Page 01.pub - Institute of Videography

The official publication of the Institute of Videography Issue 150 - July 2007 - £3.50 

also this 

month 

Cartoni 

Hi-DV tripod 

review 

By 

Jim Panks 

Sony 

Cinescore 

music 

creation 

By 

Phil Janvier 

An 

introduction 

to 

Podcasting 

By 

Neil Fairbrother 

INSTITUTE OF 

VIDEOGRAPHY

Foreword 

INSTITUTE OF 

VIDEOGRAPHY 

Contacts 

Administration 

& Membership Enquiries 

PO Box 625, Loughton, 

Essex IG10 3GZ United Kingdom 

e: info@iov.co.uk 

t: 0845 741 3626 (UK) 

t: +44 (0) 20 8502 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 F.Inst.V. 

2 Ingledene Road, 

Liverpool L18 3HJ 

e: steve.abrams@iov.co.uk 

t: 0151 722 6692 

Arbitration Officer 


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. 



Peter Snell M.M.Inst.V. 

Mark Quinn 


Janet Fenton (Corp. Member) 

Published By: 

IOV FOCUS Ltd 

174 Roding Road, Loughton, 

Essex IG10 3BS United Kingdom 

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. 

IOV2007, IOV2008 and IOV2009 

are trading names for 

IOV Focus Ltd 

Learning Curve 

The IOV’s Core Competencies 

project (I’ll call it CC from now 

on!) is now well underway. For 

those that have no idea of what 

I’m talking about, the CC project 

is the beginning of the IOV 

defining what the industry 

considers to be the basic 

knowledge set of a professional 

videographer. This is something 

that has never been attempted 

before as far as I know so it’s a 

very brave act indeed. 

We started with a range of 

multiple choice questions and 

then set about developing study 

material leading to the answer. 

This might seem like an illogical 

way to approach this as one 

would normally start with the 

study material and then develop 

the questions. However, we’ve 

started by looking at the 

common questions posed by 

videographers and IOV 

members. We’ve also looked at 

things that members most 

commonly fail their Assessment 

on - and then added some 

questions that we think they 

should be asking. Once the 

study material is signed off by 

the volunteers working on the 

project (about 30 members) and 

any holes in knowledge have 

been filled in, we can then look 

once again at the questions and 

means of testing that knowledge. 

Based on the original set of 

questions, the cameracraft and 

audio sections are pretty much 

completed. In each case we’ve 

developed the study material in a 

way that it can be partly or 

entirely demonstrated using 

video. Essentially, each part of 

the study material is a short 

video documentary - so at some 

stage it will have to be shot, 

edited and formatted according 

to the delivery medium we finally 

decide upon (DVD, book/CD, 

online, interactive DVD, etc). 

This Month 

The Cook 

Retort 

I’ve no doubt that at 

some stage the IOV 

will be looking for 

external sponsorship for the 

production and delivery of this. 

So manufacturers be warned, 

you’ll be getting a begging letter 

in the not too distant future! 

Quite where this will all end is 

still up for debate. Personally, I’m 

in support of a new level of 

membership which is attained 

once a member has been able to 

demonstrate their knowledge of 

the CC (with some additional 

benefits over and above an 

ordinary member). Not only will it 

prove useful for those hungry for 

information, it will also provide 

them with a path of learning and 

progression towards full IOV 

qualification. But, as I said, that’s 

only my personal view and the 

conclusion to this work has not 

been ratified. In addition, I also 

believe the CC material could sit 

well with other training 

establishments - schools, colleges 

or anyone in the business of 

preparing students for the real-life 

world of professional videography. 

Once we have the study 

material completed in written 

form there will be another stage 

of development and consultation 

with IOV members. This would 

be before we commit anything to 

video as that’s when it starts to 

involve cost. 

Regardless of which way this 

develops, I think we are quite well 

advanced in producing something 

that will be yet another benefit of 

IOV membership. Our sincere 

and continued thanks go to all 

those working on this for the 

benefit of all. 

