recommended spec the whole
program seemed very stable with
it only crashing once during all
my testing, and that was during
a very intensive session of
timeline scrubbing.
There are a couple of bugs(?) I
found. For example, when I
created a new project using the
new project button it created a
new project but left all the files
from the previous project in the
bin. I am sure that’s not
intentional, but then again maybe
it is.
The next version of Edius Pro,
rumoured to be available in
spring 2006, will add key framing
of effects, multi camera support,
AC3 output, nested sequences
and apparently loads of other
things users have demanded.
Maybe Canopus might listen to
their critics and do something
about the interface and the
manual.
Edius 3 Pro is an excellent
editing solution and I would
highly recommend it. Yes, it has
its idiosyncrasies, but nothing
that a few weeks editing won’t
cure. I was pleasantly surprised
at how good it was and I am
seriously considering going over
to Edius from Premiere. My
dance school project was
completed very well and I think I
did it quicker than I would have
done in Premiere.
Brett Allen F.Inst.V.
Edit Point
Notes: Thanks to Richard Payne
at DVC for his help and sending a
DVC demo disc, which helped in
some of the vague areas - and to
Colin Fowler for an afternoon
playing.
Autumn Blues
I hope you have all had a
good summer this year and
that you have had plenty of
wedding/business bookings.
Maybe some of them have
been able to stretch your
imaginative skills, getting
that extra special shot or a
very rewarding ‘thank you’
from a client. These things
make all the hard work seem
a little more worthwhile.
The thing is, what to do now?
Should you just pack everything
away next to your editing gear?
You could use this time to go
through and give your system a
good service.
Checking your Camera
The lens is probably one of the
most important parts of to be
looked at. Have you still got the
lens cap? Have you used it?
This cover provides valuable
protection of the outer lens
element when the camera is not
in use, or in transit. Once the
lens is scratched, all your work
will be adversely affected.
With care, try cleaning the
lens. Use a specialised lens
cleaning cloth, or lint free cloth
to remove dirt and finger prints.
Do not use force, or this may
damage the lens coating. You
can clean the viewfinder and the
LCD monitor in much the same
way.
Whilst checking the camera
body, are all the remote jack and
connector covers intact and in
place? Is the tripod mount full of
dirt?
Your camera heart, the battery
can also be checked. The
contacts can get covered in dirt
and grease, so should be
cleaned. Charge it up fully, and
then discharge it by running it
flat on the camera. See if it lasts
as long as it did when it was
new. You can stick a small label
on the battery body reminding
you of its operational time.
Do you use any leads with
the camera? Are the connector
pins or ends OK? Is the cable
damaged in any way?
Intermittent cable faults in the
field can be very frustrating.
Mains cables need checking for
damage. If they are suspect,
replace them.
Lighting equipment, stands
and tripods can all be cleaned
and checked for damage.
Some of you may need to have
your equipment PAT certified.
Now could be a good time to
have that done.
Autumn Light
If you want to film things to use
up the battery, now is a
wonderful time. Autumn light is
special - moody, glorious sunsets
and sunrises; rolling mists; long
shadows; reddening trees.
Trying to capture this requires
skill and the use of manual
settings on you camera. It can
help you explore the limitations of
your system. Can your camera
provide stills? If it can, email me
ones that capture autumn. Here’s
one to start you off.
John Allard
Notes: Email your autumn
pictures to lightsnack@iov.co.uk
Cinematic Storytelling
The 100 most powerful film conventions every filmmaker must know
See Your Film Before Shooting (second Edition)
By Nicholas T. Proferes
ISBN 0-240-80562-3
By Jennifer Van Sijll
ISBN 1-932907-05-X
If a picture can paint a thousand words – then a series of screen
grabs from a film can tell a whole story. This book is crammed full
of stills from the movies and will give you the cinematic vocabulary
to tell your stories eloquently and with great succinctness. Clearly
illustrated throughout, this book is the business. If narrative film
is your bag then this is your book.
Dialogue and narration is
the most obvious form of
storytelling in film but the
cinemagraphic language is less
obvious - and this is the area
that this book focuses on.
What will you learn if you read
this book? The basic building
blocks of cinematic language; how to show character change
without using dialogue; how to exploit sound; picture and camera
motion as storytelling devices. In essence you will learn the 100
most powerful cinematic conventions that every filmmaker must
know!
Cinematic storytelling is the difference between documenting
and dramatizing - between employing the medium to tell your
story or leaving them silent. Great directors combine a close
reading of the script with these filmmaking techniques to create a
series of truly fantastic on-screen moments. You can do the same
if you absorb the knowledge contained in this book. If you do use
these techniques you will be able to charge much higher fees for
your productions.
No talking heads, voice over or wobbly cam here! Buy it!
Read it! Use it! Make movies, my friends - make movies!
Q
Quentin Rating:
Quentin rating guide:
Film Directing Fundamentals
This book does exactly what it says on the cover – it is a dead
straight forward no nonsense approach to the very complex task of
directing narrative drama. This book makes the really complicated
business of directing understandable and, more importantly, doable.
What this book does is show you how a director thinks when
making a film – how he breaks down the script – analysing it for
dramatic beats – looking for camera angles and motivations for
cuts that will enhance the storytelling.
This book will show you how to use the screenplay as a
blueprint on which to base your visual storytelling. In this book
you will learn about story spines, character,
dynamic relationships, wants, needs,
expectations, actions, activity and acting
beats.
Nicholas Profere’s breakdown and
explanation of the practical application of
dramatic blocks, narrative beats and the
fulcrum of a scene is truly fantastic. When I
read it the previously opaque became clear.
The section on detective work on scripts
makes this book worth the purchase price
alone. It really is a remarkable piece of
work.
The second part of the book features an extensive analysis of a
couple of Hollywood scripts (notably Notorious and The Truman
Show) which some readers may find useful. Truth be told I found
this section a little dull (studied too much of this stuff at college
and you can have too much of a good thing). However the book is
still worth the cover price for the information contained in section
one! Buy it – go on you know you want it… Q
Quentin Rating:
QQQQQ = top ho!
QQQQ = jolly good
QQQ = good… but…
QQ = yukkity yuk!
Q = yuk!
Visit Dr. Q’s website at www.soundworking.com or email admin@soundworking.com or telephone +44 (0)1964 562073
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LIGHTLY USED CANON XL1 &
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[131]
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Panasonic DV200
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[131]
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[130]
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Training DVD for HVR-Z1/FX1 HDV
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Hands-on tutorial DVD giving the tips
and tricks not found in the
manual. Cost me £65 - First £35
secures.
Contact Bill: 020 7834 3586
Email: nobilwed@tiscali.co.uk [130]
Sony VX9000 Camera
Battery box, 3 batteries, Sennheiser
300 Mic, Aluminium case, Raincover,
Extra Powerlead, Good condition little used. £1,100
Retirement causes sale.
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DSR300 DVCAM Camera
Sony DSR300 camera for sale
complete with base plate plus 2 x
98Wh Li-ion batteries and
charger. £3,000 plus VAT OVNO.
Contact John: 01206 241820
[129]
Email: info@jworland-video.co.uk
Lens with wide angle converter
Canon YH 19x6.7KRS IF Pro lens
(NEARLY NEW) With Wide angle
Convertor YJ/YH18x - €3,000.
(Republic of Ireland)
Contact Brendan:
00353 (0) 86 8119648
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[129]
Brand new XL2
Canon camera with 20x lens, spare
battery, and rain jacket comes with
bag. Only used once. £2750 ovno.
Reason for sale,decided to upgrade to
new JVC HD camera.
Contact Dave: 01446 744141
Email: Hmvideo2@aol.com
[129]
Canon XL1s
In pristine condition. 1 Year old but
with very few hours use.
£1,700 ONO
Contact Derek: 07762021566 [128]
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Panasonic DVX100E
Professional video camera, external
mic, light, tripod and accessories –
complete with bag. £2,000 ono – sale
due to bereavement.
[127]
Contact Mrs Larkin: 02476 336933
Sony DCR VX 9000E
Full size DV Camcorder complete with
battery box, 6 hours only. Unused
last 3-years due to retirement. As
new £1,650.
Contact Alan: 01757 708633
[127]
Full JVC DV500 kit
Due to illness, JVC DV500 + 2 IDX
Batteries, Charger/Mains unit, Fujinon
14x Lens, 40M cable, Camera Kit Bag
and Base Plate. Also Tripod &
Bag. All in good condition - £3,000.
Contact Paul: 01277 233649
[127]
Sony DSR250 & VX9000
Spare camera only 40 hours use mint
condition £2200. Sony VX9000 £900 ono
Contact Tony: 01889584492
or 07973503976
[127]
Email: anthony.thompson6@ntlworld.com
JVC D9 kit
JVC DY-700E with Canon YH14 lens
and directional mic. Low hours. JVC
hard case, Hawkwood SC-7 battery
belt. JVC BR-D750E edit recorder with
SDI card and Hi-Tech edit
controller. £6,250 complete.
