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Old 6th Jun 2012, 1:27 pm   #21
DragonForce
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Default Re: "On The Buses" filming techniques?

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This is all from the book. It's a good read, if a bit contradictory and unclear in parts. There is also a generous sprinkling of typos, poor editing and factual errors (AFAIK there was no-one by the name of Shirley Hancock in The Rag trade!). It is published by Deck Chair Publishing.
The Wiki article says otherwise, altghough there is no mention of her being in "On the Buses".

http://en.wikipedia.org/wiki/The_Rag_Trade
I'm sorry Dragonforce, but I still can't see the name 'Shirley Hancock' in the cast list of The Rag Trade. Sheila Hancock was a regular, but no Shirley Hancock. This is what I meant when I referred to factual errors in the book.
You know what? You're right!
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Old 6th Jun 2012, 1:43 pm   #22
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Default Re: "On The Buses" filming techniques?

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The thought of moving EMI 2001s or Marconi MkVIIs around that often . . . *shudder*
This was done everyday in BBC Outside Broadcasts. No one there batted an eyelid, we just got on with it....
You have to remember that crewing levels were very different in those days. An OB nowadays usually just means a small sat truck with a couple of blokes inside, plus some small OPO cameras. Late 60s OBs involved huge convoys of specialized trucks and buses.
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Old 6th Jun 2012, 2:19 pm   #23
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Default Re: "On The Buses" filming techniques?

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The thought of moving EMI 2001s or Marconi MkVIIs around that often . . . *shudder*
This was done everyday in BBC Outside Broadcasts. No one there batted an eyelid, we just got on with it....
You have to remember that crewing levels were very different in those days. An OB nowadays usually just means a small sat truck with a couple of blokes inside, plus some small OPO cameras. Late 60s OBs involved huge convoys of specialized trucks and buses.
Paul, Starting to drift off topic I know, but with the greatest respect I must disagree: a sat truck with a couple of people in it and a couple of cameras is not really an OB at all, it's a news insert or similar. I've been in OBs for 32 years now, and having just got home from working on the Jubilee OB let me assure you that the real thing still has lots of trucks; several times larger than the ones used in the early says, many many more cameras and a complexity that was beyond imagination in the 70's. To cut to the point, In my own experience the work level is, without doubt, much higher than it used to be in the "old " days.

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Last edited by fetteler; 6th Jun 2012 at 2:25 pm. Reason: All sorts of typos and readability - I'm tired :-)
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Old 6th Jun 2012, 7:14 pm   #24
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Default Re: "On The Buses" filming techniques?

LWT's OB'standardised on the IVC7000 series of cameras. They also had a small handheld LDK13 - maybe that was used on some of the OTB location shots?

Here's a shot of it being used during 'Upstairs Downstairs'

http://www.updown.org.uk/behind/bsshoot2.htm
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Old 6th Jun 2012, 8:22 pm   #25
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Default Re: "On The Buses" filming techniques?

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a sat truck with a couple of people in it and a couple of cameras is not really an OB at all, it's a news insert or similar.
Steve, I wasn't referring to a major event like the Jubilee or Wimbledon. I'm sure you will agree that the crewing levels even on such major events are massively lower than they would have been 40 years ago. Of course, this means people are now working much harder than in the days when they were lugging huge tube cameras about
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Old 6th Jun 2012, 11:53 pm   #26
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Default Re: "On The Buses" filming techniques?

Even a small OB like a footy match has a scanner that's at least three times bigger than the old 70's vehicles.

But back to film inserts.... Does anyone from the BBC remember TARIF? I think the acronym was something like Television Apparatus for Rectification of Inferior Film. This was used (I believe) to lessen the differences discussed previously. Not used on On The Buses, obviously.

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Old 8th Jun 2012, 5:46 pm   #27
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Default Re: "On The Buses" filming techniques?

The differences were enevitable, as most (if not all) of the location material was shot on 16mm negative (reversal stock might have been used) then that was transferred to print stock. The transfer to television would have been done on Cintel Mk2 telecines. The end result always looked poor when print stock was used. Reversal stock was far better overal, apart from the high contrast it had.

At the time of when this series was made. Things like colour grading tape material was just a dream, as the PAL coding/decoding process introduced a lot of unwanted artifacts. along with a poor resolution. It was rare for the telecine operator to see material that their material was going into, so the colour grading was made to obtain a good image, rather than a good match to the studio output. Even if they did, if you take into account what was said in the first paragraph. The chances of getting close was small.

With the coming of Cintel MKIII's, the Fernseh FDL60 along with the technique of direct transfer from negative, it was possible to get results that matched (and in many cases surpassed) video cameras of the day. It was the late 70's that this ball started rolling.
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