Focus - Institute of Videography

INSTITUTE OFVIDEOGRAPHYContactsAdministration& Membership EnquiriesPO Box 625, Loughton,Essex IG10 3GZ United Kingdome: info@iov.co.ukt: 0845 741 3626 (UK)t: +44 (0) 20 8502 3817 (Int.)Executive AdministratorKevin Cook F.Inst.V.e: kevin.cook@iov.co.ukt: 020 8502 3817Membership AdministratorAriane Nombroe: ariane.nombro@iov.co.ukt: 020 8502 3817Executive ChairmanRon Lee F.Inst.V.13 Coleridge Avenue, Dentons Green, StHelens, Lancashire WA10 6RNe: ron.lee@iov.co.ukt: 01744 29976TreasurerSteven Abrams F.Inst.V.2 Ingledene Road,Liverpool L18 3HJe: steve.abrams@iov.co.ukt: 0151 722 6692Arbitration OfficerRon Lee F.Inst.V.13 Coleridge Avenue, Dentons Green, StHelens, Lancashire WA10 6RNe: ron.lee@iov.co.ukAssessment AdministratorChris Waterlow F.Inst.V.59 Sissinghurst Close,Pound Hill, CrawleyWest Sussex RH10 7FYe: chris.waterlow@iov.co.ukt: 01293 886484Institute of Videography LtdExecutive CommitteeRon Lee F.Inst.V.Steven Abrams F.Inst.V.Mark QuinnChris Waterlow F.Inst.V.Janet FentonPhil Janvier M.M.Inst.V.Published By:IOV FOCUS Ltd174 Roding Road, Loughton,Essex IG10 3BS United Kingdome: focus@iov.co.ukt: +44 (0)20 8502 3817Editor: Kevin Cook F.Inst.V.FOCUS magazine contents, and its logo,and the Institute Logo, are copyright ofthe Institute of Videography Ltd.While we make every effort to ensureaccuracy, we cannot take responsibilityfor losses resulting from publishing errorsof any kind, howsoever caused.ProVideo 2010, ProVideo 2011,ProVideo 2012 and ProVideo 2013are trading names forIOV Focus LtdChristmas timeI don’t want to add to thecommon belief that Christmashas become no more than amoney-making opportunity but,you can’t get away from the factthat its one of the mostimportant times of the year for alot of videographers. To some itwill be make or break time!Whilst there will be asmattering of weddings andcorporate commissions aroundthis time of the year it would becompletely wrong to say that thisis the prime time for theserevenue streams. I’d even go asfar as saying that a lot ofvideographers who concentratetheir efforts here will choose thistime to take a break - or at leastuse it to give the studio a goodscrub down.The two sections of themarket that will be buzzing rightnow (or should I say - should bebuzzing) are those involved infilming end-of-year school plays/performances and also those inthe SIV (Special Interest Video)market. Both of these can beincredibly lucrative and, even ina recession, seem to besomething that customers willalways find a pound or two tospend on.For the guys shooting schoolplays/performances they have anincredibly unique selling point fortheir product. What parents intheir right mind would not buy acopy of their little darlingprancing around on stage orscreeching out an almostbearable rendition of ‘SilentNight’? These can make fabulousmementos of their informativeyears - and at the very least canbe used to embarrass them whenthey come of age.Whilst some SIVs will haveother key selling times of theyear depending on the subjectmatter, Christmas is usually agreat time to launch (or at leastpromote) an SIV title. If the restof the Christmas-participatingpopulation are anything like me,I’ve got to an age where Istruggle to think of things forpeople to buy me. This isn’tbecause I’m the man who haseverything, its more because thethings that I want are waybeyond the modest price tagusually associated with thethings I find in my Christmasstocking. An SIV on beekeepingis though (my hobby) and wouldbe very much appreciated (hinthint!). A shiny new Audi TTsports wouldn’t go down too badeither - but that just isn’t goingto happen, is it Santa?!!In tough times people like togive or treat themselves to littletrinkets. Things like booze andother edibles are usually goneand forgotten by Boxing Day so,if marketed and promotedeffectively, a video of somethingthat’s personal and/or useful tothe recipient is going to appealand be a great way for people toshow they care.Whilst both these sectorshave something positive incommon they also share thesame threat to their business -namely copyright theft. Theirbusiness models will almostcertainly rely on volume sales soany loss through unauthorisedcopying will make a significantdent in their projections. Despitethis it seems very few of themThis MonthFEATURES16 Heads you win!A review of the Manfrotto 504HD tripod head by Simon Hammond18 48-hour Film ProjectChris Waterlow recalls his team’s entry in this year’s competition22 Wind CheatersPhil Janvier reviews the latest products from RycoteREGULAR ITEMSThe CookRetort5 IOV News IOV and Industry News10 Area News A round-up of local IOV meetings11 Trade Directory Subscribing Manufacturers & Suppliers24 The List The Register of Qualified Members25 And Another Thing Stuart Little’s satirical column26 Classified Ads Sales & Wants / Products & ServicesForewordtake any positivesteps to stop thishappening.When you flick through theadverts and IOV News section ofthis month’s magazine you’ll seewe are concentrating on a coupleof things that will help theseguys out - namely the pre-Christmas deal on the newPatronus starter packs and theregular ads for the IOVHolograms. Both these systemswill help them to maximise theirprofits - one by placing physicalobstacles in the way of thieves(that’s what they are!) and theother by placing an emotionalbarrier in their way. Neither isgoing to stop a determinedhacker but, to be honest,determined hackers are notgoing to be spending their timehacking a DVD of little Sallyyelling out “all is calm, all isbright...”For obvious reasons there’sno hard and fast research onexactly how many DVDs of thistype are illegally copied eachyear - but I’d guess that thenumber will be enormous. Pop aDVD in a PC and it will ask you,“what do you want me to do...play it or copy it?” Anunprotected disc presents nobarriers whatsoever - even to acomputer numpty. And whilstthe IOV Holograms don’t offerthis type of protection they dowork on another level - in thatwho really wants to be known assomeone who gives out hookyChristmas presents?Whether or not you areinvolved in this part of theindustry, I do hope you all havea great Christmas. Let’s alsohope that 2011 starts to seesome stability coming back in themarket. Cheers! Kevin Cookwww.iov.com Focus Magazine December 2010 3

Industry NewsIOV NewsIndustry, Technology & Regional NewsPatronus Origo OfferLimited offer on new starter-packs for IOV MembersAre you heading into thepanto/play/performanceseason without copyprotection on your DVDs?The IOV has agreed a limitedoffer on the new 100-burnstarter packs of PatronusOrigo with its creator,Fortium Technologies Ltd.To enable IOV members todiscover what Patronus Origo cando for their profitability oncommissions which depend oncopy sales, up until 25thDecember we are offering the100-burn Starter Pack at 15% offits normal price.For £127.50 plus VAT(£149.81 inc.), IOV members willreceive both the dongle andsoftware loaded with 100-burncredits. This will enable them tocopy-protect 100 DVDs - whichnot only guards against lostsales through casual copying butalso gives them a means todemonstrate to schools and othercommissioning organisations thatthey have systems in place tohelp minimise unauthoriseddistribution of video content.Patronus is a passive anti-ripsolution that encapsulates fileswithin the disc structure.Encapsulation blocks, in the formof dummy sectors hidden deepwithin the disc architecture, aredesigned to confuse the rippingprograms with a range ofnavigational techniques thatmanifest themselves in the formof excessive or unrecognisabledata. The copy protection codeconforms to the DVD standardand is invisible to DVD playersyet the ripping programs, whichrequire full navigational access tothe disc structure, are unable toprocess the content on the discsin order to make a playable copydisc.Patronus works as aneffective ‘speed bump’ againstunauthorised casual copying.Menus, special features, extracontent DVD5 and dual layerDVD9 can all be protected byPatronus.To take advantage of thisoffer please visit www.iov.com/patronusoffer. Please note, thespecial offer price is onlyavailable to IOV Members and toaccess this page you will need tobe logged in as a Member. Nonmemberscan still purchase thisproduct at the normal price here- www.iov.com/patronus Kevin CookIOV Executive Administratorkevin.cook@iov.co.ukStart-up package for PL and PI insurance for IOV MembersAaduki Multimedia hasannounced special rates for IOVmembers with a turnover of£50,000 or less. The deal whichis for £2 million Public Liabilityand £75,000 ProfessionalIndemnity is on offer to allmembers at the price of £125 fora year.Announcing the deal, NikStewert, Marketing and BusinessDevelopment Manager said,“Aaduki has been working hardbehind the scenes to try and addvalue to the cover we offer to themarket and this exclusive dealfor IOV members is one of thefruits of our labours. We aredelighted that the IOV have beenable to agree to allow us to offerpreferential rates to membersand we are looking forward toworking with them in the future.”This deal was announced atProVideo 2010 held at the RicohStadium in Coventry earlier thismonth.Kevin Cook, ExecutiveAdministrator of the IOV said, “Itis a pleasure to see ourmembers’ professionalism andloyalty being rewarded in thisway. The premium on offer fromAaduki recognises that ourmembers work to a stringentCode of Practice and are able tomaintain their professionalismthrough our VideoSkillsaccreditation system.”Nik said, “There is also theability to add equipment coveronto the PL and PI deal on offerat a reduced rate as well and welook forward to welcoming moreIOV members to our services.”The £125 deal is onlyavailable direct from Aaduki viathe phone and is not availableonline. Members must confirmtheir membership number toqualify for the premium and havea turnover of £50,000 or less peryear.Aaduki Multimedia is availableon 01837 658880 Monday toFriday between 9am and 5pm.IOV AGM 2011The IOV’s AGM will this year beheld alongside the regular Area06 (Midlands) group meeting onTuesday 22nd February at avenue to be confirmed. Theformal notice and proxy formswill be distributed not less than21-days before the event bypost.As with every IOV AGM, onethird of the Executive Committeewill be eligible for rotation. Ifthere are the exact number ofcandidates as there arevacancies on the committee, theelections will be uncontested andthose offering themselves forelection or re-election will beappointed without need forformal voting. If there are morecandidates than there areavailable positions, a contestedelection will be held.At present there are sixplaces on the Executivecommittee. The two officers(1/3) who are due for re-electionthis year are Ron Lee and StevenAbrams - both of which will beoffering themselves for reelection.The Executive wouldtherefore like to hear fromany qualifying member whowould be interested in standingfor election. To help membersunderstand the obligations andmeans of offering themselves forelection please see the guidancenotes on page 6. Kevin CookIOV Executive Administratorkevin.cook@iov.co.ukVAT RiseThe IOV will be raising bothmembership rates and the priceof goods and services they sellon 4th January 2011 as a resultof the UK VAT increase to 20% -details of which will be posted onthe website this month.Please note, VAT is onlyapplicable to a proportion of themembership fee as some moneyis attributed to the magazine(which is zero-rated). To ensurethat we maintain sensiblemembership rates all increases willbe rounded-up to the nearest 50p.Members outside of the UKwho are VAT registered and cansupply a valid VAT number canapply to pay the non-VATinclusive figures on theirrenewal.A full review of membershipsubscriptions will be carried outat the end of the IOV’s financialyear in April 2011. Steven AbramsIOV Treasurersteven.abrams@iov.co.ukwww.iov.com Focus Magazine December 2010 5