Contact Peter: 01481 200026 [126]
Email: thedigitalworks@cwgsy.net
Sony DSR300P and Red Heads
Immaculate camera, only 134 head
hours, 85 tape transport hours and 261
total 'on' hours, complete with Vinten
Pro4 Tripod, Manfrotto Dolly and Power
Pack, £3,950. Also Redheads, (Antisurge, Photonbeard) pristine condition,
in flight case, £700. All above now in
England, telephone evenings:
Contact Annette: 01953 457665
Email: acp.ampprod@tiscali.fr [126]
JVC DV500 full shooting kit
Consisting of: JVC DV500 camera body,
Fujinon S20x6.4 upgraded lens system,
Uprated Viewfinder VF-P116E, IDX
battery system with 2 batts and
charger, Chrozial mattbox with 10 tiffen
filters, Hoya polarising filter, Sennheiser
EW100 radio mic system, Vinten Pro 5
Tripod, Fujinon Zoom demand on tripod,
Portabrace Camera jacket (Shoulder
case), Portabrace carry-on bag, V low
hours V good condition. Steal at
£4300.00 or make me an offer. Viewing
available anytime.
Contact John: 07976 608627
[126]
Email: mail@richardson156.freeserve.co.uk
Continued…
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Focus Magazine
November 2005
25
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Canopus DV Storm Card and MPEG2
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NLE Equipment
DVC built Canopus Storm2, Premierer6.5,
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19inchMonitors, Canopus Hardware
Encoder, Pioneer A109
DVDwriter. Bargain £600
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[131]
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VM6000 SYSTEM
EXISTING FAST VIDEO MACHINE
USERS ONLY. This system will be a
superb addition/replacement to your
existing system. VM6000 SYSTEM (ex.
BAA) SPEC'S AS FOLLOWS. VM 6000
Real Time Edit Station spec: Pentium
II motherboard with dual screen
capability, 392mbs RAM, 4 pairs SCSI
drives all housed in Data Silo kick ass
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Interfaces. The system is working
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cables are supplied to make this a
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[130]
Matrox DigiSuite LX MAX
Built by Techex. Dual Xeon Processor
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[129]
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Miscellaneous
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[132]
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[132]
MW 6 bay editing console
MW 6 bay editing console with 4 Sony
rackmount kits, vgc, pics available.... offers?
Contact John: 01279 414736
Email: john@activelight.co.uk
[132]
PAGLIGHT C6
On-Camera Lighting Robust, high quality,
focusable 20W / 6V lamphead with 1/4"
screw & hot-shoe mounts included with 2
extra bulbs. Barn doors included, with
swing out Diffusion & Dichroic (Daylight
Correction) filters. High Quality 6V /
7.0Ah Ni-Cd battery pack with shoulder
strap included, provides approximately 90
minutes "running" time. Mains charger
included. Suitable for use on ANY
camcorder! Cost £233 Bargain at only £175
Contact Colin: 07860 333444
[130]
Email: colin-cooke@ntlworld.com
WANTED
DVCAM Back end for Ikegami camera
New or nearly new.
Contact Jamie: 01527 861911
Panasonic AG-DVC200
Just your opportunity to trade up to
HD!! I am currently looking to purchase
a second DVC200 at a reasonable price
and in good condition. If you have one,
with or without extras, I would be
interested in hearing from you.
Contact Brian: 07831 649374
Email: sales@vizbiz.ltd.uk
[130]
Call 020 8502 3817 or order on-line at www.iov.co.uk
26
November 2005
Focus Magazine
www.iov.co.uk
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
Camcorder Power
Rhino Power & Light Ltd
Pinewood Studios, Pinewood Road, Iver Heath,
Buckinghamshire SLO ONH
Tel:01753 651444
Fax:01753 651334
Email: info@rhinopower.tv
Web: www.rhinopower.tv
Audio Equipment Supplies
HHB Communications Ltd
73 - 75 Scrubs Lane, London NW10 6QU
Tel: 020 8962 5000
Fax: 020 8962 5050
Email: sales@hhb.co.uk
Web: www.hhb.co.uk
MediaAtlantic
PO Box 5050, Derby DE23 8ZW
Tel: 0870 161 5050
Fax: 0870 161 5051
Email: info@mediaatlantic.com
Web: www.mediaatlantic.com
RPA
Unit 3, Grange Yard, London SE1 3AG
Tel: 020 7231 4805
Email: sales@riverproaudio.co.uk
Web: www.riverproaudio.co.uk
Soundgenie
Unit 2, Heybridge Enterprise Centre, The
Street, Heybridge, Maldon, Essex CM9 4NN
Tel 01621 843200
Email: info@wirelessmics.co.uk
Web: www.wirelessmics.co.uk
Soundkit
12 Earle Place, Canton, Cardiff CF5 1NZ
Tel: 02920 342907
Fax: 02920231235
Email: martyn@soundkit.co.uk
Web: www.soundkit.co.uk
Total Audio Solutions
3 Woden Court, Park, Saxon Business Park,
Hanbury Road, Bromsgrove, Worcs. B60 4AD
Tel: 01527 880051
Email: sales@totalaudio.co.uk
Web: www.totalaudio.co.uk
Authoring Video To DVD
DVDIY
Unit 4, Balksbury Estate, Upper Clatford,
Andover, Hampshire SP11 7LW
Tel: 01264 336330
Email: dvdiy@replication.com
Web: www.dvdiy.com
Planet PC
The Old School, 690 Bradford Road,
Birkenshaw, West Yorkshire BD11 2DR
Tel: 01274 713400
Web: www.planetdv.net
Professional Magnetics Media Ltd
329 Hunslet Road, Leeds LS10 1NJ
Tel: 0113 270 6066
Fax: 0113 271 8106
Email: sales@promags.co.uk
Web: www.promags.co.uk
Samron Technologies
Suite 5, Room 5, Thornbank, 38 Moorgate,
Rotherham S60 2AG
Tel: 01709 720820
Email: dvd@samron-tech.com
Web: www.samron-tech.com
Batteries & Power
DS Video Facilities
Unit 27, Metro Centre, Britannia Way,
Coronation Road, London NW10 7PR
Tel: 020 8965 8060
Email: info@dsvideo.freeserve.co.uk
Web: www.dsvideo.co.uk
Hawkwoods Ltd
Briscall House, Wotton Road, Ashford,
Kent TN23 6LW
Tel: 01233 638715
Email: info@hawkwoods.com
Web: www.hawkwoods.com
IDX Technology Europe Ltd
34 Taunton Road, Metropolitan Centre,
Uxbridge, Middlesex, UB6 8UQ
Tel: 020 8813 1666
Fax: 020 8813 1777
Email: kevan.parker@idx.tv
Web: www.idx.tv
OpTex
20-26 Victoria Rd, New Barnet, London EN4 9PF
Tel: 020 8441 2199
Email: info@optexint.com
Web: www.optexint.com
PAG
565 Kingston Road, Raynes Park, London SW20 8SA
Tel: 020 8543 3131
Email: sales@paguk.com
Web: www.paguk.com
Photon Beard Ltd
Unit K3, Cherry Court Way, Stanbridge Road,
Leighton Buzzard, Bedfordshire LU7 4UH
Tel: 01525 850911
Email: info@photonbeard.com
Web: www.photonbeard.com
Westgate Developments
Derby House, 11 Rosebery Road, Langley
Vale, Epsom, Surrey KT18 6AF
Tel: 01372 800404
Email: west-gate@ntlworld.com
Web: www.westgatepower.com
Camera Lenses & Filters
IDX Technology Europe Ltd
34 Taunton Road, Metropolitan Centre,
Uxbridge, Middlesex, UB6 8UQ
Tel: 020 8813 1666
Fax: 020 8813 1777
Email: kevan.parker@idx.tv
Web: www.centuryoptics.com or www.idx.tv
OpTex
20-26 Victoria Rd, New Barnet, London EN4 9PF
Tel: 020 8441 2199
Email: info@optexint.com
Web: www.optexint.com
Pyser-SGI Limited (Fujinon products)
Broadcast Products Division, Fircroft Way,
Edenbridge, Kent TN8 6HA
Tel: 01732 864111
Fax: 01732 865544
Email: sales@pyser-sgi.com
Web: www.pyser-sgi.com
South London Filter Ltd
3 Richbourne Terrace, London SW8 1AS
Tel: 0207 735 1900
Fax: 0207 820 1718
Email: info@camerfilters.co.uk
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
Email: info@cpcases.com
Web: www.cpcases.com
Pyser-SGI Limited (Portabrace)
Broadcast Products Division, Fircroft Way,
Edenbridge, Kent TN8 6HA
Tel: 01732 864111
Fax: 01732 865544
Email: sales@pyser-sgi.com
Web: www.pyser-sgi.com
TVcases
9 Elmsdale, Wightwick, Wolverhampton,
West Midlands WV6 8ED
Tel: 07976 369776
Email: sales@tvcases.co.uk
Web: www.tvcases.co.uk
Camera Stabilisers
OpTex
20-26 Victoria Rd, New Barnet, London EN4 9PF
Tel: 020 8441 2199
Email: info@optexint.com
Web: www.optexint.com
CD & DVD Recordable Media
MediaAtlantic
PO Box 5050, Derby DE23 8ZW
Tel: 0870 161 5050
Fax: 0870 161 5051
Email: info@mediaatlantic.com
Web: www.mediaatlantic.com
Microboards Technology Ltd
7 Harriott Drive, Heathcote Industrial Estate,
Warwick CV34 6TJ
Tel: +44 (0) 870 350 3581
Email: mkt@microboards.co.uk
Web: www.microboards.co.uk
Multi Media Replication Ltd
Unit 4, Balksbury Estate, Upper Clatford,
Andover, Hampshire SP11 7LW
Tel: 01264 336330
Email: info@replication.com
Web: www.replication.com
RPA
Unit 3, Grange Yard, London SE1 3AG
Tel: 020 7231 4805
Email: sales@riverproaudio.co.uk
Web: www.riverproaudio.co.uk
SkyCom UK Ltd
Suite 17, 2nd Floor, Fifty7 Frederick Street,
Hockley, Birmingham B1 3HS
Tel: 0121 236 2594
Email: info@sky-com.co.uk
Web: www.sky-com.co.uk
Chromakey Supplies
Bristol UK Ltd
Unit 3, Sutherland Court, Tolpits Lane,
Watford WD18 9SP
Tel: 01923 779333
Fax: 01923 779666
Email: tm.sales@bristolpaint.com
Web: www.bristolpaint.com
Karina Krafts
Complex 7, 34 Nelson Road, Ystrad Mynach,
Hengoed, Mid Glamorgan CF82 7BP
Tel: 01443 815595
Fax: 01443 862204
Email: sales@karinakrafts.com
Web: www.karinakrafts.com
RPA
Unit 3, Grange Yard, London SE1 3AG
Tel: 020 7231 4805
Email: sales@riverproaudio.co.uk
Web: www.riverproaudio.co.uk
Warehouse Video Services
7 August End, George Green, Slough,
Berkshire SL3 6RP
Tel: 01753 823425
Fax: 01753 512822
Email: sales@warehouse-video.co.uk
Web: www.warehouse-video.co.uk
Computer Hardware & Software
CVP Imaging Solutions Ltd.