FEATURES 

14 I-pod U-pod 

Neil Fairbrother gives an introduction to podcasting 

16 All-round Support 

Jim Panks reviews the Cartoni Hi-DV tripod 

18 V1 Shootout 

Stuart Little compares the Sony V1 with the Z1, A1 and JVC’s HD101 

22 Video Artisan 

Advice on archiving projects and stock material 

REGULAR ITEMS 

5 IOV News IOV and Industry News plus Local IOV Meeting reports 

12 Web-Wise Developing your Website Strategy by Chris Rees 

20 Audio File Phil Janvier’s column on all things audio 

25 Classified Ads Sales & Wants / Products & Services 

27 Trade Directory Subscribing Manufacturers & Suppliers 

30 The List The Register of Qualified Members 

Kevin Cook 

www.iov.com Focus Magazine July 2007 3

Industry News 

IOV News 

Industry, Technology & Regional News 

Anti-Dumping 

Complaint Withdrawn 

The IOV has received notice 

that the EU is almost 

definitely going to end its 

anti-dumping investigation 

into television cameras 

manufactured in Japan. 

The announcement followed 

shortly after Grass Valley 

withdrew their complaint to the 

EU. This complaint was an 

extension to an existing import 

duty placed on all studio-type 

cameras from Japan which has 

been in place since 1994. Not 

only did their amended complaint 

cover cameras within the original 

scope, but they also extended 

this to include a much wider 

range of cameras. From the 

description placed before the EU, 

this could have included pretty 

much every camera at 

professional-level too. 

Following the complaint 

withdrawal, the EU Advisory 

Committee recommended that 

the investigation was ended - 

which at time of press was 

pending final ratification by the 

EU ministers. The IOV’s contact 

at the EU has indicated that this 

is slightly more than just a 

formality, but every indication 

would suggest that the ministers 

will accept the withdrawal. 

Subject to this final stage of 

proceedings, not only will this 

terminate the amended 

complaint but it will also put an 

end to the original duties on TV 

studio type cameras. 

As the scope of products in 

the amended complaint could 

have included most cameras 

used by professional 

videographers, the IOV were 

involved in the petition against 

these import duties from an early 

stage. This included giving a 

presentation in association with 

JVC to the EU’s investigating 

team in Brussels. 

It appeared clear to the IOV 

from that meeting that there was 

a high probability that the 

wording on the amended 

complaint would have resulted in 

additional duties being imposed 

on professional-level camcorders 

as the investigating team at this 

stage were unable to 

differentiate between the 

capabilities of a fully-blown 

broadcast specification camera 

and a simple camcorder. 

JVC Professional Europe’s 

Chief Executive Officer, Keisuke 

Yoshikawa has since written to 

the IOV to thank them for their 

involvement: “We are convinced 

that the support you gave to us 

during our lobbying activity to 

the Commission and member 

states has made a significant and 

positive influence to this final 

outcome.” 

Whilst this whole episode has 

caused a considerable amount of 

work and concern for the IOV, 

we are grateful to Grass Valley 

for finally withdrawing their 

complaint. Whilst it might not 

have been their intention, we 

believe it would have had a very 

negative impact on the 

development of the videography 

industry. We are also very 

grateful to JVC and the other 

Japanese manufacturers for their 

efforts in bringing this to a 

conclusion. We appreciate that 

fighting this must have 

consumed a considerable amount 

of their time and funds. 

The IOV would especially like 

to thank all of its members who 

supported them in this by writing 

to their MPs directly and by 

completing the IOV’s precomposed 

letter to the EU. We 

are sure this had an influence on 

the outcome. 

Whilst it is not always 

possible to spot legislation that 

might impact on our market, the 

IOV would be pleased to get 

involved in any future campaigns 

of this nature. If you believe 

that a legislative change has the 

potential to either damage or 

enhance our industry, the IOV 

would be grateful to hear about 

it. In the first instance, please 

contact me via the email address 

provided below. 


IOV Executive Administrator 

kevin.cook@iov.co.uk 


Industry News 

New P2HD Professional Series Workhorse 

Panasonic has extended its P2HD 

Professional Series with the 

release of the AG-HPX500 

Memory Card Camera-Recorder, 

a 2/3-inch camcorder. This unit 

is a natural evolution from the 

HVX200 and brings value, 

quality, and flexibility to IT/HD 

content acquisition. Aimed at 

the global professional video 

production market, the AG- 

HPX500 is a true workhorse, 

featuring full production 

functionality with three 

exceptionally 

sensitive 

CCDs, support for DVCPRO HD 

and SD formats, 4:2:2 sampling, 

and independent frame encoding. 