Industry NewsPro-Level Bokeh-Cam coming from SonyThis new camcorder from Sonywill become one of the newmodels in the “NXCAM” line-up.Available early summer of 2011,it targets the expanding entryleveldigital cinematographymarket.With this latest “NXCAM” HDcamcorder, Sony looks to furtherstrengthen its position in theentry-level segment. The newmodel provides an affordable yethighly capable professionalsolution for many applications,including independent film, poppromotions and corporatecommunications all looking for acinematic look to their content.Whilst still under developmentthis camcorder will be equippedwith a Super-35mm sensor, ,perfectly designed for capturingmotion pictures. This new sensorwill have extraordinaryperformance in terms of picturequality and sensitivity, and isable to offer depth of field controland flexibility with a wide rangeof lens options available.The adoption of the E-mountinterchangeable lens systemmeans that it is identical to the“α” series lens system used onthe NEX-5, 3 and NEX-VG10,current and future E-mountlenses will be compatible withthis new camcorder. In addition,a very short flange back distance(the distance between lensmount surface and sensorsurface) allows various A-mountlenses be mounted via a lensadaptor (LA-EA1).Furthermore, it is also possibleto attach a range of other lensesusing third-party lens adaptors.With such flexibility, users will beable to experiment with variouscreative expressions byexploiting the characteristics ofdifferent optics.The recording format will beAVCHD, widely supported bymany NLE software vendors andthe same format as the HXR-NX5E NXCAM camcorder. Thereis also a plan to implement1080p ( 50p / 25p) recordingmodes. (MPEG4-AVC/H.264compression will be used forthese modes.)For more details please contact SonyBroadcast & Professional direct - seeVideo Manufacturer in the TradeDirectory on page 15.Wide appealPAG Ltd, the creator of theworld’s most technologicallyadvanced batteries, chargers andcamera lighting systems, is alsothe UK distributor for 16x9 Inc.The US company provides highqualitylens converters, designedspecifically for use with highdefinitionhandheld camcorders.With the introduction of thenew EXII range, 16x9 offerssuperior, HD-quality lensconverters at a lower price. Thecurrent economic climate may betough, but getting outstandinghigh-definition images doesn’thave to be.The EXII 0.7X Wide Converteris designed for compact HDcamcorders with a lens thread of46mm, 43mm or 37mm. It istherefore suitable for use withthe new JVC GY-HM100Ecamcorder. The professionaloptic attaches to the thread onthe front of the camcorder lensand provides 30% more wideangle coverage. The lens retainsits zoom capabilities without lightloss or vignetting.The EXII 0.7X employs threemulti-coated optical glasselements to yield high-definitionpictures, and weighs only 136g.The EXII 0.8X Wide Converterwas specifically designed for thehigh-end Fujinon 17X zoom lensthat comes with the PanasonicHPX300 and JVC GY-HM700 HDcameras. However, 16x9 Inc. ismaking the improved optics ofthe EXII 0.8X available for avariety of popular HDVcamcorders, such as those fromCanon (XF300/305), Panasonicand Sony.The EXII 0.8X Wide Converterfeatures a two-element design.The adaptor increases wide anglecoverage by 20% with minimalbarrel distortion and is fullyzoom-through. The EXII 0.8Xweighs 482g and is compatiblewith popular mattebox systems.In addition to 62, 72, 77 and82mm threaded mounts, 16x9Inc. will offer multiple bayonetmounts.16x9 Inc. offers an optionallightweight rubber lens shade forboth the 0.7X and 0.8X models.For more details please contact PAGdirect - see Batteries & Power in theTrade Directory on page 13.

Industry NewsCheers!!!Carousel Media is inserting avoucher in every deliverybetween now and Christmas,saving £40 on any case of winefrom leading online winesupplier www.nakedwines.comCarousel Managing DirectorFranz van Dyk said “We havenow been serving mediaprofessionals nationwide forover 25 years, and thought thatwe should mark this in style.We have one of the biggestranges in the industry so thereshould be something foreveryone who uses discs, inks,tapes, batteries or any otherconsumable. We also offer aguarantee to match or beat anyother UK supplier on price.Naked Wines also have a verygood reputation and claim over30,000 repeat customers. Theyrun online wine forums andvineyard tours, so are an idealway to gain more pleasure fromyour drinking whilst saving onyour blank media."For more details of the £40 off wineoffer and the full Carousel range, visitwww.carouselmedia.com or ring themon 0845 166 4860IOV Member winsBest Short FilmHopeman based filmmaker andIOV Member, Anna McPherson,has won Best Short Film at theMoray Film Festival 2010, hostedby Bafta Scotland and sponsoredby Benromach whisky. ‘TheClavie’, a one minute short film,interprets the theme ‘identity’.The short documentary depictsthe historical and unique burningcelebration of the BurgheadClavie, which marks the beginningof their new year on 11th Januaryeach year.The short film was filmed andedited by Anna, with theassistance of fellow IOV member,Alistair Watt. The music wascomposed by James Gray(jamesgraymusic.com).There were 9 entries and apanel of judges including AmandaMillen of BBC Scotland andHighlands and Island Enterprise,who picked ‘The Clavie’ as it was“professionally produced”.Anna commented, “I am veryproud and excited to win thisaward. Since relocating to Moray2 years ago, the media culturehas certainly increased here andwinning the film festivalcompetition is a great platform tocomplement a filmmaker’s career.You can watch it now atwww.recitefilms.com/commercial.Panasonic AG-HMC81 - special pre-Christmas bundleSince its launch at this year'sIBC, demand for the PanasonicAG-HMC81 has at timesoutstripped supply. Now as apre-Christmas promotion, Holdanis offering an exclusive incentiveto Panasonic customers:purchase a new AG-HMC81production kit from anyparticipating dealer before 22ndDecember to claim a free Blu-rayrecorder with 250Gb storage.The Panasonic AG-HMC81 istapeless, recording HD AVCCAMonto SD cards. One of thechallenges for camera operatorsin today's tapeless world is thesafe storage and archiving ofdaily rushes.The Panasonic DIGA DMR-BS780EBK state-of-the-artrecorder offers a great solutionto this problem. With a SD cardslot, it's painless to copy up-to14mbps data directly to thisOver-the-back DSLR sackPetrol Bags has introduced theequipment protection solution fortransporting and carrying videoenabledDSLR cameras. The newDigiback DSLR Backpack sports asmart, ergonomic shell design inblack 900D and ballistic nylonfabrics and is packed withfeatures designed to offer theultimate in practicality,convenience, and equipmentprotection.The top lid of the Digiback unzipssmoothly to reveal an uppercompartment contoured to fit aDSLR camera with the lensattached. When outfitted with atelephoto or other extra longlens, the camera can be insertedwith the lens in a verticalposition. The spacious lowerchamber has ample room foraccessories. Removable internaldividers help secure contents and£350 device which offersboth unlimited archivingand instant playback overHDMI.Allan Leonardsen ofHoldan explains: “For manypeople the AG-HMC81 is theirfirst taste oftapelessproduction. Wewanted to makeit as enjoyablean experienceas possible. This end-to-endPanasonic solution is a reallyneat way of creating a smoothworkflow without any of thehassle of broadcast ingestsystems. Plus, the BS780EBK is alot of fun, with YouTubeconnectivity and dual satellitetuners.”The AG-HMC81 production kithas a suggested retail price ofcreate pockets perfect for holdinga mattebox, camera plate, followfocus, extra lenses, camera light,spare batteries, viewfinder, andmore. There’s even a space forholding a personal computer. Theinside contents is cushioned bylayers of soft, padded easy-view,brushed polyester.The Digiback’s integralbackpack system is constructedusing breathable 3D mesh.Padded shoulder straps andadjustable sternum and waiststraps provide correct weightdistribution and ensure easiercarrying. Cushioned back supportis provided for optimal spinalcomfort. A unique openingsystem is designed to protect thebackpack system from damageby dirt or extra wear and tearRichard Knight A.M.Inst.V.Devan Pandya A.M.Inst.V.Lara Lewis A.M.Inst.V.Vanessa Williams A.M.Inst.V.Keith Woolford A.M.Inst.V.£2,395 + VAT and includes aprofessional protective case fromCamrade as well as a high-powerIDX battery. As a complete kit,this package offers cameraoperators great savings – in timeand money.For more details please contactHoldan Ltd direct - see EquipmentDealers in the Trade Directory onpage 14.when placed on theground. Contents areaccessible fromeither side, and arear zippercompletelyexposes thepack’s interior.Additionalfeaturesincludedouble-sidedexteriormonopocketsfor additionalstorage anddual directionaleasy-glide zippers.For further information on theDigiback (#PD331) or Petrol Bags’other new DSLR camera carriers,visit www.petrolbags.comNewly-accredited Associate MembersThe following list of members have passed theirAssociate Member exam and are now able to usethe IOV logo in their marketing material. Theyhave also been set up with a web page which mustbe linked to when the IOV logo is placed on theirwebsite. Full details of the benefits of AssociateMembership can be found at www.iov.com/joinBishops Stortford, HertsLeicesterIvybridge, DevonKnutsford, CheshireBirminghamPlease note: Newly accredited Associate Members are published in Focus eachmonth and will be accurate at time of publication.8 December 2010 Focus Magazine www.iov.com