Priory Mill, Castle Road, Studley, Warks. B80 7AA
Tel: 01527 854222
Email: sales@creativevideo.co.uk
Web: www.creativevideo.co.uk
Lumidium Ltd
3rd Floor, Metro New Media, 35 Kingsland
Road, London E2 8AA
Tel: 020 7683 0482
Mobile: 07957 540940
Email: paul@lumidium.com
Web: www.lumidium.com
MediaAtlantic
PO Box 5050, Derby DE23 8ZW
Tel: 0870 161 5050
Fax: 0870 161 5051
Email: info@mediaatlantic.com
Web: www.mediaatlantic.com
Planet PC
The Old School, 690 Bradford Road,
Birkenshaw, West Yorkshire BD11 2DR
Tel: 01274 713400
Web: www.planetdv.net
Quad Logic (Apple Video Expert)
Unit 46, Station Road Workshops, Kingswood,
Bristol BS50 4PJ
Tel: 0117 970 1550
Fax: 0117 970 1440
Email: sales@quadlogic.co.uk
Web: www.quadlogic.co.uk
Square Group
The Apple Centre, 78 New Oxford Street,
London WC1A 1HB
Tel: 020 7692 6810
Fax: 020 7692 6636
Email: systems@squaregroup.co.uk
Web: www.squaregroup.co.uk
XS Computers Ltd
196 Kilmarnock Rd, Shawlands, Glasgow G41 3PG
Tel: 0870 747 6484
Email: xscomputersltd@btopenworld.com
Web: www.xscomputersltd.co.uk
ZEN Computer Services
3 Carolina Way, Salford Quays,
Manchester M50 2ZY
Tel: 0161 736 5300
Fax: 0161 736 5303
Email: info@zenvideo.co.uk
Web: www.zenvideo.co.uk
Computer Products & Genlocks
G2 Systems
5 Mead Lane, Farnham, Surrey GU9 7DY
Tel: 01252 737151
Email: sales@g2systems.co.uk
Web: www.g2systems.co.uk
Imagine Graphics Ltd
14 Alban Park, Hatfield Road, St Albans AL4 0JJ
Tel: 01727 844744
Email: sales@imaginegraphics.co.uk
Web: www.imaginegraphics.co.uk
Copyright Free & Commissioned Music
AKM Music
PO Box 3199, Kenilworth CV8 2ZP
Tel: 01926 864068
Email: akm@akmmusic.co.uk
Web: www.akmmusic.co.uk
Chris Worth Productions
27 Stainesway, Louth, Lincolnshire LN11 0DE
Tel: 01507 601546
Fax: 01507 601546
Email: info@chrisworthproductions.com
Web: www.chrisworthproductions.com
Holdan Ltd
Unit 2 Waterside Business Park, Waterside,
Hadfield, Glossop, Derbyshire SK13 1BE
Tel: 0845 1304445
Email: sales@holdan.co.uk
Web: www.holdan.co.uk
Smartsound powered by Datavision
Russell Farm, New Road, Maulden,
Bedfordshire MK45 2BG
Tel: 01525 406886
Email: sales@smartsound.co.uk
Web: www.smartsound.co.uk
Trackline Music Services
68 Alton Street, Crewe, Cheshire CW2 7QB
Tel: 01270 665750
Email: dyl@trackline.com
Web: www.trackline.com
Digital Camera Specialists
DC PRO EUROPE
20-26 Victoria Rd, New Barnet, London EN4 9PF
Tel: 0800 454571
Fax: 020 8449 3646
Email: info@dcproeurope.com
Web: http://eu.dcproeurope.com
www.iov.co.uk
Dimming Equipment
LCC Photon Technik
Watt House, Pirbright Road, Normandy,
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Email: info@lcc-lighting.co.uk
Web: www.lcc-lighting.co.uk
Photon Beard Ltd
Unit K3, Cherry Court Way, Stanbridge Road,
Leighton Buzzard, Bedfordshire LU7 4UH
Tel: 01525 850911
Email: info@photonbeard.com
Web: www.photonbeard.com
Westgate Developments
Derby House, 11 Rosebery Road, Langley
Vale, Epsom, Surrey KT18 6AF
Tel: 01372 800404
Email: west-gate@ntlworld.com
Web: www.westgatepower.com
Dolly & Track Systems
PEC Video Ltd
65-66 Dean Street, Soho, London W1D 4PL
Tel: 020 7437 4633
Fax: 020 7025 1320
Email: sales@pec.co.uk
Web: www.pec.co.uk
Drapes
LCC Photon Technik
Watt House, Pirbright Road, Normandy,
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Email: info@lcc-lighting.co.uk
Web: www.lcc-lighting.co.uk
DTV / Nonlinear Training
CVP Imaging Solutions Ltd.
Priory Mill, Castle Road, Studley,
Warwickshire B80 7AA
Tel: 01527 854222
Email: sales@creativevideo.co.uk
Web: www.creativevideo.co.uk
Planet PC
The Old School, 690 Bradford Road,
Birkenshaw, West Yorkshire BD11 2DR
Tel: 01274 713400
Web: www.planetdv.net
Symbiosis (AVID Accredited)
47 The Parade, Royal Priors,
Leamington Spa CV32 4BL
Tel: 01926 436930
Fax: 01926 885936
Email: sales@symbiosis.com
Web: www.symbiosis.com
Whitehouse Video Productions
51a High Street, Studley, Warwickshire B80 7HN
Tel: 01789 765893
Email: info@whitehousevideo.co.uk
Web: www.whitehousevideo.co.uk
Duplication Services
Double Vision
The Studio, Half Key Farm, Malvern,
Worcestershire WR14 1UP
Tel: 01886 830084
Fax: 01886 833783
Email: kate.doublevision@virgin.net
Web: www.doublevision-videos.com
KMA Productions
Barford House, 40 Ditton Road, Surbiton,
Surrey KT6 6QZ
Tel: 020 8399 2009
Email: info@kmaonline.com
Web: www.kmaonline.com
Media Heaven Ltd
Unit 12, Castleton Close, Armley Road, Leeds LS12 2DS
Tel: 0113 244 3550
Email: info@mediaheaven.co.uk
Web: www.mediaheaven.co.uk
Media Matters Technology Ltd
12-14 Somerset House, Hussar Court,
Waterlooville, Hampshire PO7 7SG
Tel: 0870 870 1123
Fax: 0870 870 1124
Email: info@mediamatterstechnology.co.uk
Web: www.mediamatterstechnology.co.uk
Multi Media Replication Ltd
Unit 4, Balksbury Estate, Upper Clatford,
Andover, Hampshire SP11 7LW
Tel: 01264 336330
Email: info@replication.com
Web: www.replication.com
MVS Video
Alkham Valley Road, Folkestone, Kent CT18 7EH
Tel: 01303 891468
Email: sale@mvsvideo.com
Web: www.mvsvideo.com
Penridge Multi-Media
The Barn, Rashwood Meadow, Droitwich Spa,
Worcestershire WR9 0BS
Tel: 01527 861911
Email: sales@penridge.com
Web: www.penridge.com
Professional Magnetics Media Ltd
329 Hunslet Road, Leeds LS10 1NJ
Tel: 0113 270 6066
Fax: 0113 271 8106
Email: sales@promags.co.uk
Web: www.promags.co.uk
RPA
Unit 3, Grange Yard, London SE1 3AG
Tel: 020 7231 4805
Email: sales@riverproaudio.co.uk
Web: www.riverproaudio.co.uk
TVE Limited
TVE House, Wick Drive, New Milton,
Hampshire BH25 6RH
Freephone: 0800 592314
Email: ian@tvelimited.com
Web: www.tvelimited.com
Focus Magazine
November 2005
27
DVD & CD Applications
Equipment Dealers contd...