The AG-HPX500 is equipped 

with everything professionals 

need to create high-quality 

content. The camcorder’s 

bayonet-type lens mount accepts 

a variety of professional lenses, 

including the 2/3-inch zoom 

lenses that allow the operator to 

capture the shallower depth of 

field often used in professional 

video. The camcorder’s 2/3-inch 

progressive 3CCD system features 

a large light-receiving area that 

promises incomparable sensitivity, 

and its ability to scan at full 

1080/50 (or 60) progressive 

frames per second provides the 

capture quality critical for 

professional-grade production. A 

high-performance DSP 

with 14-bit A/D 

conversion and 19-bit 

inner processing 

provides superior 

image quality in 

subsequent P/I 

conversion, line conversion, or 

down conversion to the 

appropriate format. 

With user-selectable 60Hz and 

50Hz operation and support for 

1080i/720p/480i/576i HD and SD 

formats, the AG-HPX500 

accommodates broadcast 

standards and formats used 

worldwide for news production, 

dramatic series production, 

independent filmmaking, and 

other demanding video 

productions. The camera 

provides a choice of DVCPRO50, 

DVCPRO, and DV video quality 

for SD recording and relies on 

the well-established DVCPRO HD 

codec for first-rate 1080i/720p 

HD recording. 

When the AG-HPX500 is used 

in 720p mode, its frame rate can 

be set from the conventional 

25p/30p to any of 11 steps 

between 12p and 50p (or 60p). 

This variable frame rate 

functionality allows for a truly 

cinematic quality, with higherrate 

shooting used to add drama 

to fast-moving scenes or lowerrate 

shooting used in 

combination with a slow shutter 

speed to emphasize slower, more 

fluid movement. Like 

Panasonic’s VariCam HD Cinema 

camera, the AG-HPX500 

allows for creation of 

fast-motion and 

slow-motion effects 

through 

undercranking and 

overcranking 

effects adapted 

from film cameras. 

When paired with 

production HD 

lenses, these 

capabilities aim to 

make the AG-HPX500 the 

most versatile camcorder in its 

class. 

Eight gamma modes give AG- 

HPX500 users greater creative 

latitude in different shooting 

scenarios. Among these settings 

are two Cine-Like Gamma modes 

which offer the warm tone 

characteristic of film, and a News 

Gamma function which ensures 

crisp detail needed for news 

gathering and highlights. During 

recording in 1080/24p or 

480/24p at 60 Hz, the camera 

offers a 24pA (advanced) mode 

that performs 60i conversion 

using 2:3:3:2 pulldown, rather 

than 24p with 2:3 pulldown, and 

thus maintains higher image 

quality in nonlinear editing. 

Panasonic’s P2HD product line 

features solid-state reliability 

that makes the AG-HPX500 

resistant to the 

usual wear-and-tear 

and environmental 

threats that can 

cause dropouts, 

missing timecodes, 

or other damage. 

The camera holds up to four P2 

cards for recording times ranging 

from 64 minutes in DVCPRO HD 

in 50p/50i or 128 minutes in 

25pN to 256 minutes in DVCPRO. 

These figures are based on 16- 

GB P2 cards. Key interfaces 

include IEEE1394, USB 2.0, HD 

SDI/SDI, analogue, component, 

and four audio XLR inputs. The 

camera provides instant access 

to media, is supported by all 

major nonlinear editing systems 

and workflow products, and 

brings high-quality IT/HD 

production into the reach of 

productions from all areas of 

content creation. 

For further details contact 

Panasonic Business Systems direct - 

see Video Manufacturers in Trade 

Directory on page 29. 

Penridge extend GX1 Offer 

So successful was the spring 

promotion of Microboards’ all in 

one CD/DVD copier printer, the 

GX1, that Penridge Multi- 

Media are repeating the 

offer until the end of July 

- but with a further £100 

saving to IOV members, 

making the new net price 

just £1,099 (was £1290). 