Industry NewsOxfordshire,M1 Corridor &NW LondonBy AnthonyBarnettThe subject ofour most recentmeeting was'HD DSLR lowbudget film making', at whichJulie and Danny O'Neill ofMintyslippers Media(www.mintyslippers.com)showed us a sample of theirCanon HD DSLR filmic weddingfootage.Having been on a fact-findingtrip to the USA, Julie and Dannyresearched their approach towedding videography and cameback with a very successful andpopular concept that can be seenon their website - and in asimilar style to the much laudedStill Motion company's businessmodel (http://stillmotion.ca/).What these companies, andmany others, have in common isthe use of HD DSLR cameras thatoffer a film-look through largesensors and a huge range oflenses - all for less than the priceof, for instance, a Sony EX1.Julie recalled, "When it cameto new camera time we looked atthe EX1/EX3 and at the time thatwas the king in terms of quality.We also wanted the elusive35mm look so looked at a Letusadapter but we found that toobulky for the weddingenvironment and also causes youto lose between 1 to 3-stops oflight. Around that same time theDSLRs with video were releasedand just starting to take off andthey immediately caught oureye. Small, cheap and no bulkyadapters."You can pickup a Canon 550Dfor around £600. This producesthe same quality video footageas its bigger brother the 7D.Lenses are also a must so if yourlooking for that shallow lookforget about the kit lenses. Forjust £99 you can pickup a newCanon 50mm f1.8 lens. This willgive you an amazing look for abargain price. The next lens up,the Canon 50mm f1.4 is evenbetter but costs around £300.For just £700 you can get startedwith making movies with a filmlookrather than video. Thisobviously appeals to a lot ofmedia students.Julie added, "To shootweddings its not so simple and tosay you could shoot weddings ona budget with DSLR would be alie. There are so many limitationsthat must be taken into accountand other factors - such ashaving stacks of memory cardsand developing your skills whenworking with separate audiorecorders. We cover all these,and others, in the trainingsessions that we run."With only 12-minutes ofcontinuous high resolutionshooting time it is a bravecompany that invests wholly inthe HD DSLR format to createwedding videos. Mintyslippershave three in action (opperatedby two people) with radiocommunication between cameraoperators to give each otherwarning that time is nearly outfor the 3rd camera to take over.Julie explained, "The 12-minute limit is not such a majorissue really. Those movie guysand TV types who shoot on35mm film are more than usedto this. With a 2000ft reel of filmonly giving them around 10-minsof shooting time the DSLR 12-mins is like heaven. For us weedit short form which means weonly use a small part of thespeeches or ceremony. We havecontinuous audio recorded intoour field recorder and staggerthe recording on the multiplecameras."The film-look these camerascan create has seen them used inmany prime-time TV showsaround the world. However,some people who've used HDDSLRs have rejected thembecause the aliasing and moirépatterns looked so bad on theirprojects.Christina Fox, broadcasttrainer at UrbanFox.TV(www.UrbanFox.tv) says "If youare shooting lots of fine detail,especially horizontal detail (likearchitecture), and it or youmove, it will be noticeable. But, ifyou use your shallow depth offield and defocus thebackground, the aliasing isn'tevident. You probably wouldn'tchoose these cameras to shootdocumentaries of anything thatneeds to be edited very quickly(because of the need totranscode to something likeProRes422 for render-freeediting). But if you know whatyou are doing, you can producepictures that look wonderful”.Julie summed up theirapproach to HD DSLR in a coupleof lines... "Our decision to goDSLR was a creative one. We hadpushed our conventional videocameras to their limits."My sincere thanks go to Julieand Danny for making this aninformative and interestingmeeting. www.iov.com Focus Magazine December 2010 11

Chromakey SuppliesCranes & Remote Heads3D Graphics & AnimationPush CreativityLynwode Lodge, Walesby Road, Market Rasen,Lincolnshire LN8 3EYTel: 01673 843852Email: ashley@push.uk.netWeb: www.push.uk.netThe Electronic Picture Company128 Beckets View, Northampton, NN1 5NJTel: 0796 879 4887Email: pablo@theelectronicpicturecompany.comWeb: www.theelectronicpicturecompany.comAudio Equipment SuppliesRoland UK LtdAtlantic CloseSwansea SA7 9FJTel: 01792 702701Email: info@rolandsg.co.ukWeb: www.rolandsg.co.ukHHB Communications Ltd73 - 75 Scrubs Lane,London NW10 6QUTel: 020 8962 5000Fax: 020 8962 5050Email: sales@hhb.co.ukWeb: www.hhb.co.ukIDX Technology Europe9 Langley Park, Waterside Drive, Langley,Berkshire SL3 6EZTel: 01753 593724Fax: 01753 595104Email: idx.europe@idx.tvWeb: www.idx-europe.co.ukPlanet Video Systems LtdPinewood Studios, Pinewood Road, Iver Heath,Buckinghamshire SL0 0NHTel: 01753 422 750Fax : 01753 656 683Email: sales@planetaudiosystems.co.ukWeb: www.planetaudiosystems.co.ukPenridge Multi-MediaThe Barn, Rashwood Meadow, Droitwich Spa,Worcestershire WR9 0BSTel: 01527 861911Email: sales@penridge.comWeb: www.penridge.comBatteries & PowerDS Video FacilitiesUnit 27, Metro Centre, Britannia Way,Coronation Road, London NW10 7PRTel: 020 8965 8060Tel: 0141 300 3404 (Glasgow office)Email: info@dsvideo.freeserve.co.ukWeb: www.dsvideo.co.ukIDX Technology Europe9 Langley Park, Waterside Drive, Langley,Berkshire SL3 6EZTel: 01753 593724Fax: 01753 595104Email: idx.europe@idx.tvWeb: www.idx-europe.co.ukPAG565 Kingston Road, Raynes Park,London SW20 8SATel: 020 8543 3131Email: sales@paguk.comWeb: www.paguk.comPhoton Beard LtdUnit K3, Cherry Court Way, Stanbridge Road,Leighton Buzzard, Bedfordshire LU7 4UHTel: 01525 850911Email: info@photonbeard.comWeb: www.photonbeard.comVFX Blue Screen Solutions (Bristol UK Ltd)Unit 3, Sutherland Court, Tolpits Lane,Watford WD18 9SPTel: 01923 779333Fax: 01923 779666Email: vfx.sales@bristolpaint.comWeb: www.bristolpaint.comCommemorative Video & DVD CasesKarina KraftsComplex 7, 34 Nelson Road, Ystrad Mynach,Hengoed, Mid Glamorgan CF82 7BPTel: 01443 815595Fax: 01443 862204Email: sales@karinakrafts.comWeb: www.karinakrafts.comPenridge Multi-MediaThe Barn, Rashwood Meadow, Droitwich Spa,Worcestershire WR9 0BSTel: 01527 861911Email: sales@penridge.comWeb: www.penridge.comWarehouse Video ServicesBurnside, Horton Road, Staines, Middx. TW19 6BQTel: 01753 689400Fax: 01753 689401Email: sales@warehouse-video.co.ukWeb: www.warehouse-video.co.ukComputer Software & HardwareAV3 SoftwareSuite 51 Basepoint Business & Innovation Centre,Caxton Close, Andover, Hampshire SP10 3FGTel: 01264 326312 / 3Email: marketing@av3software.comWeb: www.av3software.comCalumet Pro Video (Cambo distributor)93-103 Drummond Street, London NW1 2HJTel: 08706 030303 (option 4)Email: provideo@calumetphoto.co.ukWeb: www.calumetphoto.co.ukDimming EquipmentLCC Photon TechnikWatt House, Pirbright Road, Normandy,Surrey GU3 2AGTel: 01483 813814Fax: 01483 811668Email: info@lcc-lighting.co.ukWeb: www.lcc-lighting.co.ukPhoton Beard LtdUnit K3, Cherry Court Way, Stanbridge Road,Leighton Buzzard, Bedfordshire LU7 4UHTel: 01525 850911Email: info@photonbeard.comWeb: www.photonbeard.comDolly & Track SystemsCalumet Pro Video (Cambo distributor)93-103 Drummond Street, London NW1 2HJTel: 08706 030303 (option 4)Email: provideo@calumetphoto.co.ukWeb: www.calumetphoto.co.ukPEC Video Ltd65-66 Dean Street, Soho,London W1D 4PLTel: 020 7437 4633Fax: 020 7025 1320Email: sales@pec.co.ukWeb: www.pec.co.ukRycote Microphone Windshields LtdLibbys Drive, Slad Road, Stroud,Gloucestershire GL5 1RNTel: 01453 759338Fax: 01453 764249Email: info@rycote.comWeb: www.rycote.comSennheiser UK Ltd3 Century Point, Halifax Road, High Wycombe,Buckinghamshire HP12 3SLTel: 01494 551551Fax: 01494 551550Email: info@sennheiser.co.ukWeb: www.sennheiser.co.ukSoundkit12 Earle Place, Canton,Cardiff CF5 1NZTel: 02920 342907Fax: 02920231235Email: martyn@soundkit.co.ukWeb: www.soundkit.co.ukCamera Lenses & FiltersCalumet Pro Video (Formatt Filters)93-103 Drummond Street, London NW1 2HJTel: 08706 030303 (option 4)Email: provideo@calumetphoto.co.ukWeb: www.calumetphoto.co.ukIDX Technology Europe (Century Optics)9 Langley Park, Waterside Drive, Langley,Berkshire SL3 6EZTel: 01753 593724Fax: 01753 595104Email: idx.europe@idx.tvWeb: www.idx-europe.co.ukCamera Soft Cases & BagsPlanet Video Systems LtdPinewood Studios Pinewood Road Iver HeathSL0 0NHTel: 01753 422 750Fax: 01753 656 683Email : sales@macuniverse.comWeb: www.macuniverse.comPenridge Multi-MediaThe Barn, Rashwood Meadow, Droitwich Spa,Worcestershire WR9 0BSTel: 01527 861911Email: sales@penridge.comWeb: www.penridge.comCopyright Free & Commissioned MusicDrapesLCC Photon TechnikWatt House, Pirbright Road, Normandy,Surrey GU3 2AGTel: 01483 813814Fax: 01483 811668Email: info@lcc-lighting.co.ukWeb: www.lcc-lighting.co.ukDuplication ServicesCopytrax Technologies UK Ltd35 Dry Drayton Industries, Scotland Road, DryDrayton, Cambridge CB23 8ATTel: +44 (0) 844 8156225Email: philipall@copytrax.comWeb: www. copytrax.comSource Distribution LtdUnit 7 Pembroke Buildings, CumberlandBusiness Park, London NW10 6RETel: +44(0)20 8962 5080Fax: +44(0)20 8968 3218Email: sales@sourcedistribution.co.ukWeb: www.sourcedistribution.co.ukManfrotto Distribution(formerly Bogen Imaging)Unit 4, The Enterprise Centre, Kelvin Lane,Crawley, West Sussex RH10 9PETel: 01293 583300Fax: 01293 583301Email: info@manfrottodistribution.co.ukWeb: www.manfrottodistribution.co.ukAKM MusicPO Box 3199, Kenilworth CV8 2ZPTel: 01926 864068Email: akm@akmmusic.co.ukWeb: www.akmmusic.co.ukMulti Media Replication LtdUnit 4, Balksbury Estate, Upper Clatford,Andover, Hampshire SP11 7LWTel: 01264 336330Email: info@replication.comWeb: www.replication.comAuthoring Video To DVDAuthoring Services & RocketDVDUnit 4, Balksbury Estate, Upper Clatford,Andover, Hampshire SP11 7LWTel: 01264 336330Email: info@replication.comWeb: www.replication.comIDX Technology Europe9 Langley Park, Waterside Drive, Langley,Berkshire SL3 6EZTel: 01753 593724Fax: 01753 595104Email: idx.europe@idx.tvWeb: www.idx-europe.co.ukChris Worth Productions7 Blanchard Road, Louth, Lincs. LN11 8YHTel: 01507 601546Fax: 01507 601546Email: info@chrisworthproductions.comWeb: www.chrisworthproductions.comPenridge Multi-MediaThe Barn, Rashwood Meadow, Droitwich Spa,Worcestershire WR9 0BSTel: 01527 861911Email: sales@penridge.comWeb: www.penridge.comwww.iov.com Focus Magazine December 2010 13