Equipment Service & Repair
Lighting contd...
Media Heaven Ltd
Unit 12, Castleton Close, Armley Road, Leeds LS12 2DS
Tel: 0113 244 3550
Email: info@mediaheaven.co.uk
Web: www.mediaheaven.co.uk
Penridge Multi-Media
The Barn, Rashwood Meadow, Droitwich Spa,
Worcestershire WR9 0BS
Tel: 01527 861911
Email: sales@penridge.com
Web: www.penridge.com
Griffin Media Solutions
53 Regent Place, Hockley, Birmingham B1 3NJ
Tel: 0121 212 0044
Email: info@askgriffin.co.uk
Web: www.askgriffin.co.uk
H. Preston Professional Video
103 Worcester Road, Malvern, Worcester WR14 1EP
Tel: 01684 575486
Fax: 01684 575594
Email: jpreston@hpreston.co.uk
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
Email: tonycovell@dial.pipex.com
Libra Professional Broadcast
Chester House, 91/95 Alcester Road, Studley,
West Midlands B80 7NJ
Tel: 01527 853305
Email: libra.video@btinternet.com
Web: www.libraprobroadcast.co.uk
Mitcorp UK Ltd
23 Shield Drive, West Cross Ind Est, Brentford
London TW8 9EX
Tel: 020 8380 7400
Fax: 020 8380 7410
Email: info@mitcorp.co.uk
Web: www.mitcorp.co.uk
MVS Video
Alkham Valley Road, Folkestone, Kent CT18 7EH
Tel: 01303 891468
Email: sale@mvsvideo.com
Web: www.mvsvideo.com
OpTex
20-26 Victoria Rd, New Barnet, London EN4 9PF
Tel: 020 8441 2199
Email: info@optexint.com
Web: www.optexint.com
PDC Digital Solutions Ltd
Palmerston Studios, Palmerston Road,
Barry CF63 2YZ
Tel: 01446 722503
Mobile: 07971 642269
Email: sales@pdcdigital.co.uk
Web: www.pdcdigital.co.uk
PEC Video Ltd
65-66 Dean Street, Soho, London W1D 4PL
Tel: 020 7437 4633
Fax: 020 7025 1320
Email: sales@pec.co.uk
Web: www.pec.co.uk
Planet PC
The Old School, 690 Bradford Road,
Birkenshaw, West Yorkshire BD11 2DR
Tel: 01274 713400
Web: www.planetdv.net
Proactive UK Ltd
1 Eastman Way, Hemel Hempsted HP2 7DU
Tel: 01442 253313
Fax: 01442 260913
Email: sales@proav.co.uk
Web: www.proav.co.uk
PROKIT
111 Power Road, Chiswick, London W4 5PY
Tel: 020 8995 4664
Fax: 020 8995 4656
Email: enquiries@prokit.co.uk
Web: www.prokit.co.uk
QAV Ltd
2 The Mount, Station Yard, Longstanton,
Cambridge, Cambridgeshire CB4 5DS
Tel: 01954 262100
Fax: 01954 262101
Email: sales@qav-ltd.com
Web: www.qav-ltd.com
Symbiosis
47 The Parade, Royal Priors,
Leamington Spa CV32 4BL
Tel: 01926 436930
Fax: 01926 885936
Email: sales@symbiosis.com
Web: www.symbiosis.com
T2 Direct
Bridge House, Royal Quay, Park Lane,
Harefield, Middlesex UB9 6JA
Tel: 01895 855655
Fax: 01895 822232
Email: t2@top-teks.co.uk
Web: www.t2direct.com
The Digital Garage Group Ltd
Mercia House, 51 The Green, South Bar,
Banbury, Oxon OX16 9AB
Tel: 01295 201120
Fax: 01295 201122
Email: sales@digitalgaragegroup.com
Web: www.digitalgaragegroup.com
TouchVision
6 The Riverside, Farnham, Surrey GU9 7SS
Tel: 01252 823850
Fax: 01252 711702
Email: ian.dudley@touchvision.tv
Web: www.touchvision.tv
Clyde Cunningham Broadcast Engineering
96 Downs Road, South Wonston, Winchester,
Hampshire SO21 3EW
Tel: 01962 881740
Email: clyde.cunningham@btinternet.com
Web: www.dvcamservice.co.uk
MVS Video
Alkham Valley Road, Folkestone, Kent CT18 7EH
Tel: 01303 891468
Email: sale@mvsvideo.com
Web: www.mvsvideo.com
Ianiro UK Ltd
Unit 7, Walkers Road, Manorside Ind. Est.,
North Moons Moat, Redditch, Worcs. B98 9HE
Tel: 01527 596955
Fax: 01527 596788
Email: ianirouk@aol.com
Web: www.ianiro.com
LCC Photon Technik
Watt House, Pirbright Road, Normandy,
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Email: info@lcc-lighting.co.uk
Web: www.lcc-lighting.co.uk
OpTex
20-26 Victoria Rd, New Barnet, London EN4 9PF
Tel: 020 8441 2199
Email: info@optexint.com
Web: www.optexint.com
Photon Beard Ltd
Unit K3, Cherry Court Way, Stanbridge Road,
Leighton Buzzard, Bedfordshire LU7 4UH
Tel: 01525 850911
Email: info@photonbeard.com
Web: www.photonbeard.com
Studio & Lighting Services
3 Cedar Drive, Loughton, Essex IG10 2PA
Tel: 020 8418 9848
Email: peter@slservices.co.uk
Web: www.slservices.co.uk
Westgate Developments
Derby House, 11 Rosebery Road, Langley
Vale, Epsom, Surrey KT18 6AF
Tel: 01372 800404
Email: west-gate@ntlworld.com
Web: www.westgatepower.com
DVD & CD Replication Services
24-7 DVD Ltd
1 Ravenscourt Park, London W6 0TZ
Tel: 020 8748 2247
Fax: 020 8237 1247
Email: info@24-7dvd.co.uk
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
Email: info@itvv.net
Web: www.itvv.net
Media Heaven Ltd
Unit 12, Castleton Close, Armley Road, Leeds LS12 2DS
Tel: 0113 244 3550
Email: info@mediaheaven.co.uk
Web: www.mediaheaven.co.uk
Media Matters Technology Ltd
12-14 Somerset House, Hussar Court,
Waterlooville, Hampshire PO7 7SG
Tel: 0870 870 1123
Fax: 0870 870 1124
Email: info@mediamatterstechnology.co.uk
Web: www.mediamatterstechnology.co.uk
Multi Media Replication Ltd
Unit 4, Balksbury Estate, Upper Clatford,
Andover, Hampshire SP11 7LW
Tel: 01264 336330
Email: info@replication.com
Web: www.replication.com
Penridge Multi-Media
The Barn, Rashwood Meadow, Droitwich Spa,
Worcestershire WR9 0BS
Tel: 01527 861911
Email: sales@penridge.com
Web: www.penridge.com
Professional Magnetics Media Ltd
329 Hunslet Road, Leeds LS10 1NJ
Tel: 0113 270 6066
Fax: 0113 271 8106
Email: sales@promags.co.uk
Web: www.promags.co.uk
Samron Technologies
Suite 5, Room 5, Thornbank, 38 Moorgate,
Rotherham S60 2AG
Tel: 01709 720820
Email: dvd@samron-tech.com
Web: www.samron-tech.com
DVD Duplication Equipment
Media Matters Technology Ltd
12-14 Somerset House, Hussar Court,
Waterlooville, Hampshire PO7 7SG
Tel: 0870 870 1123
Fax: 0870 870 1124
Email: info@mediamatterstechnology.co.uk
Web: www.mediamatterstechnology.com
Microboards Technology Ltd
7 Harriott Drive, Heathcote Industrial Estate,
Warwick CV34 6TJ
Tel: +44 (0) 870 350 3581
Email: mkt@microboards.co.uk
Web: www.microboards.co.uk
Multi Media Replication Ltd
Unit 4, Balksbury Estate, Upper Clatford,
Andover, Hampshire SP11 7LW
Tel: 01264 336330
Email: info@replication.com
Web: www.replication.com
Penridge Multi-Media
The Barn, Rashwood Meadow, Droitwich Spa,
Worcestershire WR9 0BS
Tel: 01527 861911
Email: sales@penridge.com
Web: www.penridge.com
RPA
Unit 3, Grange Yard, London SE1 3AG
Tel: 020 7231 4805
Email: sales@riverproaudio.co.uk
Web: www.riverproaudio.co.uk
SkyCom UK Ltd
Suite 17, 2nd Floor, Fifty7 Frederick Street,
Hockley, Birmingham B1 3HS
Tel: 0121 236 2594
Email: info@sky-com.co.uk
Web: www.sky-com.co.uk
Editing & Facility Hire
Activelight
Unit 18, Stort Mill, River Way, Harlow,
Essex CM20 2SN
Tel: 01279 414736
Email: john@activelight.co.uk
Web: www.activelight.co.uk
Equipment Dealers
CVP Imaging Solutions Ltd.