The GX1 is a compact 

desktop unit but nevertheless 

manufactured to a very high 

standard. The quality of 

manufacture is evident and as 

Nik Phillips of Penridge says: 

"The carton it arrives in speaks 

of quality as soon as you open 

the container. The GX1 copies 

and prints up to 50 DVD or CD's 

at a time and the print quality is 

superb!” 

The GX-1 bears some 

similarities to previous offerings 

from Microboards in that it 

incorporates its patented auto 

loading technology and HP’s 

george Light 

‘george’ is a lightweight and 

versatile, high output, LED 

ringlight system - designed for 

drama, commercial and 

photographic applications. The 

george 3200K and 5600K white 

light source, is a 

versatile, lightweight 

and portable LED 

ringlight providing all 

the benefits of solidstate 

illumination for 

drama, commercials 

and pop promos, 

where full dimming is 

required. It is 

equally at home on 

tripod, crane or 

Steadicam, where 

instant start, wireless 

control and low heat 

is paramount. 

George is designed to 

accommodate the larger front 

element zoom lenses and fits 

quickly and easily onto standard 

matte box rails without clamps or 

brackets. A unique, robust and 

simple mounting method for 

accessories, allows easy 

alignment and mounting of lens 

frames and diffusion rings. 

The george ringlight system 

comes from the makers of 

kisslite, launched in 2004, which 

is building a considerable 

reputation and following at the 

high end of drama, commercial 

and documentary making on film 

and video, with kits in use all 

over the world. 

popular inkjet printing 

technology. But it is unique in 

that it utilises Vivera - HP’s latest 

ink technology - to offer 

highly brilliant and vibrant 

colours, while having an 

entry-level cost and a 

very compact desktop 

footprint. The ‘tiny’ 

footprint of 11½ inches 

wide makes the GX-1 ideal 

for kiosks and small business 

users. The GX-1 ships with all of 

the necessary software for 

operation, including its core 

recording and label design 

software. It comes standard 

with a one year warranty and a 

starter kit of blank discs and ink. 

Penridge has demo machines in 

stock alongside other printers 

and copiers - for a demonstration 

just ring Nik on 01527 861911. 

For further details contact Penridge 

Multi Media direct - see DVD 

Duplication Equipment in Trade 


Key specifications include: 

mounts on ARRI 19mm bars, 

ARRI 15mm bars, Panavision PV 

bars with no brackets nor 

adaptors; voltage input range of 

12V to 40V DC; ballast weight of 

430g (dimensions are 210 x 95 x 

60mm); and lamp weight of 

750g (dimensions are 350mm x 

350mm x 18 mm). Accessories 

include: spot lens frame; clear 

gel holder; diffusion ring; gel 

cutting template; AC mains 

supply unit; and wireless remote 

control option. 

George is controllable by the 

kisslite wireless dimmer, 

providing control of on/off, 

sectors and dimming from up to 

200m via EU and US licence-free 

frequencies. George is due to 

be launched into Europe at IBC 

in September. 

For further details contact Cirro Lite 

Europe direct - see Lighting in Trade 


6 July 2007 Focus Magazine www.iov.com

Industry News 

No Mercy in Format Warfare 

The format trade is now worth 

well over €2 billion per annum 

worldwide, and its value grows 

steadily. The American Idol 

format alone was recently valued 

at $2.5 billion. Despite these 

remarkable numbers, and the 

vast sums of money that change 

hands daily in licence fees for 

television formats, the law in this 

area remains far from certain. 

There is still no statutory 

recognition anywhere in the 

world for this immensely valuable 

species of intellectual property. 

Until legislatures find time to 

make amendments to their 

copyright statutes to include 

formats as a species of copyright 

work, we must continue to draw 

lessons from the litigation there is 

on this subject. A body of 

international case law is building 

up which will enable the television 

industry - and the specialist 

lawyers that serve it - to advise 

on this difficult area of the law. 

The first specific recognition by 

any court of the existence of the 

format in an unscripted 

broadcast programme (in that 

case it was a radio programme) 

was in 2001 by the Supreme 

Court of Hungary. Since then 

decisions by courts in a number 

of countries including Holland 

and Brazil have confirmed that in 

appropriate circumstances a 

court will afford protection to 

television formats. 