Radio MicrophonesSennheiser UK Ltd3 Century Point, Halifax Road, High Wycombe,Buckinghamshire HP12 3SLTel: 01494 551551Fax: 01494 551550Email: info@sennheiser.co.ukWeb: www.sennheiser.co.ukSoundkit12 Earle Place, Canton, Cardiff CF5 1NZTel: 02920 342907Fax: 02920231235Email: martyn@soundkit.co.ukWeb: www.soundkit.co.ukTripods & Camera SupportsHague Camera SupportsMile End Road, Colwick,Nottingham NG4 2DWTel: 0115 987 0031Email: info@b-hague.co.ukWeb: www.b-hague.co.ukIaniro UK (Libec)Unit 19, Walkers Road, Manorside IndustrialEstate, Redditch, Worcestershire B98 9HETel: 01527 596955Fax: 01527 596788Email: info@ianirouk.comWeb: www.ianirodirect.comGET YOUR COMPANYLISTEDIn Focus magazine and on the IOV web site -www.iov.co.uk - from £145 per yearRecordable Media - CD / DVD / TapeAPR MediaMedia House, Unit 18 Rylands Industrial Estate,Bagley Road, Wellington, Somerset TA21 9PZTel: 01823 669166Email: sales@aprmedia.comWeb: www.aprmedia.comCarousel MediaUnit S-1, Inchbrook Trading Estate,Woodchester, Stroud, Gloucestershire GL11 5EDTel: 0845 166 4860Email: sales@carouselmedia.comWeb: www.carouselmedia.comIDX Technology Europe9 Langley Park, Waterside Drive, Langley,Berkshire SL3 6EZTel: 01753 593724Fax: 01753 595104Email: idx.europe@idx.tvWeb: www.idx-europe.co.ukVintenCamera Dynamics Ltd, Western Way, Bury StEdmunds, Suffolk IP33 3TBTel: 01284 752121Web: www.vinten.comVideo AccessoriesMulti Media Replication LtdUnit 4, Balksbury Estate, Upper Clatford,Andover, Hampshire SP11 7LWTel: 01264 336330Email: info@replication.comWeb: www.replication.comKeene ElectronicsOld Hall, Unit 9, Mills Bus. Pk, Station Road,Little Eaton, Derby DE21 5DNTel: 01332 830550Email: sales@keene.co.ukWeb: www.keene.co.ukVideo ManufacturersPenridge Multi-MediaThe Barn, Rashwood Meadow, Droitwich Spa,Worcestershire WR9 0BSTel: 01527 861911Email: sales@penridge.comWeb: www.penridge.comStudio Lighting DesignLCC Photon TechnikWatt House, Pirbright Road, Normandy,Surrey GU3 2AGTel: 01483 813814Fax: 01483 811668Email: info@lcc-lighting.co.ukWeb: www.lcc-lighting.co.ukPhoton Beard LtdUnit K3, Cherry Court Way, Stanbridge Road,Leighton Buzzard, Bedfordshire LU7 4UHTel: 01525 850911Email: info@photonbeard.comWeb: www.photonbeard.comStudio & Lighting Services3 Cedar Drive, Loughton, Essex IG10 2PATel: 020 8418 9848Email: peter@slservices.co.ukWeb: www.slservices.co.ukTelepromptingAutocue GroupUnit 3, Puma Trade Park, 145 Morden Road,Mitcham, Surrey CR4 4DGTel: +44 (0)20 8665 2992Fax: +44 (0)20 8687 4869Email: sales@autocue.co.ukWeb: www.autocue-qtv.comPortaPromptLane End Road, Sands, High Wycombe,Buckinghamshire HP12 4JQTel: 01494 450414Email: sales@portaprompt.co.ukWeb: www.portaprompt.co.ukCanon UK LtdWoodhatch, Reigate, Surrey RH2 8BFTel: 01737 220 000Email: Matt_Beard@cuk.canon.co.ukWeb: www.canon.co.ukJVC Professional EuropeJVC House, JVC Business Park, 12 PriestleyWay, London NW2 7BATel: 020 8208 6200Email: sales@jvcpro.co.ukWeb: www.jvcpro.co.ukPanasonic Business SystemsPanasonic House, Willoughby Road, Bracknell,Berkshire RG12 8FPTel: 01344 853855Fax: 01344 853847Email: enquiries@panasonic-pbe.co.ukWeb: www.panasonic-broadcast.comSony Broadcast & Professional UKThe Heights, Brooklands, Weybridge,Surrey KT13 0XWTel: 01932 816275Web: www.sonybiz.netTV One LimitedUnit V, Continental Approach, WestwoodIndustrial Estate, Margate, Kent CT9 4JGTel: 01843 873300Email: sales@tvone.comWeb: www.tvone.co.ukVoiceover ServicesJane FarnhamTel: 01753 664014Email: jane@janefarnham.comWeb: www.janefarnham.comAll these benefits from a Trade Subscription ofjust £145 p.a: Listing in the Trade Directory of Focus magazine Listing in the searchable Trade Directory on the IOV web site -www.iov.co.uk Link from the IOV web site Trade Directory to your own website Automatic discounts on advertising Priority consideration of your company news/press releasesfor publication in Focus magazine Priority introduction to IOV regional meetings Product reviews undertaken by professionals in trueworking situations And last, but not least, our excellent magazine delivered everymonth to your door!Additional Headings Welcome!Call Kevin Cook on +44 (0) 20 8502 3817IOV Focus LimitedPO Box 625LoughtonIG10 3GZUnited Kingdomkevin.cook@iov.co.ukwww.iov.com Focus Magazine December 2010 15

Running a technical artsbased micro-business likeVideography can beexpensive and timeconsuming. You must go outand shoot and concentrate onediting. You have to sellyourself and your products.Keep up with the latesttechniques and technologies.Learn and practice currentphotographic, lighting, audioand editing techniques. Runthe business, make a profit,and most importantly have aproper life with family andfriends.In the current climate, we areall looking for ways to cut ouroverheads and maximise theearning power of our equipment.One way is to buy only thingsthat are going to earn their keep.It is very easy to be seduced bythe latest piece of videoequipment. Manufacturers wantto sell you exciting stuff. Youwant to buy exciting stuff tomake your videos, and yourbusiness, look better. This iswhere a reality check must kickin. Will this new thing make me,and my family, more money?Use you head!The chances are that if you havea means of recording and editingyou do not need much more thanyour talents. Consider thecomparatively crude machineryimaginative photographers,cinematographers, soundrecordists and film editors usedto create masterpieces in thetwentieth century.If you have a camera you canshoot great pictures. If you workat editing you can createscintillating sequences out of themeanest material.Hard-pressed videographersneed only spend the minimumamount of money on equipmentto enable them to fulfil theircontracts and maintain theirprofessionalism and self-respect.The right tools for the job inhand. If you need it, and cannotafford it, hire it.Alfred Hitchcock said thethree most important things infilm making are: The Script, TheScript and The Script. Will yourclient really appreciate that youare using the very latest cameratechnology? Will they care thatyou are editing on last monthssoftware? No, they will not. Theyjust want to see their story toldclearly and imaginatively.OK, so what has all this to dowith reviewing a tripod head?Well, the message is to buy onlywhat you actually need. Veryoccasionally, we need to buy anew tripod and head. Like tax, itis an irritating necessity.Not everyone does the kindof work that demands a fully protripod head costing £1,000 to£5,000. Most just needsomething that is solid, reliableand enables smooth moves.If you don’t REALLY need tospend thousands of pounds on aVinten, Sachtler or an OConnorthen take a look at Manfrotto.This manufacturer offers kit thatworks well for a lot less cash.Why spend £2,000 on a videohead when you could spend £245and use the other £1,755 for anice holiday or a big family treat?Heads up!A few months ago Manfrottobrought out a mid-level videohead called 504HD. I have beenusing one for a few months andhave to report that this really isthe best little video headManfrotto have ever produced.A true-life example. A rockband in concert. The camera issome distance away from theband. On the telephoto end ofthe lens is a close up of the leadsinger. He starts to play a guitarsolo and the camera tilts down tohis fingers plucking the strings,then gently pans along the guitarneck. Then the sax comes in. Thepan continues to the sax keys,then a lovely close tilt up the saxkeys and fingers to a big close upof the player. Tricky movesperformed live and un-rehearsedon a £245 head. That to me saysmore about a piece of equipmentthan all the technicalspecifications and advertisinghyperbole.The head caseThe 504HD looks great. Neatfunctional design and jolly redtrim. Solidly engineered fromquality materials the headmounts onto a 75mm tripodbowl. The wide top makes adecent sized platform to mountan outfit weighing up to 9 kg.The camera plate is 14cm long,5cm longer than other Manfrottosiblings, making it a bit easier tobalance a sprawling rig or DSLRoutfit. The plate is the samewidth as other Manfrotto familyheads so the camera can beswapped between mountswithout changing the plate.Two 1/4” and 3/8” camerascrews are supplied. Unusedscrews are stored on the head.The screws slide along a channelthe length of the camera plateoffering more flexibility to16 December 2010 Focus Magazine www.iov.com