Priory Mill, Castle Road, Studley, Warks. B80 7AA
Tel: 01527 854222
Email: sales@creativevideo.co.uk
Web: www.creativevideo.co.uk
Gearhouse Broadcast
Unit 14, Olympic Industrial Estate, Fulton Road,
Wembley HA9 OTF
Tel: 020 8795 1866
Fax: 020 8795 1868
Email: uk@gearhousebroadcast.com
Web: www.gearhousebroadcast.com
28
November 2005
Equipment Rental
Excelsior Film & Video
16 Artel Croft, Three Bridges, Crawley,
Sussex RH10 1JS
Tel: 01293 401696
Mobile: 07973 412171
Email: info@videostudio.co.uk
Web: www.videostudio.co.uk
Kitroom Monkey Limited
Ealing Film Studios, Ealing Green,
London W5 5EP
Tel: 0845 166 2597
Mobile: 07739 806807
Email: mail@kitroommonkey.co.uk
Web: www.kitroommonkey.co.uk
OpTex
20-26 Victoria Rd, New Barnet, London EN4 9PF
Tel: 020 8441 2199
Email: info@optexint.com
Web: www.optexint.com
RPA
Unit 3, Grange Yard, London SE1 3AG
Tel: 020 7231 4805
Email: sales@riverproaudio.co.uk
Web: www.riverproaudio.co.uk
Focus Magazine
www.iov.co.uk
Field Production Cases
MVS Video
Alkham Valley Road, Folkestone, Kent CT18 7EH
Tel: 01303 891468
Email: sale@mvsvideo.com
Web: www.mvsvideo.com
OpTex
20-26 Victoria Rd, New Barnet, London EN4 9PF
Tel: 020 8441 2199
Email: info@optexint.com
Web: www.optexint.com
Pyser-SGI Limited (Portabrace)
Broadcast Products Division, Fircroft Way,
Edenbridge, Kent TN8 6HA
Tel: 01732 864111
Fax: 01732 865544
Email: sales@pyser-sgi.com
Web: www.pyser-sgi.com
Grip Equipment
LCC Photon Technik
Watt House, Pirbright Road, Normandy,
Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Email: info@lcc-lighting.co.uk
Web: www.lcc-lighting.co.uk
Insurance Companies
Anchorman Insurance Consultants
Buddle Lane, Hatherleigh, Devon EX20 3HX
Tel: 01837 810909
Fax: 01837 811135
Email: media@anchormaninsurance.co.uk
Web: www.anchormaninsurance.co.uk
AUA Insurance
De Vere House, 90 St Faiths Lane, Norwich NR1 1NL
Tel: 01603 623227
Fax: 01603 665516
Email: info@aua-insurance.com
Web: www.aua-insurance.com
Golden Valley Insurance
The Olde Shoppe, Ewyas Harold,
Herefordshire HR2 0ES
Tel: 0800 015 4484
Fax: 01981 240451
Email: gvinsurance@aol.com
Towergate Camerasure
Funtley Court, Funtley Hill, Fareham, Hants. PO16 7UY
Tel: 0870 4115511
Email: camerasure@towergate.co.uk
LCD Monitors
MediaAtlantic
PO Box 5050, Derby DE23 8ZW
Tel: 0870 161 5050
Fax: 0870 161 5051
Email: info@mediaatlantic.com
Web: www.mediaatlantic.com
OpTex
20-26 Victoria Rd, New Barnet, London EN4 9PF
Tel: 020 8441 2199
Email: info@optexint.com
Web: www.optexint.com
Pyser-SGI Limited (TV Logic)
Broadcast Products Division, Fircroft Way,
Edenbridge, Kent TN8 6HA
Tel: 01732 864111
Fax: 01732 865544
Email: sales@pyser-sgi.com
Web: www.pyser-sgi.com
Lens Service & Repair
Pyser-SGI Limited (Fujinon)
Broadcast Products Division, Fircroft Way,
Edenbridge, Kent TN8 6HA
Tel: 01732 864111
Fax: 01732 865544
Email: sales@pyser-sgi.com
Web: www.pyser-sgi.com
Lighting
Arri (GB) Limited
2 High Bridge, Oxford Road, Uxbridge,
Middlesex UB8 1LX
Tel: 01895 457000
Email: sdaly@arri-gb.com
Web: www.arri-gb.com
Cirro Lite (Europe) Ltd
3 Barretts Green Road, London NW10 7AE
Tel: 020 8955 6700
Email: sales@cirrolite.com
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
Email: dmlawrence13@lineone.net
Web: www.studiolighting.co.uk
Gekko Technology Ltd
Deer Park Business Centre, Stoneleigh Deer
Park, Stareton, Warwickshire CV8 2LY
Tel: 07005 942686
Fax: 024 76 531844
Email: sales@gekkotechnology.com
Web: www.gekkotechnology.com
Matte Boxes
Pyser-SGI Limited (Vocas)
Broadcast Products Division, Fircroft Way,
Edenbridge, Kent TN8 6HA
Tel: 01732 864111
Fax: 01732 865544
Email: sales@pyser-sgi.com
Web: www.pyser-sgi.com
Mini Cams & Special Facility Cameras
Extreme Video
Alexander House, 7-13 Rose Lane, Norwich NR1 1PL
Tel: 01603 630555
Email: info@extremevideo.co.uk
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
Email: adobeuksales@adobe.com
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
Email: sales@atcomputers.co.uk
Web: www.atcomputers.co.uk
Avid Technolgy UK
3rd Floor, Swan House, 52 Poland Street,
London W1F 7NH
Tel: +44 (0) 20 7534 2800 Fax: +44 (0) 20 7534 2801
Web: http://avid.co.uk
Canopus Europe
Unit 4, The Duran Centre, 14 Arkwright Road,
Reading, Berkshire RG2 0LS
Tel: 0118 921 0150
Email: sales@canopus-uk.com
Web: www.canopus-uk.com
CVP Imaging Solutions Ltd
Priory Mill, Castle Rd, Studley, Warks. B80 7AA
Tel: 01527 854222
Email: sales@creativevideo.co.uk
Web: www.creativevideo.co.uk
Datavision Limited
Russell Farm, New Road, Maulden,
Bedfordshire MK45 2BG
Tel: 01525 406886
Email: info@datavision.co.uk
Web: www.datavision.co.uk
Edirol Europe
Studio 3.4, 114 Power Road, London W4 5PY
Tel: 0870 350 1515
Email: info@edirol.co.uk
Web: www.edirol.co.uk
Edit Heaven
99 Cambridge Road, New Malden, Surrey KT3 3QP
Tel: 020 8949 8949
and at… 24 D’Arblay Street, London W1F 8EH
Tel: 07957268690
Email: sales@editheaven.co.uk
Web: www.editheaven.co.uk
Holdan Ltd
Unit 2 Waterside Business Park, Waterside,
Hadfield, Glossop, Derbyshire SK13 1BE
Tel: 0845 1304445
Email: sales@holdan.co.uk
Web: www.holdan.co.uk
In-Deep
15 Abrahams Road, Henley on Thames,
Berkshire RG9 2ET
Tel: 0870 350 2450
Email: information@in-deep.co.uk
Web: www.in-deep.co.uk
Nonlinear & Hybrid contd...