The leading champion of format 

rights protection has been 

Endemol, which has recognized 

that it cannot expect broadcasters 

to pay licence fees for formats 

which Endemol will not protect by 

policing them worldwide. 

Endemol has recognized the 

commercial importance of an 

uncompromising attitude to 

infringers, and has brought 

groundbreaking actions around 

the world to protect the value in 

its formats. The most recent 

action was in Malta. 

After a tense legal battle, on 2 

May a Maltese court ruled in 

Endemol International's favour in 

its proceedings against the 

broadcasters and producers of L- 

iSpjun, a copycat version of the 

international hit format, Big 

Brother. The offending series was 

broadcast on Malta's national 

television station, Public 

Broadcasting Services (TVM), and 

Melita Cable TV, and was streamed 

live on Go Mobile on its cellular 

phone network. Watermelon 

Media & Communications and P&D 

Communications were the 

producers of the series. 

Endemol had filed a claim 

against the broadcasters and 

producers behind L-iSpjun, 

claiming its intellectual property 

rights in the Big Brother format 

had been infringed. Endemol 

had demanded that the 

derivative show be pulled and 

was also seeking unspecified 

damages against the producers. 

At the end of April, as part of the 

legal process, Endemol filed a 

series of precautionary warrants 

against all parties involved. 

The Maltese court upheld these 

warrants and ordered the seizure 

of the TV studio equipment, 

props, tapes and other devices 

used as part of the production of 

the show, as well as freezing 

other assets of the defendants, 

including bank accounts. 

According to reports in the 

Maltese media there was a "ping 

pong legal battle" with the local 

producers persuading the court 

to sit in the evening in an 

attempt to keep their show on 

air. In the end the show was 

dropped in the face of Endemol's 

concerted legal action. 

Wim Hoen, the intellectual 

property rights manager at 

Endemol International, 

commented: "We're delighted 

with the Maltese Courts' decision 

which fully vindicates our view 

that this production was in breach 

of our rights. We hope this sends 

a clear message that this kind of 

infringement will not be tolerated 

and will be acted upon." 

How then do you give yourself 

the best chance of protecting 

your format as a copyright work 

What do you do if you find that 

you are developing a format 

which is too close to another 

format for comfort What do you 

do about copycats in your own 

territory or overseas The 

International Format Lawyers 

Association (www.ifla.tv) offers a 

practical seminar which answers 

those questions. 

If you would like further information 

please contact Stephanie Taylor 

(stephanie.taylor@swanturton.com / 

+44 20 7520 9589).

Industry News 

Voiceover Soundbeds & Pop World 

AKM Music, the UK-based 

producer of quality Royalty Free 

Music, has won a prestigious 

award at this year’s UK Trade & 

Investment Awards in the West 

Midlands. The company has 

been recognised for its 

achievements as an exporter of 

music services 

to over 46 new 

overseas 

markets, 

winning the 

award in the 

Best Small 

Exporter of the 

Year category. 

AKM is also 

pleased to add two new CDs 

to its library. 

Voiceover Soundbeds 

(AK071 ) is a vast collection of 

very usable underscores that are 

perfect for nestling underneath a 

voiceover. The tracks are 

unobtrusive but crucially add 

pace and interest to a 

production. Cleverly, each track 

has been composed to allow 

easy-to-locate loop points 

enabling the producer to extend 

the tracks to a length to fit the 

DVD on the Fly 

The latest portable DVD player 

from Sony claims to combine 

superb picture quality with an 

innovative yet highly practical 

design. The DVP-FX850 features 

an eye-pleasing and stylish 

clamshell case which is easily 

portable but also robust. Once 

you open the screen, the 

specially articulated hinge lets it 

move through a full 180 degrees, 

making it a supremely versatile 

DVD player that can be set up 

perfectly just about anywhere. 

“Essentially what the DVP-FX850 

gives you is freedom,” says Hiro 

Shinohara, Director Home Video. “It 

can go anywhere, you can set it up 

in seconds, and it has great battery 

life, so it just keeps on going.” 