ReviewThe plate slides onto the headwith the usual end stop toprevent the camera falling off thefront, and a press button releaseto stop it falling off the back. Justslide the camera onto the headuntil it tilts neither backwardsnor forwards and fix the platewith the side lock.Level and secure the headand camera with the bigrubberised handle under thebowl. Great to see that Manfrottohave integrated an illuminatedbubble. Press the button and anorange LED lights up under thebubble. It turns itself off after tenseconds. This is a proper andessential item for every head.The pan bar can be fitted to theleft or the right of the head, orwith a second bar to both sidesfor really well controlledmovements. The telescopic barextends from a short 38cm, goodfor tight corners, to a long 62cm,good for precise control. Therubberised handle at the end ofthe bar gives a strongcomfortable grip. The 504HD willtilt down 90° and up 60°. If therosettes connecting the pan barto the plate become worn afteryears of adjustment they caneasily be replaced.The pan, tilt and plate lockhandles are the usual Manfrottofamily “pull to reposition” knobswhose angles can be adjusted tosuit the operator and kept out ofthe way.The camera rig will becomeunbalanced when you tilt thecamera. It will quite naturally fallforwards or backwards. Tocompensate for this, and create aharmonious situation where thecamera only goes where youintend, there is a counterbalancedial. If your rig weighs 2.5kg setit to 1, 5kg at 2, 7.5kg at 3, oryou can just disable the wholeidea by setting it to zero.Whatever angle you park yourcamera; it will just stay there,balanced, awaiting your nextcommand.Either side of the head is astandard 3/8” thread hole toattach accessories like an arm, amonitor, a French flag, an audiodevice, a lamp – anything youfancy. The weight of theaccessories is now low on thetripod head and not on thecamera.Turning headsWhat we need a head to do morethan anything else is give ussmooth moves. Manfrotto havedeveloped new variable fluid ballbearing movements for the504HD. These have to be thebest Manfrotto have producedand bring this little head into adifferent class.Pan and tilt fluidity isadjusted from free running tovery stiff with two chunky dialsclearly marked in stages from 0to 9. Continuously variable withdefinite click stops every fewdegrees. Favourite settings forpan and tilt drag can be notedand accurately repeated.The pan and tilt movementsare very smooth. Perhaps not to£2,500 head standards but thebest I have seen at this pricelevel and real value for money. Itis possible to start a movementsmoothly, execute it, and endgracefully. There is no whiplash,bounce back or unexpectedjerks.It’s the simple day-to-daypractical things that really count.Say I am shooting a sensitiveinterview and want to unlock thehead, subtly and slowly zoom inand re-frame to a big close up,and lock up again. All in visionwithout any bumps. That is astraightforward requirement thatthe 504HD achieves. And that’senough to make it a winner forme.Head linesManfrotto 504HD is a bargain atabout £245. Recommendedtripods are Manfrotto 535 or 536carbon fibre, or the aluminium546B legs. A complete kit of504HD head, aluminium 546Blegs and a sturdy bag is about£470. With the 535 carbon fibrelegs about £900. These are realdealer prices excluding VAT.Shop around for a better deal.If you don’t really need tospend ££££ on a head I think itwould be worthwhile looking atthis Manfrotto. It delivers asimilar feel and performance fora tenth of the price. However, dotry before you buy, and maybehave a look at the new VintenBlue and the Sachtler FSB-8T. Simon Hammond M.M.Inst.V.Notes: See the 504HD head inaction - www.vimeo.com/10802914and in a weird promo movie by CliffGuy: www.vimeo.com/10575827Rusty Rogers gives a short videoreview at vimeo.com/16042238and finally a video review by NextWave TV at : www.youtube.com/user/NextWaveG#p/a/u/0/kg0ZCBpTMhowww.iov.com Focus Magazine December 2010 17

It all really started just over6-years ago in May 2004when I was asked by a friendof mine to take part in ‘this48 hour film thingy’. Iagreed to do it just tohumour him and because Ihad a spare weekend. (SeeFocus magazine issue 115 –August 2004.) I ended uphaving the one of the morememorable experiences ofmy life, and for some strangereason I recently decided tohave another go and entereda team for the London groupof the 48 Hour Film Project2010.For those of you who haven’theard of this phenomenonbefore, allow me a few lines toexplain. The idea of a 48-hourfilm competition started about10-years ago in the UK and theUS almost simultaneously. Theconcept is very simple; write,shoot, edit and deliver a shortfilm in 48-hours!The ‘48 Hour Film Project’,started by an American calledMark Ruppert, has sinceemerged as the predominantcompetition in this art form andtakes place all over the world,this year’s tour taking place in87 cities around the globe andinvolving more than 3,500teams! The idea being that thewinner of each city goes throughto a national final, and thewinners of the national finalsadvance to the internationalfinal with the best of the bestbeing shown the following yearat the Cannes Film Festival –truly International!Each local competitionbegins with a gathering ofrepresentatives from each teamattending the launch on a Fridaynight. At the meeting all teamsare given the same charactername, prop and line of dialoguewhich they all have to use in thetheir films. Each team thendraws their genre from a hatand has to produce a filmbetween 4 and 7 minutes longusing those elements. The filmhas to be delivered completeback to the drop off point by7.30 on Sunday night! Soundssimple doesn’t it?Anyway,back to the plot . . .As far back as last May I hadbeen checking out the 48HFPwebsite (www.48hourfilm.com)to see when the competitionwould be coming to London.Initially there was very littleinformation to be gleaned as theLondon arm of the outfit wasgoing through a change ofproduction team, so the finaldates weren’t announced untilthe middle of September.What with ProVideo 2010coming up, all the work I had tofor that and the IOV Awardsnight, as well as everything Ihad to do for QVC in my regular‘daytime’ job, there was verylittle time to get thingsorganised. However, they sayyou make your own luck, and Iwas fortunate enough to havemy good friend and directorMartin to help me out.Martin is also no stranger tothe 48HFP as we were both inthe same team on the last one Idid back in 2004, so we bothhad a good idea of what toexpect. The key to success inevents like these is preparation.Obviously there is nothingdetailed one can do until thegenre is known, so the morethat can be done to cushion theblow, the better.Thankfully, being inthe television industryhas its advantages, notleast when it comes tosourcing kit, technicalcrew, actors andlocations. The first fewof these were easy, butwe still had to find ageneric location thatcould be adapted towhatever was thrown atus. Last time we had thefull use of a recordingstudio, and could makegood use of the studios,control rooms and officespaces. Luckily this time wewere able to get the use of arecently closed-down school,which we sourced through acontact in the LondonBorough of Wandsworth’s filmoffice. As the location hadrecently come onto the books asa location source, our contactvery kindly let us have the useof it for only a smalladministration fee. The placewas perfect; many different sizerooms and corridors where wecould film and set up dressingrooms, make-up room and aproduction office.As is often the way withthese things, we soon foundourselves in a period of anenforced lull. We had managedto get all the resources andmanpower we needed and now18 December 2009 Focus Magazine www.iov.com

Articleit was just a case of waiting forthe weekend of madness tostart. During this period, Martinspent a lot of his free timedevising various scenarios whichwe could easily adapt towhichever genre we were given.However, there were still one ortwo genres that we hoped wedid not get, including ‘Musical’and ‘Road Movie’. It was alsoduring this time when wemanaged to tie down all ouractors to commit to the project,this also included one of theQVC presenters, Dale Franklin.I also approached AndrewLancel at the IOV Awards and tosee if I could persuade him totake part. Unfortunately, he wasbusy on the day in question butseemed very keen to take partand insisted that I let him knowof any future projects when theycame up - let’s see whathappens next year!The day of reckoningFriday 22 October 2010 finallyarrived. Martin and I left workarriving at the Prince CharlesCinema just off Leicester Squarewith plenty of time to spare, andjoined the rest of the otherslightly apprehensive teammembers in the lower theatre.We were treated to anencouraging introduction fromthe producers of the event andwere taken through the variousprocedures step-by-step. Theseincluded how the films were tobe delivered on the Sunday, andvarious other useful bits ofinformation regarding timingsand when we should startrendering our projects!While all this was going onthere was a large countdownclock on the screen in front ofus relaying how many minutesand seconds we had left untilthe whole thing kicked off.Finally, the time came and wegot the first element we had touse. This was our charactername: Sam/Samantha Harris, arunner. Three minutes later, wewere given our prop: a bone. Aminute after that we receivedour line of dialogue: “I wasexpecting something bigger”!Martin and I looked at eachother, there was nothing therethat need worry us. The onlyconcern we had now was whichgenre we would draw.Fortunately, or maybe not sofortunately, we were due todraw fairly early on as theteams were called up inalphabetical order. When ourteam name was called Istruggled my way along the rowof seats and up to the front.Reaching into the glass jar Ipulled out the slip of paper,opened it and saw - ‘RoadMovie’! Expletive deleted! Icould feel Martin giving medaggers as this was one of thefew genres that we did not wantto pick.I struggled back to my seatwhere all Martin could say to mewas, “we’re going to pick a wildcard”. This wild card option wassomething that had beenintroduced fairly recently and,obviously, this gave teams asecond chance to picksomething they could work with.The drawback with picking awild card is that you can’t goback to your original choice, youare committed to the wild cardyou have drawn. However, thistime I managed to pick‘Adventure Serial’, and we bothagreed this was a much betterchoice and we were happy to gowith that.And we’re off!We made our way out of thecinema and back into LeicesterSquare. All of a sudden Martinappeared to have an epiphany.He made the observation thatprograms like Doctor Who are,in fact, adventure serials. Thesealways had cliff-hanger endingsto keep the audience insuspense until the next episode,and something like this wouldbe perfect for us.We were to make an episodeof the sci-fi type serial, monsterand all! I could tell from hisexpression that a plot andstoryline were already beginningto form themselves in his head.We both spent the next fewminutes furiously sendingmessages to all the members ofthe cast telling them all whatthe genre was and giving thema rough idea of what they wereto expect. We then started thejourney back home to myhouse. Most of the trip was doneby car with Martin sitting besideme frantically making notesand phone calls and trying topiece together elements that wecould use the shoot. www.iov.com Focus Magazine December 2010 19