Studio Facilities
Video Accessories
MVS Digital (Sony Vegas)
Unit 23, Wordsworth Business Centre, 21
Wordsworth Road, Perivale, Middlesex UB6 7LQ
Tel: 0845 456 0801
Email: anil@micronetuk.com
Web: www.mvsdigital.com
PDC Digital Solutions Ltd
Palmerston Studios, Palmerston Road,
Barry CF63 2YZ
Tel: 01446 722503
Mobile: 07971 642269
Email: sales@pdcdigital.co.uk
Web: www.pdcdigital.co.uk
Pinnacle Systems
Building 7, The Grand Union Office Park, Packet
Boat Lane, Uxbridge, Middlesex UB8 2GH
Tel: 01895 424210
Web: www.pinnaclesys.co.uk
Planet PC
The Old School, 690 Bradford Road,
Birkenshaw, West Yorkshire BD11 2DR
Tel: 01274 713400
Web: www.planetdv.net
Siren Technology
178 Radcliffe New Road, Whitefield,
Manchester M45 7RG
Tel: 0161 796 5279
Fax: 0161 796 3208
Email: simon@sirentechnology.co.uk
Web: www.sirentechnology.co.uk
Ulead
PO Box 835, Canterbury, Kent CT2 7WE
Tel: 01227 379481
Email: markw@ulead.co.uk
Web: www.ulead.co.uk
Video Management Services Ltd
Alcatraz House, Crow Arch Lane Ind. Est., Crow
Arch Lane, Ringwood, Hampshire BH24 1BH
Tel: 0800 387164
Fax: 01425 471144
Email: sales@videomanagementservices.co.uk
Web: www.videomanagementservices.co.uk
Video Source Limited
Norfolk House, The Cross, Carlton in Lindrick,
Nottinghamshire S81 9EW
Tel: 0870 444 8422
Fax: 01909 730828
Email: sales@videosourceltd.co.uk
Web: www.videosource.co.uk
ZEN Computer Services
3 Carolina Way, Salford Quays,
Manchester M50 2ZY
Tel: 0161 736 5300
Fax: 0161 736 5303
Email: info@zenvideo.co.uk
Web: www.zenvideo.co.uk
Picture It Studios
The Studio, 50 Church Road, London NW10 9PY
Tel: 020 8961 6644
Email: sales@picit.net
Web: www.picit.net
Composite Video Ltd
Unit 15, Liongate Enterprise Park, 80 Morden
Road, Mitcham, Surrey CR4 4NY
Tel: 020 8687 9700
Email: sales@compositevideo.co.uk
Web: www.compositevideo.co.uk
DVStuff
PO Box 389, Maulden, Beds. MK45 2WG
Tel: 01525 406886
Email: shopping@dvstuff.co.uk
Web: www.dvstuff.co.uk
Holdan Ltd
Unit 2 Waterside Business Park, Waterside,
Hadfield, Glossop, Derbyshire SK13 1BE
Tel: 0845 1304445
Email: sales@holdan.co.uk
Web: www.holdan.co.uk
Keene Electronics
Old Hall, Unit 9, Mills Bus. Pk, Station Road,
Little Eaton, Derby DE21 5DN
Tel: 01332 830550
Email: sales@keene.co.uk
Web: www.keene.co.uk
Lektropacks
Unit 6 Metro Industrial Centre, St. Johns Road,
Isleworth, Middlesex TW7 6NL
Tel: 08700 711 911
Fax: 020 8560 8050
Email: info@lektropacks.com
Web: www.lektropacks.co.uk
MVS Video
Alkham Valley Road, Folkestone, Kent CT18 7EH
Tel: 01303 891468
Email: sale@mvsvideo.com
Web: www.mvsvideo.com
OpTex
20-26 Victoria Road, New Barnet, London EN4 9PF
Tel: 020 8441 2199
Email: info@optexint.com
Web: www.optexint.com
Pyser-SGI Limited
Broadcast Products Division, Fircroft Way,
Edenbridge, Kent TN8 6HA
Tel: 01732 864111
Fax: 01732 865544
Email: sales@pyser-sgi.com
Web: www.pyser-sgi.com
Scancom Ltd
Suite A, Third Floor, 47-48 Hawley Square,
Margate, Kent CT9 1NY
Tel: 01843 290426
Fax: 01843 295986
Email: sales@scancom.ltd.uk
Web: www.scancom.ltd.uk
Portable Power
Rhino Power & Light Ltd
Pinewood Studios, Pinewood Road, Iver Heath,
Buckinghamshire SLO ONH
Tel:01753 651444
Fax:01753 651334
Email: info@rhinopower.tv
Web: www.rhinopower.tv
Studio Lighting Design
LCC Photon Technik
Watt House, Pirbright Rd, Normandy, Surrey GU3 2AG
Tel: 01483 813814
Fax: 01483 811668
Email: info@lcc-lighting.co.uk
Web: www.lcc-lighting.co.uk
Photon Beard Ltd
Unit K3, Cherry Court Way, Stanbridge Road,
Leighton Buzzard, Bedfordshire LU7 4UH
Tel: 01525 850911
Email: info@photonbeard.com
Web: www.photonbeard.com
Tape Stock
MVS Video
Alkham Valley Road, Folkestone, Kent CT18 7EH
Tel: 01303 891468
Email: sale@mvsvideo.com
Web: www.mvsvideo.com
Penridge Multi-Media
The Barn, Rashwood Meadow, Droitwich Spa,
Worcestershire WR9 0BS
Tel: 01527 861911
Email: sales@penridge.com
Web: www.penridge.com
RPA
Unit 3, Grange Yard, London SE1 3AG
Tel: 020 7231 4805
Email: sales@riverproaudio.co.uk
Web: www.riverproaudio.co.uk
That’s A Wrap Sales
The Boreen, Condor Road, Staines, Middx. TW18 1UG
Tel: 0871 222 0808
Fax: 01784 465639
Email: sales@taw.eu.com
Web: www.taw.eu.com
Warehouse Video Services
7 August End, George Green, Slough,
Berkshire SL3 6RP
Tel: 01753 823425
Fax: 01753 512822
Email: sales@warehouse-video.co.uk
Web: www.warehouse-video.co.uk
TBC’s & Standards Converters
G2 Systems
5 Mead Lane, Farnham, Surrey GU9 7DY
Tel: 01252 737151
Email: sales@g2systems.co.uk
Web: www.g2systems.co.uk
Post Production Software
The Carpark
(Red Giant Software distributor)
7 Lissadell Drive, Magherafelt, Co Derry,
Northern Ireland BT45 5AR
Tel: 028 7963 2614
Email: info@thecarpark.net
Web: www.thecarpark.net
Radio Microphones
Audio Engineering Limited
Micron House, 3 New Road, London N8 8TA
Tel: 020 8341 3500
Email: sales@micronwireless.co.uk
Web: www.micronwireless.co.uk
Soundkit
12 Earle Place, Canton, Cardiff CF5 1NZ
Tel: 02920 342907
Fax: 02920231235
Email: martyn@soundkit.co.uk
Web: www.soundkit.co.uk
Total Audio Solutions
3 Woden Court, Park, Saxon Business Park,
Hanbury Road, Bromsgrove, Worcs. B60 4AD
Tel: 01527 880051
Email: sales@totalaudio.co.uk
Web: www.totalaudio.co.uk
Wireless Mics. & Ears
Unit 2, Heybridge Enterprise Centre, The
Street, Heybridge, Maldon, Essex CM9 4NN
Tel 01621 843200
Email: info@wirelessmics.co.uk
Web: www.wirelessmics.co.uk
Royalty Free Media
Holdan Ltd
Unit 2 Waterside Business Park, Waterside,
Hadfield, Glossop, Derbyshire SK13 1BE
Tel: 0845 1304445
Email: sales@holdan.co.uk
Web: www.holdan.co.uk
Imagine Graphics Ltd
14 Alban Park, Hatfield Road, St. Albans AL4 0JJ
Tel: 01727 844 744
Email: sales@imaginegraphics.co.uk
Web: www.imaginegraphics.co.uk
Standards Conversions
KMA Productions
Barford House, 40 Ditton Road, Surbiton,
Surrey KT6 6QZ
Tel: 020 8399 2009
Email: info@kmaonline.com
Web: www.kmaonline.com
Teleprompting
PortaPrompt
Lane End Road, Sands, High Wycombe,
Buckinghamshire HP12 4JQ
Tel: 01494 450414
Email: sales@portaprompt.co.uk
Web: www.portaprompt.co.uk
Tripods & Camera Supports
Hague Camera Supports
Mile End Road, Colwick, Nottingham NG4 2DW
Tel: 0115 987 0031
Email: info@b-hague.co.uk
Web: www.b-hague.co.uk
Libec Europe
Priory House, Pitsford Street, Birmingham B18 6LX
Tel: 0870 444 0577
Email: sales@libeceurope.com
Web: www.libeceurope.com
Louma UK
Tel: 020 8959 3082
Email: info@louma.co.uk
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
Email: sales@millertripods-europe.com
Web: www.millertripods.com
OpTex
20-26 Victoria Road, New Barnet, London EN4 9PF
Tel: 020 8441 2199
Email: info@optexint.com
Web: www.optexint.com
Vinten
Western Way, Bury St Edmunds, Suffolk IP33 3TB
Tel: 01284 752121
Web: www.vinten.com
VHS Duplication
KMA Productions
Barford House, 40 Ditton Road, Surbiton,
Surrey KT6 6QZ
Tel: 020 8399 2009
Email: info@kmaonline.com
Web: www.kmaonline.com
GET YOUR
COMPANY
LISTED
In Focus magazine
and on the IOV web site
- www.iov.co.uk from £145 per year
(£20 for each additional listing)
Call
+44 (0) 20 8502 3817
for details...
All these benefits from
a trade subscription
of just £145 p.a:
Listing in the Trade Directory
of Focus magazine
Listing in the searchable Trade
Directory on the IOV web site www.iov.co.uk
Video Manufacturers
Canon UK Ltd - Consumer Imaging
Woodhatch, Reigate, Surrey RH2 8BF
Tel: 08705 143723 Fax: +44 (0)1737 220022
Email: joss_kaldenberg@cuk.canon.co.uk
Web: www.canon.co.uk
Holdan Ltd
Unit 2 Waterside Business Park, Waterside,
Hadfield, Glossop, Derbyshire SK13 1BE
Tel: 0845 1304445
Email: sales@holdan.co.uk
Web: www.holdan.co.uk
JVC Professional Europe
JVC House, JVC Business Park, 12 Priestley
Way, London NW2 7BA
Tel: 020 8208 6200
Email: sales@jvcpro.co.uk
Web: www.jvcpro.co.uk
Panasonic Broadcast Europe Ltd
West Forest Gate, Wellington Road,
Wokingham, Berkshire RG40 2AQ
Tel: 0118 902 9200
Email: enquiries@panasonic-pbe.co.uk
Web: www.panasonic-broadcast.com
Pioneer GB Ltd
Pioneer House, Hollybush Hill, Stoke Poges,
Slough, Berkshire SL2 4QP
Tel: 01753 789789
Fax: 01753 664001
Email: info@pioneer.co.uk
Web: www.pioneer.co.uk
Sony Broadcast & Professional UK
The Heights, Brooklands, Weybridge,
Surrey KT13 0XW
Tel: 01932 816275
Web: www.sonybiz.net
Link from the IOV web site Trade
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advertising
Discounts on IOV Convention
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And last, but not least, our
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Video Measuring & Signal Processing
Additional
Headings
Welcome!