ArticleWe finally arrived home justafter 9pm. Shirley, my wife, hadproduced one of her wonderfulmeals which we tucked into withgusto, along with a couple ofglasses of wine to keep usgoing! As soon as we hadfinished eating we fired up thelaptops and got stuck intowriting a script. Just aftermidnight we were happy that wehad something to work with andwent to bed exhausted.Our alarms rang at 5:30amand Martin, Shirley and Iclimbed back into my car todrive up to our location just offClapham Common. We arriveddead on 8am to find that somepeople had already turned upand were raring to go. Weestablished a production officein one of the disused rooms ofthe school and setting up alaptop and a printer weproduced copies of the script foreveryone.Smooth shootThe rest of the day was prettymuch a blur. However, we didget everything we wanted to getin terms of shooting, and all oursetups looked fantastic and werelit brilliantly by our wonderfulDoP, Chris - not me incidentally,I was actually the soundrecordist!We did have the addedproblem that we were usingvery realistic imitation firearmson the set. This meant that notonly did we have to inform thelocal police that we were doingthis, but that we had to keepthem away from any windows sothat members of the generalpublic would not be able to seeus and get alarmed. However,this wasn’t too much of aproblem and did not slow downthe shooting process at all.The location we had foundwas perfect for our needs withone exception, no runningwater, which meant we couldnot use the toilets! So everytime we did a run to the localsupermarket for food andsupplies, several people had totag along to make use of thefacilities!Once again, this did notprove too much of a problemand did not seem to hinder theshoot in any way.We finally wrapped just after6pm and were clear of thelocation half an hour later. Wethen had to drive all the wayback to Crawley to start the postproduction.As we were driving home mywife called ahead to the localIndian takeaway and our foodwas waiting for us at the housewhen we arrived. As we had hadsuch a frantic day we decidedthat we owed ourselves a decentbreak. So we forced ourselves tosit down, take some time out,and enjoy our takeaway.However, there was only somuch time off we could take andby 10pm we were sitting in frontof the computer starting toingest the rushes.In postAs we had recorded everythingto tape rather than hard drive orcard, we had to captureeverything in real time.Fortunately, this meant that wewere able to watch all therushes to make sure we hadeverything we needed. All in allwe had shot one hour 40minutes worth of material andall of it was pure gold.Once the capturing was donewe did a small amount ofhousekeeping to put all therelevant scenes and shots intoseparate bins, made sure wehad all the correct sequencesettings and codecs in place andclimbed into bed at 1am.The next morning, bothMartin and I were up, showeredand dressed by 6:30am. Whilemaking coffee we decided that itwould make more sense ifMartin did the picture edit and Iwould do the sound editing andgrading. I had already looked atMartin’s copy of the script andfound that it was covered withindecipherable scribblings thathe had made during the shootthe day before, and it wouldhave taken a long time for himto explain to me what hewanted in terms of pictures.As Martin is also a dab handat using Final Cut I just let himget on with the edit and spentmy time tying up all the legalloose ends and paperwork thathad to be completed for thecompetition.By about noon Martin hadthe picture edit completed to hissatisfaction. During this time mywife kept us supplied withregular mugs of tea and coffee,bacon and fried egg sandwiches,and toasted teacakes –fantastic! I then spent the nextthree hours tidying up theaudio.Audio landscapingThere was one particular scenewhich had been shot withoutaudio as it was very fast movingand it would have been difficultto have a cameraman,soundman, director and actorsall moving very fast throughquite a confined space.Soundtrack Pro, the audioediting program that comes aspart of the Final Cut Suite, aswell as being comprehensive touse, also has a huge library ofsound effects. It was thereforedecided that this scene wouldhave to have a complete sounddesign built for it.This was actually quitesimple to achieve, as all I had todo was layer loads of gunfireand explosions to make it lookand sound very exciting. Apartfrom this one scene, the rest ofthe audio was relatively simpleto do and by 3pm we had acomplete edit which we werevery happy with.This was then dragged intothe ‘Color’ program and given agrade suitable to the style of thegenre. After ‘letterboxing’ it wethen laid off the finalprogramme to memory stick andburnt a data file of it onto a DVDas a backup.DeliveryThen, with our film and all thepaperwork crammed into anenvelope, the three of usjumped back into the car andheaded off to Leicester Square.We arrived at the Prince CharlesCinema at 7pm giving us 30minutes before the deadline -plenty of time to spare! Ourmission accomplished we thenheaded home dropping Martin athis house on the way.A few days later most of thecast and crew met up again atthe cinema for the premierescreening. It was veryentertaining evening, not leastbecause we got to watch theother teams’ films. When all thefilms had been shown, theteams’ producers were called upfor a question and answersession from the rest of theaudience. I think we all held ourown, although I have to say thatthe questions asked were notexactly that searching! Once theevent was over we all retreatedto the nearest pub for a wellearneddrink, some of us wenton for a bite to eat in Chinatownbefore heading home.Judgement dayAlthough we had all seen thefilms, the judging was not dueto be finalised until the followingweek. The organisers of thecompetition had bookedMadame Jojo’s nightclub inBrewer Street, Soho for theawards night and wrap party.So, the following Thursdayevening a small group of usarrived at the nightclub. By 8pmthe place was heaving withmembers from the other teamsand their supporters.There were ten categories ofawards handed out, witheverything from Best Film andBest Director, to best use ofprop and sound design. Sadly,our team didn’t win anything!However, it was very clear thatthe overall standard was veryhigh and it was an honour tolose out to such talented filmmakers.So, I ask myself the samequestion I asked way back in2004. ‘Would I do it all again”?The answer is still the same,“most certainly I would”! Quitewhether I will be ready toaccept the challenge when thedates are announced for nextyear remains to be seen, but itis certainly something I wouldlove to do. Chris Waterlow F.Inst.V.Notes: For those of youinterested in what can wemanaged to achieve in 48 hoursthen check outwww.vimeo.com/16150919.20 December 2009 Focus Magazine www.iov.com

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Last month I had theprivilege of being part of theVideoSkills ‘How to ShootBetter Interviews!’ trainingevent in Naas Co. Kildare,Ireland. As well as the usualgeneral advice aboutrecording sound, such asgetting control of theenvironment and choosingthe right microphone, I alsospoke about peripheral soundequipment such as boompoles, blimps and softies.To demonstrate this inprevious VideoSkills events I hadused my short light-weightaluminium boom pole - and whenoutside my rather elderlyzeppelin, blimp-styled Rycotewindshield (the latter I hadrepaired at the Rycote factorylast year where I changed theelastic band microphone mountfor the new, almost unbreakable,universal lyres). Handling andwind noise can be a problem so itis important that we use the righttools for the task in hand, to aidme in this I was delighted whenTim Constable at Rycotearranged for me to try out aselection of new Rycote products.In Tim’s selection was theLightwave Aluminium A-5 NewsBoom Pole, the S-Series 300Suspension and Windshield Kit,an 18cm Standard Hole Softiewith mount and Pistol Grip, the14cm Miniscreen andWindjammer, Black and BeigeLavaliere Foam Shields,Overcovers and Undercovers anda pair of Black LavaliereWindjammers.It was great to be able to talkabout these new products andhow they can benefit thevideographer - and I thought itwould be even handier to sharemy findings in Focus.Lightwave AluminiumA-5 News Boom PoleRycote advertise this boom poleas being “extremely robust” andthey are proud of their patented,triple-cam locking system andquick release mechanism.It has been designed so thatthe triple-cam locking system ofthe pole allows for minimaltwisting when locking/unlocking,making it less likely to jam whendirty. The locking system canalso be stripped down completelyfor easy cleaning of the pole.The pole is has beendesigned for demandingapplications such as televisionnews broadcasting and is madeof “top grade 1.0mm thickaircraft grade aluminium”.Interestingly, at this yearsProVideo, they had a version ofthe Lightwave that had aninternal coiled XLR cable andwhile this was not the model Itested it is available as anoptional extra.I found the Lightwave boompole easy to use when fullyextended, although on the day offilming I had a nerve twitching inmy left arm which meant I hadgreat difficulty holding it still. Ido not believe that it was thefault of boom pole that Istruggled. I really like this poleand I would be very tempted toget my hands on the internalcoiled XLR cable and fit it. I usedthe S-Series 300 pistol mountwith it and I was delighted withits performance.When collapsed the polemeasures just 0.66m (2'2") andwhen fully extended 2.50m(8'2"). Without the coiled XLRcable it weighs in at 640g and780g when the XLR is inside.S-Series 300Suspension andWindshield KitAs a user of an elderly zeppelin,blimp-styled windshield the S-Series 300 was new to me -although last year I did visit theRycote factory and witness itbeing made. In essence thiswindshield kit has been simplifieddown for ease of use and is madeup of three parts and a XLRcable. It is lightweight and yetvery strong and ready to usestraight out of the box.Once again this kit uses lyresuspension rather than the oldfashioned elastic bands and hasintegral fur windshields or podsthat can be removed easily andquickly to access themicrophone.The design of these pods hasbeen well thought out asadditional pods may bepurchased to suit longer orshorter microphones, adding avaluable versatility to this kit.22 December 2009 Focus Magazine www.iov.com

ReviewAt the VideoSkills workshop Iused S-Series suspension on itsown, without wind protection andI experienced no problemswhatsoever. I felt very at homewith this new design and I cansee it replacing my olderwindshield.18cm Standard HoleSoftie with mount andPistol GripThis Rycote softie kit is a twopiecesystem designed to provideshock mounting and windprotection for microphones. The18cm Standard Hole Softie Kitincludes both the Softie LyreMount with pistol grip and theSoftie Windshield. A XLR cable isalso included in the kit.As with the S-Series 300 theSoftie uses Rycote’s Lyre Mount.Again the pistol grip can be usedon a boom pole. The Softie is apush on microphone windshieldthat works by creating acontrolled area of still air aroundthe microphone. There are a fewother brands that make thesesofty-styled pistol grips but forme the Rycote is the original andthe best.14cm Miniscreen andWindjammerAs you would expect the qualitywas superb and simple toassemble. I tried it out on theRode NTG-3 and Sennheiser 416and on the Rode NTG-2 and theSennheiser K6/ME66 and it fittedboth diameters of microphone.Rycote state that it is suitable formost camera-mounted shotgunmicrophones - providing providea low profile slip-on windshieldwith excellent wind protection ofup to 30dB.The Miniscreen is a rigid,blimp-style windshield that isslipped onto the front of themicrophone. Made from alaminated combination of nettingand fabric material, theMiniscreen provides a snug fit tothe microphone and offers up to18dB wind-noise attenuationwhen used on its own.Overcovers andUndercovers, BlackLavaliereWindjammers, Blackand Beige LavaliereFoam ShieldsIn the past I have used clips andtoupee-tape to firmly attach mylavalier microphones to myclients about to be recorded. Inparticular I found that toupeetapevery effective, so I wasdelighted with the RycoteOvercovers and Undercovers.Both are designed well for theirpurpose and a delight to handleand all work well at cutting downthe background noise caused bya person’s clothing movingagainst the microphone.The Black LavaliereWindjammers are beautifullymade and a real asset on awindy day and the Black andBeige Lavaliere Foam Shields areexactly what they say on thepackaging. All of these items aresmall and you may wonder onceyou have got them how you livedwithout them!ConclusionThere are a lot of windshields outin the market but, in my opinion,Rycote make the best. Theirdedication to detail, even goingas far as to include a brush in thesoftie kit, is impressive. It istrue these products are not thecheapest out there, but Rycote’skit stands the test of time and iswell worth the price paid. Ibelieve that it is better to “buyonce and buy well” ratherpurchasing a product that fallsapart or fails to deliver. I happilyrecommend all these products toyou. Phil Janvier M.M.Inst.V.Notes: With thanks to TimConstable, UK & Ireland SalesManager, Rycote MicrophoneWindshields Ltd.www.iov.com Focus Magazine December 2010 23

19d19c19a19bTHE LIST is designed to help qualified IOV members toshare work on a national scale and for potential clients tofind the right kind of videographer for their needs. TheList is divided into geographical areas, as shown above,and specialist work types as listed below...A Corporate, Industrial & Commercial Video ServicesB Wedding, Event & Celebrational Video ServicesC Freelance VideographerD Freelance Audio EngineerE Freelance Lighting TechnicianF Freelance DirectingG Script WritingH Freelance Production AssistantI Presenter and Voice-oversJ Graphic Design & Animation ServicesK Freelance Editing ServicesL TrainingM Broadcast ProductionN Special Interest VideosO Steadicam OperatorP Underwater VideographerScotland North (Area 1a)Iain Johnston M.M.Inst.V.01764 655655 ABCKAlan Rae M.M.Inst.V.01224 703745 ACKNBrian RaeM.M.Inst.V.01224 862100 ACKColin Sinclair M.M.Inst.V.01847 895899 ABCMark Stuart M.M.Inst.V.01224 314999 ABCDJKMNRon Carmichael M.M.Inst.V. 01382 520437Scotland South (Area 1b)James Lundy M.M.Inst.V.01501 739153 ABCFJKMNOGraham Mackay M.M.Inst.V. 01236 730770 ABCGILKMNDouglas Miller M.M.Inst.V. 01555 860382Lee Mulholland M.M.Inst.V. 01294 217382 ABNKen Neil F.Inst.V.0141 883 7168 ABFILMNTony Nimmo M.M.Inst.V01555 661541 ABCPro-Create.Co.Uk *0141 587 1609 ACEFGKJonathan Robertson M.M.Inst.V. 0131 476 5432 ABCKSteve Towle M.M.Inst.V.0845 226 2167 ABCMichael Ward M.M.Inst.V.0141 644 1136 ABCKLAlex Crosbie M.M.Inst.V.01555 665236 ABCDanny Hart M.M.Inst.V.01563 542195 ABTrevor Jenkins M.M.Inst.V. 01334 656922 PGuy Kinder M.M.Inst.V. 0131 221 1697John Lawton M.M.Inst.V.0141 339 1797 ABCKWendy Love F.Inst.V.0141 954 0840 ABNorth East England (Area 2)Andrew Crinson M.M.Inst.V. 07972 801466Chris Gillooly M.M.Inst.V.0191 286 9800 ABCDFMChris Hughes M.M.Inst.V.07779 807538 ABCJKGlenn Huntley M.M.Inst.V.0191 549 3675 ABCFGHJKLMNBrian Jenkinson M.M.Inst.V. 0191 300 6292 ABCFGHJKLMNDavid Pethick M.M.Inst.V.07712 802922 ABCHKLMike Trewhella M.M.Inst.V. 0191 536 6535 ABCFIKNNeil Wood-Mitchell M.M.Inst.V. 0191 270 9063 ABCFHJKNMichael Bell M.M.Inst.V.01325 241821 ABCFKIan Black M.M..Inst.V.01325 718188 ABRoger Brown M.M.Inst.V.07786 705066 ACHIKNAndrew Charlton M.M.Inst.V. 01661 844542 ABCNorth West England (Area 3)David Royle M.M.Inst.V. 01942 7357591a1bPLEASE NOTE: In this listing Qualified Members have declaredtheir own areas of specialisation. The declaration of a worktype should not be regarded as an endorsement by theInstitute of Videography.Ian Sandall M.M.Inst.V. 0161 232 1100Stephen Slattery M.M.Inst.V. 01706 230545 ABCHJKSteven Smith M.M.Inst.V.0161 797 6307 AKNKen Stott M.M.Inst.V. 01282 414073Mike Waring M.M.Inst.V.01704 531576 ABCDLes White M.M.Inst.V.01768 899936 ABCKNDes Williams M.M.Inst.V. 0161 928 7361Tony Williams M.M.Inst.V. 01704 232116 ABCJKChris Abram M.M.Inst.V.01524 736573 ABCNPSteven Abrams F.Inst.V.0151 722 6692 ABCKGraham Baldwin M.M.Inst.V. 01257 264303 ACKDave Barrow M.M.Inst.V. 01254 830823Roy Beaumont Swindlehurst M.M.Inst.V. 01254 679625Paul Cragg M.M.Inst.V.01204 847974 ACFKChris Dell M.M.Inst.V.01772 622522 ABCKMJack Ebden M.M.Inst.V.0161 428 9646 ABCNSteve Edwards M.M.Inst.V. 01942 703166 ABCHJKNNick Farrimond M.M.Inst.V. 01254 830823 CMGavin Gration M.M.Inst.V.0161 637 6838 AKMDave Hall M.M.Inst.V.07927 691454 BDavid Harwood M.M.Inst.V. 01253 763764 B5324b4a6 78 101191314151216 - Channel Is.Thomas Harrington M.M..Inst.V. 0845 389 0039Mark Shipperley M.M.Inst.V. 01844 237857 ABCNMark Higham M.M.Inst.V.01606 889975 BCJohn Snelgrove F.Inst.V.01442 250088 ACFKMPeter Hinkson M.M.Inst.V. 01253 721993 ACKJonathan Ashby M.M.Inst.V. 0845 053 5400 ACFGJKMNJohn Hodgson M.M.Inst.V. 01253 899690 BCDMark Ballantyne M.M.Inst.V. 07734 102538David Howles M.M.Inst.V.01706 657835 ABCDEAnthony Barnett M.M.Inst.V. 01553 776995 AFIKLNPhil Janvier M.M.Inst.V.0151 487 9338 ABCDGN David Blundell F.Inst.V.01234 764883 AJKLThomas Jones M.M.Inst.V.01744 603799 BNRay Burnside M.M.Inst.V.020 7193 0721 ACGIKLNKindred Films *0161 973 8889 BRon Lee F.Inst.V. 01744 29976 ABCGMirage Digital Video Productions * 01253 596900 ABCDFKLMNE. London, Essex & Hertfordshire (Area 11)Gordon Moore M.M.Inst.V.01706 215914 ABCJohn Harding M.M.Inst.V.01206 842607 ABCKJeffrey Mortimer M.M.Inst.V. 01663 762354 BDuncan Hector M.M.Inst.V. 01462 892638Mark Newbolt M.M.Inst.V.01928 733225 ABCKMartin Klein M.M.Inst.V.01707 655895 ABCPeter Parker M.M.Inst.V.01772 611590 ABCKElaine Laurie M.M.Inst.V.020 8502 6198 ABCKNArthur Procter M.M.Inst.V. 0161 427 3626Tony Lench M.M.Inst.V.01702 525353 ACEAnthony Manning M.M.Inst.V. 020 8923 6068 ABCGNHugh Morris M.M.Inst.V.020 8220 6955 FKLNE. Midlands, S. Yorks, Humberside & Lincs. 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M.M.Inst.V. 01676 541892Matthew Derbyshire M.M.Inst.V. 01323 430800 ABCJKMRoger Perry M.M.Inst.V. 01676 541892Leo Ferenc M.M.Inst.V.0800 040 7921 ABCDEFIJKMPBob Sanderson M.M.Inst.V. 01384 271073 AIPaul Finlayson M.M.Inst.V.01372 273527 BCKMichael Shaw M.M.Inst.V. 01782 746553Focal Point Television Ltd*01428 684468 AJMNDaniel Thompson M.M.Inst.V. 07708 506657 ABCFKGHMN Focused Film Ltd* 01428 661913 ACDGJKDavid Wilford M.M.Inst.V.01858 410278 ACGNOBrian Hibbitt M.M.Inst.V.01344 777010 AJNJackie Williams M.M.Inst.V. 01455 848199Neil Hodgson M.M.Inst.V.0118 961 9981 ABKLAVInteractive*01789 761331 ACDKMN Martin Hooper M.M.Inst.V. 023 9225 0618 ABCKLNJohn Felix M.M.Inst.V.01332 737525 ABCKMPeter Howell M.M.Inst.V.01483 765605 ACFKMNSimon Hammond M.M.Inst.V. 01588 638116 ABCFKM Laurie Joyce M.M.Inst.V.0118 947 8333 ABLStephen Hart M.M.Inst.V. 01527 878433Robin Kay M.M.Inst.V.023 9269 7890 ABCFGIKMNThomas Hill M.M.Inst.V. 07780 691809Gerry Lewis M.M.Inst.V.07766 484559 ABCHKNOEast Anglia & 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(Greece) 0030 6937 285789* indicates Corporate MemberBCK24 December 2010 Focus Magazine www.iov.com