HAMLET VIDEO INTERNATIONAL LTD
Maple House, 11 Corinium Business Centre,
Raans Road, Amersham, Bucks. HP6 6FB
Tel: 01494 793763
Email: sales@hamlet.co.uk
Web: www.hamlet.co.uk
Voiceover Services
Colin Days Overnight Voiceovers
The Old Rectory, Ombersley, Worcs. WR9 0EW
Tel: 01562 822222
Email: info@voiceover-uk.co.uk
Web: www.voiceover-uk.co.uk
First Person Digital Media
40 Viaduct Drive, Wolverhampton,
West Midlands WV6 0UX
Tel: 01902 772455
Email: voiceovers@firstpersondigitalmedia.com
Web: www.firstpersondigitalmedia.com
Geoffrey Annis
261 Boothferry Road, Hessle, East Yorkshire HU13 0NG
Tel: 01482 647461
Email: geoff@gannis.fsnet.co.uk
Web: www.voiceovers.co.uk/geoffrey.annis
www.iov.co.uk
Call Kevin Cook (Sales)
on +44 (0) 20 8502 3817
Kevin Cook
IOV Focus Limited
PO Box 625
Loughton
IG10 3GZ
United Kingdom
Email: kevin.cook@iov.co.uk
Focus Magazine
November 2005
29
Lee Mannering M.M.Inst.V.
Van Martin M.M.Inst.V.
Gordon Moore M.M.Inst.V.
Jeffrey Mortimer M.M.Inst.V.
Jason Naylor M.M.Inst.V.
Mark Newbolt M.M.Inst.V.
Peter Parker M.M.Inst.V.
Arthur Procter M.M.Inst.V.
Geoff Proctor M.M.Inst.V.
David Royle M.M.Inst.V.
Steven Smith M.M.Inst.V.
Ken Stott M.M.Inst.V.
Carl Stredder M.M.Inst.V.
The Graham Fenton Experience *
Peter Thornton M.M.Inst.V.
Mike Waring M.M.Inst.V.
Les White M.M.Inst.V.
Des Williams M.M.Inst.V.
Tony Williams M.M.Inst.V.
Chris Abram M.M.Inst.V.
Steven Abrams F.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.
1a
1b
2
18
4
3
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 Camera Operator
Freelance Audio Engineer
Freelance Lighting Technician
Freelance Directing
Script Writing
Freelance Production Assistant
Presenter and Voice-overs
Graphic Design & Animation Services
Freelance Editing Services
Training
Broadcast Production
Special Interest Videos
Steadicam Operator
Underwater Videographer
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)
Colin Sinclair M.M.Inst.V.
Mark Stuart M.M.Inst.V.
Ron Carmichael M.M.Inst.V.
Iain Johnston M.M.Inst.V.
Keith Morris M.M.Inst.V.
Brian Rae M.M.Inst.V.
01847
01224
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01764
01975
01224
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782777
520437
655655
563972
313137
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Scotland South (Area 1b)
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.
Jack Buchanan M.M.Inst.V.
Jim Closs M.M.Inst.V.
Alex Crosbie M.M.Inst.V.
Rae Green M.M.Inst.V.
Daniel Hart 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.
01294 217382
0141 779 3915
01555 661541
0141 587 1609
0131 476 5432
01563 523424
0131 561 6281
0141 644 1136
0141 643 1651
0131 667 2086
01555 663023
01838 200365
01563 542195
0131 221 1697
0141 954 0840
01236 730770
01555 860382
North East England (Area 2)
Elaine Craig M.M.Inst.V.
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.
David Craig M.M.Inst.V.
0191 488 6615
01429 824177
0191 549 3675
0191 252 7354
01388 605386
0191 270 9063
01325 241821
07786 705066
01661 844542
0191 488 6615
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North West England (Area 3)
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.
Bernard Cross M.M.Inst.V.
Chris Dell M.M.Inst.V.
Trevor Draycott 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.
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.
30
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First Sight Video*
Ken Franklin M.M.Inst.V.
Gillian Gee M.M.Inst.V.
Derek Gobbett M.M.Inst.V.
Alan Legg M.M.Inst.V.
Hamish Maclean M.M.Inst.V.
Gordon O'Neill M.M.Inst.V.
John Snelgrove M.M.Inst.V.
Jennifer Swift M.M.Inst.V.
AKN
E. London, Essex & Hertfordshire (Area 11)
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Yorkshire & Lincolnshire (Area 4)
19
A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
01254 393683
0161 902 9000
01706 215914
0161 487 1200
01942 891466
01928 733225
01772 611590
0161 427 3626
01706 221928
01942 244903
0161 797 6307
01282 414073
01282 619085
01253 884100
01706 812008
01704 531576
01768 899936
0161 928 7361
01704 232116
01524 736573
0151 722 6692
01204 843549
01257 264303
01706 879717
01254 830823
November 2005
01254 679625
01772 458300
01204 604840
0161 427 0661
01204 847974
01257 416431
01772 622522
01772 705876
01942 703166
01254 830823
01204 576826
07930 431662
01253 899690
01706 657835
0151 487 9338
01744 603799
01744 29976
KL
BC
ABCN
ACFK
BJN
ABC
ACGKLN
ABC
ABCKN
ABCDE
ACDGN
BN
ABCG
Focus Magazine
Lynne Hamilton M.M.Inst.V.
Gareth Harrison M.M.Inst.V.
Keith Howard M.M.Inst.V.
Ian Jackson M.M.Inst.V.
Geoff Knight F.Inst.V.
Terry Ladlow M.M.Inst.V.
Christopher Lawton M.M.Inst.V.
Simon Marcus F.Inst.V.
Adrian Medforth M.M.Inst.V.
Richard Mortimer F.Inst.V.
Terry Mullaney M.M.Inst.V.
Alfred Overy M.M.Inst.V.
Paolo Pozzana M.M.Inst.V.
Dave Redmond M.M.Inst.V.
Iain Rogerson M.M.Inst.V.
Gordon Simpson F.Inst.V.
Mike Wade F.Inst.V.
Mike Walker F.Inst.V.
Robin Walters M.M.Inst.V.
Philip Wilson F.Inst.V.
Kevin Winn M.M.Inst.V.
Gail Allaby M.M.Inst.V.
Andrew Blow M.M.Inst.V.
Ian Brown M.M.Inst.V.
Philip Burton M.M.Inst.V.
Colin Campbell M.M.Inst.V.
George Duncan M.M.Inst.V.
John Goodwin M.M.Inst.V.
Chris Goulden M.M.Inst.V.
01246 852969
0113 224 4800
07952 713793
07979 914996
01472 811808
01723 890610
0113 218 9298
0113 261 1688
01964 503771
01924 249700
01924 864613
01405 704381
01756 798335
0113 263 2496
01759 369811
01724 720111
01484 684617
01924 515100
01482 441007
01430 422697
01482 782187
01422 844392
01522 754901
01535 646444
01274 595421
01274 690110
01943 870431
01246 850963
01430 431634
ACEGLMN
ACDFGIKN
AGI
ABCFHK
ABCDGHKLMN
ABC
ABCHJK
AB
AB
ABCHKN
ABCGIKN
ABCG
ABCFG
ABCDEFHK
ABC
ABCFGJ
AB
ABCFGHK
ACFGIKM
ABCJKN
BCKN
ABCFIKN
ABCJ
North Wales & Borders (Area 5)
Tudor Owen M.M.Inst.V.
Christopher Smith F.Inst.V.
Rowland Barker F.Inst.V.
Cam 3 Video *
Martyn Chidlow M.M.Inst.V.
James Edwards M.M.Inst.V.
Peter Eggleston F.Inst.V.
Ronald Fennell M.M.Inst.V.
John Ford Evans M.M.Inst.V.
David Gold M.M.Inst.V.
David Jones F.Inst.V.
Graham Kay M.M.Inst.V.
Richard Knew F.Inst.V.
Midlands (Area 6)
VegaTV & Media Solutions Ltd*
Jackie Williams M.M.Inst.V.
Derek Brown F.Inst.V.
George Fenney 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.
David Johnson M.M.Inst.V.
Colin Jones M.M.Inst.V.
Nick Kirk F.Inst.V.
Bob Langley M.M.Inst.V.
Michael Leach F.Inst.V.
Matthew Leech M.M.Inst.V.
James Mackenzie M.M.Inst.V.
Brad Miles M.M.Inst.V.
Adrian Moore M.M.Inst.V.
Ben Newth 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.
Chris Smith M.M.Inst.V.
01352
01948
01490
01588
01978
01952
755397
780564
430507
650456
350122
605213
ABL
AIMN
AG
ABCFHIK
ABC
AC
A
01745 814210 ABGI
01492 543246 CK
01743 355725 ABCGIJKM
01743 891286
0151 342 8184
01978 358522 ACFKM
0870 080 1961
01455 848199
01246 590467
01902 377882
01386 47013
01527 878433
01926 864800
01926 497695
01782 514942
01332 746952
07837 276475
A
0845 606 6593
01902 893068
0121 308 1227
01902 342154
0116 275 2100
01283 515861
07984 629968
01530 836700
01283 567745
01676 541892
01676 541892
01782 746553
01386 830128
AJMO
BC
N
ABCFKM
ACFJKLMN
ABJ
ABCK
A
B
ABKN
ABCKN
East Anglia & A1 Corridor (Area 7)
John Worland M.M.Inst.V.
Hedley Wright M.M.Inst.V.
John Bentley M.M.Inst.V.
Blue Slate*
Bernard Coe M.M.Inst.V.
Mike Deal M.M.Inst.V.
Extreme Video*
Brian Gardner F.Inst.V.
Colin Goody M.M.Inst.V.
Nigel Hartley M.M.Inst.V.
John Lambert M.M.Inst.V.
Simon Page M.M.Inst.V.
Jim Panks M.M.Inst.V.
Bill Platts M.M.Inst.V.
Robert Scarfe F.Inst.V.
Malcolm Wooldridge M.M.Inst.V.
01206
07836
01780
01733
01223
01205
01603
01603
01473
01449
01603
01362
01775
01733
01508
07785
241820
595859
754559
232232
441137
260437
630555
260280
257595
614378
610566
693569
822200
370922
570600
512613
AB
AB
ABGI
ACGJKLNP
ABC
ABCGJKL
A
AB
ABK
ABCGHJKL
ABCDGK
South Wales & Bristol Channel (Area 8)
Steve Hart M.M.Inst.V.
Michael Hill M.M.Inst.V.
Harley Jones M.M.Inst.V.
Manolo Lozano M.M.Inst.V.
Dawn Morgan M.M.Inst.V.
Andrew O'Leary M.M.Inst.V.
Nick Pudsey M.M.Inst.V.
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.
Paul Cascarino F.Inst.V.
Glyn Edwards M.M.Inst.V.
01568
01242
029 20
01792
01792
01656
01646
01437
029 20
01792
01453
01242
01666
01443
620644
674462
520599
520450
776121
650249
651555
769635
666007
816688
835422
231590
860574
838715
ABC
ABCDIKN
ABCFK
ABC
ACGJKLN
AFGLMN
ABC
ABCDN
ABCD
BC
West London, Middlesex & Herts. (Area 9)
Brian Royer M.M.Inst.V.
Alan Benns M.M.Inst.V.
Tim Healy M.M.Inst.V.
Mike Henson F.Inst.V.
Michael Lawson M.M.Inst.V.
Anthony Myers M.M.Inst.V.
020 7514 9923
020 8943 2666 ABCKMN
01895 672890
01494 438904 AJKM
020 7932 1190
020 8958 9838 BCK
Oxfordshire & M1 Corridor (Area 10)
John Andrews M.M.Inst.V.
Don Barnes M.M.Inst.V.
Anthony Barnett M.M.Inst.V.
David Blundell F.Inst.V.
Roger Coe M.M.Inst.V.
Dave Collins M.M.Inst.V.
Driving Standards Agency*
www.iov.co.uk
01604
01604
01536
01234
01604
01908
01234
644442
756576
526126
764883
403481
522157
744060
AB
AJKL
ABCK
AB
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.
Trevor Jenkins M.M.Inst.V.
Martin Klein M.M.Inst.V.
Elaine Laurie M.M.Inst.V.
Tony Lench M.M.Inst.V.
Stuart Little 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.
John Suckling M.M.Inst.V.
Iain Wagstaff M.M.Inst.V.
Gillian Walters M.M.Inst.V.
01993 878252
01993 868479 ABC
01753 553312
07762 021566
020 7193 4060
01582 596935
01494 786611
020 7287 4001 A
01367 870640 ABCDJ
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
020 8551 9399
01707 655895
020 8502 6198
01702 525353
020 8347 9567
020 8923 6068
020 8220 6955
01992 461858
020 8521 3322
01702 232669
01375 483979
020 8517 6752
01376 556417
01708 724544
West Country (Area 12)
David James M.M.Inst.V.
David James M.M.Inst.V.
Mike Last M.M.Inst.V.
John Port M.M.Inst.V.
Paul Svendsen 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
01404 881608
01271 891140
01752 361210
0117 910 9704
ABCFKN
ABJKNO
ABN
ABC
ABC
B
ABCH
ABCGK
ABCFGHIKL
P
ABC
B
ACE
ACFGKLN
ABCGN
AFKL
BC
ABCHK
AC
ABCN
ABCN
B
A
ABCHJN
AB
ABCDFHIJKN
ACGHIJ
ACDJKMN
Dorset, Wiltshire & Hampshire (Area 13)
Henry Allen M.M.Inst.V.
David Angus M.M.Inst.V.
Steve Axtell M.M.Inst.V.
Keith Bamber M.M.Inst.V.
David Bennett M.M.Inst.V.
Maurice Brake M.M.Inst.V.
Nick Curtis M.M.Inst.V.
Jon Durrant M.M.Inst.V.
Colin Froud M.M.Inst.V.
Philip Groves M.M.Inst.V.
Stewart Guy M.M.Inst.V.
Brian Harper M.M.Inst.V.
Greg Hawkes M.M.Inst.V.
Otton Hulacki M.M.Inst.V.
Ray Joyce M.M.Inst.V.
Patrick Kempe F.Inst.V.
Kazek Lokuciewski M.M.Inst.V.
David Lovett M.M.Inst.V.
Tim Martin M.M.Inst.V.
Ernie McKenna M.M.Inst.V.
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.
Mike Smith M.M.Inst.V.
01929 552035
01793 612299
01202 718522
023 9258 8740
01590 623077
01202 512449
01794 324147
01225 866474
01929 462585
01256 892059
01256 850142
01225 866348
01256 324233
01308 423095
01202 692008
01590 675854
0118 965 6322
01425 615626
01985 212863
01373 832763
01256 397387
01725 511688
01202 417084
01489 798132
01202 488140
01489 589691
ABC
ABCK
B
ACGKLMNP
ABCDFIKMN
ABCKM
ABCFGN
ABCJKN
ACGKN
ABCGHK
AGIJN
ABCKN
BCKN
ABCN
B
ACIKMN
ABCDMN
Surrey, Berkshire & Sussex (Area 14)
Frank Prince-Iles M.M.Inst.V.
Simon Reed M.M.Inst.V.
Take One Productions *
Gerald Thornhill M.M.Inst.V.
David Watson M.M.Inst.V.
John Watts M.M.Inst.V.
Barry Weare M.M.Inst.V.
Mike West M.M.Inst.V.
Mark White M.M.Inst.V.
Wild Productions*
David White M.M.Inst.V.
Nigel Bates M.M.Inst.V.
Noriko Brewster M.M.Inst.V.
Matthew Derbyshire M.M.Inst.V.
Leo Ferenc M.M.Inst.V.
Paul Finlayson M.M.Inst.V.
Peter Flint M.M.Inst.V.
Focal Point Television*
Brian Hibbitt M.M.Inst.V.
Neil Hodgson M.M.Inst.V.
Martin Hooper M.M.Inst.V.
Peter Howell M.M.Inst.V.
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.
01903 810148
01428 652832
01403 256255
01444 881391
01903 730549
07850 965291
01628 528682
01903 892951
023 92 837677
01372 379069
01372 360145
020 8651 3037
020 8661 7703
01323 430800
01825 873533
01372 273527
023 92 649946
01483 811999
01344 777010
0118 961 9981
023 9225 0618
01483 765605
0118 947 8333
023 92 255108
01903 730549
01252 821623
01489 581397
01983 612704
Kent & SE London (Area 15)
Andrew Oliver M.M.Inst.V.
Beverley Oliver M.M.Inst.V.
Dave Parkhouse F.Inst.V.
Kevin Pert M.M.Inst.V.
Peter Snell M.M.Inst.V.
Chris Waterlow F.Inst.V.
Brett Allen F.Inst.V.
Kulvinder Babbra M.M.Inst.V.
Rick Bailey M.M.Inst.V.
Ben Bruges M.M.Inst.V.
John Chilton M.M.Inst.V.
Colin Fowler F.Inst.V.
Brian Harvey M.M.Inst.V.
Michael Hughes M.M.Inst.V.
Stephen Kane F.Inst.V.
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.
01622 204801
01622 204801
01634 295101
01233 664737
01634 723838
020 8851 0105
01634 720321
07976 550592
07855 890542
07766 052138
01732 840768
01732 454593
01892 652379
01959 576255
01795 424248
0800 174482
01795 410957
0870 787 9170
0870 787 9170
01634 220839
01322 526653
AB
A
ABCGHKN
AB
AB
BC
ABMP
B
ABCJKM
ABCEFIJ
AJN
ABLK
ACFKMN
ABL
AB
ABC
ABCHKLN
ABCHKLN
ABCDHK
ABN
ABCDEK
ACDFMO
ABCHKM
ABCG
ABCIKN
ABCGIK
ABJ
ABCGIK
ABCK
BCKN
BCKMN
ABCFHKMN
BCK
Channel Islands (Area 16)
Laurie Stewart M.M.Inst.V.
David Le Brocq F.Inst.V.
Peter Laine M.M.Inst.V.
01534 485785
01534 723166
01481 200026 ACGJKM
Northern Ireland (Area 18)
Frazer Smyth M.M.Inst.V.
028 9267 1958
Republic of Ireland (Area 19)
Tom Fortune M.M.Inst.V.
Michael Lynch M.M.Inst.V.
Keith Malone M.M.Inst.V.
John Murphy M.M.Inst.V.
Andrew Cummins M.M.Inst.V.
John Daly F.Inst.V.
* indicates Corporate Member
00353 552 1785
00353 21 733 2240
00353 87 681 4208 ABCKN
00353 93 35933
00353 1 212 3887
00353 1 495 3937 CM