ArticleThe eyes have itDoesn’t it annoy you? It annoysme. It happens in just aboutevery TV drama or cinema filmthat I watch that features ascene with a car driver talking toa front seat passenger.The driver, instead ofkeeping his (or her) eyes on theroad, turns his eyes towards thepassenger as he speaks, oftenfixing the passenger with hiseyes for five or six seconds (ormore sometimes!). Next timeyou’re driving a car try this foryourself (actually don’t - it isphysiologically nigh onimpossible to do it unless youhave a death wish).Don’t drama directors drivecars? Or do they think that thisis ‘poetic licence’? Well it isn’tand simply distracts the vieweraway from the drama and into a‘will-he-won’t-he-crash’ mode ofthinking.Strange KeywordsHave you noticed how often youhave to type in a ‘funny’ set ofwords when first registering ona web site for a service orwhatever. I wouldn’t mind if the‘funny’ words were at leasteasily readable but quite oftenthey defeat me and one findsoneself having to re-start theentire registering process all thetime hoping that the next set of‘funny’ words are readable.Maybe it’s just me. But Idon’t think so.Scan scamDuring the trials in Berlin of thevarious 20 July 1944 plottersthe Nazis used to deprive thedefendants of their trouser beltsand so oblige them to standholding up their trousers withtheir hands. It was a form ofhumiliation which appealed tothe Nazi mind set.Flash forward to any modernairport and trouser beltdeprivation is now the norm asone moves through what passesfor airport security. But on ourway back from Turkey recentlymy wife and I experienced anew cynical variation.Having passed through the‘give us yer trouser belt’scanning ordeal and given upour full bottles of water as weentered Antalya airport insouthern Turkey, we made ourway to the departure area. Heremy wife was, to her delight, ableto purchase some more bottlesof water (she gets very thirsty -unlike her husband who has amore camel-like water-retainingcapacity). So we then go toboard the flight home but -would you believe it - we haveto go through another securityscan check. And of course wehave to give up our newlypurchasedwater bottles.No amount of pleading orexplaining would change themind of the security folk.Meanwhile - just yards away -there is the shop that sold usthe bottles without a word ofwarning. As this shop is situatedwithin the departure area theyrip off every single person whobuys their water.Whaddya think of that?Always use yourcheck listThe other day my mother’sphone stopped working. Iwalked around to her flat (she’sonly eight minutes walk away)and carefully checked all herconnections and concluded thatthe fault was with the BTconnection. I advised mymother that I would report thefault and, after discussing herforthcoming 90 th birthday partyat which my little band will beperforming, I went back home.The last time I reported aphone line fault it was a quick,easy and efficient process so itwas with a carefree attitude thatI phoned BT to report the fault.The first disappointment wasthat I had to negotiate anautomated response whichobliges one to press loads ofbuttons including the number ofthe line which has the fault. ThisI did and eventually got ahuman to deal with. I started byexplaining that I was phoning onbehalf of my 89 year oldpartially-sighted mother andthat I was phoning from my ownhome not hers. I added that herphone was completely dead andthat I had carefully checked theconnections and phone socketbefore returning home to makethis call.So his first question was“What is the number of thefaulty phone?” I explained that Ihad already entered this on theirsystem but he insisted that Irepeat it to him.“Are you phoning from thephone with the faulty line?” Iexplained that I was not at mymother’s address and that thephone with the faulty line wasfaulty.His next question was “Canyou please check the phonesocket?” I again explained thatI was not at my mother’saddress and that I had alreadychecked the socket connectionsand found nothing wrong withthem.“Okay can you phone yourmother and ask her to check?” Iexplained that my mother’sphone was dead and that I couldnot therefore call her.“Doesn’t she have a mobilephone that you could call?” Iexplained that as my motherwas partially-sighted she couldnot use a mobile phone and thatin any case it was a little muchto expect a partially-sighted 89year old to go around her flatsearching for a phone socket“Okay I’ll check the line fromthis end. “ A few momentspassed and then “Oh by the waydo you have broadband on yourhome phone?” I declined toanswer this question on thebasis that it had no relevance tomy mother’s faulty phone line.After a few more momentshe advised me that he could notcheck the line as he seemed tohave a problem at his end. Hethen went on to say that hewould pass on the problem tothe regular engineers and that itwould be fixed by Thursday (thiswas Sunday). “Please let mehave your mother’s mobiletelephone number so that wecan text updates to her.”At this point I sighed andrepeated my earlier points andgave him an alternative numberto text. By this time twentyminutes had just flown away.His final parting shot was:“Regarding this call - have youbeen dealt with satisfactorily?”I won’t tell you what myresponse was. Stuart Little M.M.Inst.V.www.iov.com Focus Magazine December 2010 25

CLASSIFIED SECTION CLASSIFIED SECTION CLASSIFIED SECTION CALL KEVIN COOK ON 020 8502 3817 FOR MORE DETAILSEquipment & Service SuppliersAdvertise your Products& Services hereCall 020 8502 3817 or email kevin.cook@iov.co.ukfor more details SALES & WANTS SALES & WANTS SALES & WANTS SALES & WANTS CALL 020 8502 3817 OR ORDER ON-LINE AT WWW.IOV.CO.UKSALES & WANTS RATES: IOV Members - £15.00 Plus VAT per advert Non-Members - £20.00 Plus VAT per advert (maximum of 25 words or thereabouts)Cameras/CamcordersPanasonic camerasPanasonic HMC 151 as new. 40 hoursonly. Bought brand new from Camera-Kit.Cost new £2800 accept £2400 PanasonicHMC 41 as new 18 hours only. Brand newfrom Camera-Kit. Cost new £2300 accept£1900Contact Colin: 01623 409704Email: colin-cooke@ntlworld.com [193]JVC GY-HD201E, W/A lens Converter,MR-HD100JVC GY-HD201E, W/A lens converter, MR-HD100 + mounting kit. Excellent/mintcondition. 19hrs only. Full info online at:www.miradestudios.co.uk/forsale.Contact Mike: 0800 970 6159Email: mike@miradestudios.co.uk [193]Sony HVR-Z5e video camera (3months old) and Vinten Pro 5 tripodExcellent Sony HVR-Z5e video camerapurchased in July 2010 from H Prestonscomplete with heavy duty and standardbattery and Kata rain cover and bag. Notgrey import! Minimum use, transfer ofbusiness activities forces sale. Also,Vinten Pro 5 tripod (approximately 6years old) in excellent working order.Very sturdy and smooth tripod. Based inBlackpool area, but will post by reputablecourier.Contact Colin: 07866 983 820 [193]Email: colin@conceptmediaproductions.co.ukSony DSR 250p DV cameraFull size broadcast DV/mini DV camera,(pal) with v-lock battery + tri pod plate,twin charger and canon wide angle lensadapter. 16:9/4:3 recording, firewire out/in Broadcast quality recording, and inperfect working order £1595Contact Paul: 01372 273527 [192]Email: paul@surreyvideoservices.co.ukComplete kit - Canon XL1 CameraRetirement Sale...Manfrotto Tripod, jibarm, Sennheiser rifle, lapel, Micron radiomics, Lights, stands, cables, Casablancaeditor, extras. [192]Contact Jeff:jeff@highfieldtv.demon.co.ukSony HVR-Z7E Boxed Mint conditionI'm selling a Sony HVR-Z7E HDV 1080iCamera, in absolutely mint condition andextremely well cared for. Also including theMRC1K Compact Flash Memory RecordingUnit for recording tapeless onto CompactFlash cards. Comes boxed and with allcables leads etc, plus Sony Desktop Chargerand an NPF970 High capacity battery. SalePrice: £2,995 Delivery would be £20 forInsured Courier Delivery.Any questions please do email me. [192]Contact Steve: steve@dsvstyle.co.ukSony HD1000e camcorderSony HVR-HD1000e HDV camcorder, alloriginal accessories, full working orderand good condition. Meter reading:operation 3x10, drum run 0x10, tape run0x10, threading 5x10. £850 pleasecontact for details.Contact Kahlid: 07758132197 [192]Email: nawaz786@ntlworld.comSony HVR-Z7 Demo hoursSony HVR-Z7 Demo hours only £3,500.00Boxed. No VAT May take part exchangefor Sony Z1E, or Panasonic HVX-200 orwhat have you.Contact John: 07732-641-839Email: weddingvideos@hotmail.co.ukEaling Green & Bracknell. [192]Canon DM XM2I have a Canon XM2 for sale (used asback-up). This is like new and has 5batteries. Hard case included.Contact David: 01307820770Email: dj.maude@btinternet.com [191]Panasonic 151 avchd CamcorderRecords stunning images in full 1920X1080ior 1920X1080p, 720p etc in SD card. Thiscamera was bought over a year ago from HPreston media, its still under warranty. Ithas 322h total operation, about 100hourrecording time on the head, has been usedby one experience camera operator with duecare, comes with original box andaccessories, excellent condition, with twohigh capacity battery. This was bought for£3.400 on sale for £2000.Contact Siraj: 07957108251 [191]Email: siraj@siraj5.orangehome.co.uk26 December 2010 Focus Magazine www.iov.comMiscellaneousSONY HVR-M35 DIGITAL TAPE DECKMINT CONDITION LOW HOURS. As new inoriginal box with all supplied accessories.Hours: Operation 25x10, Drum Run 14x10,Tape Run 12x10, Threading 71x10. Fullspec available on request. £2,350Contact Graham: 01257 264303 [193]Email: graham@vision4video.co.ukVarious itemsSony DSR-80P DV-Cam Recorder/PlayerVery Low Hours, Immaculate £580-00Panasonic Edit Controller AG-A850Excellent £150-002KW Janiro Ianebeam Light As New,Barn Doors, Lamp, Stand £160-00Contact Peter: 01483-765605 [193]Email: peterch1@tiscali.co.ukSony HVR-MRC1K Card Recording UnitFlash memory recording unit for sale.Mint condition,Boxed as new with cradle,only used for 4 events. Information onthe item can be found at this Sony link:I have decided to stick in the past withtapes rather than memory cards, and sono longer have a need for my Sony HVR-MRC1K flash memory recording unit. Itwas only used for 4 events and is in mintcondition in its original box and includes acrade for use when not clipped onto a Z5camera. Cost £850 a year ago, will sellfor £550 and will include 2 memory cards(32GB and 16GB). (Surrey area)Contact David: 07775-806859 [192]Email: davidluxton@hdvideoproductions.co.ukComplete DV7-DLPRO DV EDITINGSUITE,With DV7DLC hand controller non stopediting with AB roll for multi-cameraeditign, MA-10D speakers and Sony 15"flat monitor. Comes complete with flightcase for DV7 unit. SELL COMPLETE £1600NO OFFERSContact Darren: 07894348712 [192]Email: stepforward552@btinternet.com Call 020 8502 3817 or order on-line at www.iov.co.uk i7 950 GB Computer/Adobe MasterCollection CS4This i7 950 3.1ghz processor running ina full size super cool master OCZ StealthXStreme 700W PSU full size Black tower-120mm 4x12v Rails DVDRW with ASUSP6T-SE X58 Mother Board, 12gb1666mhz corsair ddr3 superfast ram,2samsung tb hard drves,one 500gbsystem drive,1tb ati 5770 graphic card,1pioner dvdrw,1 multi media cardreader,window 7 professional,4 usb 1firewire ports on front,1 firewire1svideo,6usb ports at rear,also withadobe cs4 master coolection with genuine£300 worth of pro dad vitasine specialeffects with it.The system is runningperfectly fine with no issues at all,thereason i am selling this is purly becauseof migration to mac /fcp.This system costme £3.500.Now its £1.600 ono. [192]Contact Siraj: 07957108251VariousDue to retirement - no reasonable offerrefused for all or part of the following. Allin excellent condition. 1-to-7 DVD copier,Panasonic DV1000 Editing Machines(records mini & full-size DV and playsDVCAM), Sennheiser EW100 camerareceivers - 1 x Body Transmitter andLapel Mic - SKP100 Plug-on Transmitter &hand-held mic. Lots more!Contact Bill: 0161 798 0102 [190]Mobile: 07913840807Email: hazeljay46@hotmail.co.uk3x Arri Redhead Lighting Kit + CaseIncludes: 3 x 800w Arri Heads, 3 x SafetyGuards, 3 x Barn Door, 3 x TripodStands, 1 x Case – Hardly used £800Contact David: 01752 510999 [190]Email: davidj@encoreproductions.co.ukVariousSONY HVR-HD1000E camcorder, MatroxRT100 Extreme card, Casablanca AvioDVD Dv, pro pak, smart edit 8, NikonD3000 body only, contact for details.Contact Kahlid: 07758132197 [190]Email: nawaz786@ntlworld.com