Every aspect of the DVP-FX850 

has been carefully considered, 

from the twin headphone outputs 

for easy sharing to the scratchresistant 

coating on the 8- inch 

widescreen display. Even the 

heart of the system is out of the 

ordinary - a high performance 

12-bit 108MHz video DAC more 

typical of a full-size domestic 

duration of the scene. A 

separate end music cue is also 

given to allow an easy to use 

conclusion section. 

The second CD is Pop World 

Volume 2 (AK072). This CD 

offers more up to the minute pop 

instrumental tracks with 

underscores and stings. The 

music is exciting, fresh and is 

a must-have for any youthful 

or action visuals. 

Readers of 

Focus can for a 

limited period 

order these CDs 

at a special 

discounted price. 

Until 1st August 

2007 readers can 

purchase the 

audio CD for only £28.00 (normal 

price £32.95) and the CD-ROM 

version for only £31.00. Offer 

price includes VAT and postage 

and packing. For overseas orders 

please add £2 to cover postage. 

To take advantage of this offer call 

01926 864068 and quote this article. 

All AKM Music's tracks can be 

previewed and purchased at 

www.akmmusic.co.uk. 

DVD player, meaning supersmooth, 

artefact-free playback. 

When it comes to audio, 

powerful, integrated stereo 

speakers generate clear, detailed 

audio with plenty of punch to 

cope with ambient noise. 

Wherever you are there’s a 

good chance you’ll appreciate the 

inclusion of a USB port. Plug in a 

camera or a music player or just 

a key-ring memory device and 

you can use the DVP-FX850 to 

look at digital photos or even 

listen to MP3s. 

DVP-FX850 key features 

include: high resolution 8-inch 

Wide Screen TFT; 180° swivel 

display; 6 hour battery life; USB 

port for JPEG/MP3 playback; 

DVD+RW/+R/-R DL/-RW/-R 

playback; 8cm DVD+RW/-RW/-R 

playback; DVD-RW/-R VR mode 

(with CPRM) playback; DVD-R DL 

video mode playback; 8cm DVD- 

RW VR mode playback; MP3 & 

JPEG playback (CD-RW/-R, 

DVD+RW/+R/-RW/-R); DivX 

playback (CD-RW/-R, DVD+RW/ 

+R/-RW/-R); multi-speed smooth 

scan (search: FWD/REV) DVD (3 

steps); multi-speed slow motion 

(FWD) DVD (3 steps); audio/video 

I/O jack (mini); digital audio 

output (stereo mini jack); high 

quality 12bit/108MHz DAC; 

worldwide PSU (100V - 240V 

AC ); and twin headphone jacks. 

For more information please contact: 

Chika Yoshida, Sony Europe 

+44 (0) 1932 81 6529/ 

chika.yoshida@eu.sony.com. 

Assessment Results 

The Assessment Panel met on 13 

June 2007 when the following 

awards were made: 

Master Membership 

(Fellowship Recommendation) 

Alan Rae M.M.Inst.V. 

(Aberdeen, Scotland) 

Master Membership 

John Doran M.M.Inst.V. 

(Co Antrim, Northern Ireland) 

David Pethick M.M.Inst.V. 

(Whitley Bay, Tyne & Wear) 

Chris Towndrow M.M.Inst.V. 

(Cobham, Surrey) 

Eric Montague M.M.Inst.V. 

(Salisbury, Wiltshire) 

Congratulations to all the above. 

A few pointers about filling in 

your application forms, though. 

Please ensure that you complete 

your assessment application form 

as fully as possible. Among others, 

the parts which are commonly 

ignored are what camera was 

used, and what aspect ratio it was 

shot in. This information may 

appear somewhat superfluous, and 

that the aspect ratio of a 

programme should be obvious, but 

this is not always the case! 

Also, please ensure that you 

include a clearly written active email 

address and that your Inbox is not 

full up and unable to receive 

incoming mail. Pre-assessment 

correspondence, including 

acknowledgement of receipt of your 

application, is only dealt with by 

email. If you do not include a 

contact email then you will not know 

whether your application has been 

received, nor will you be informed of 

the actual date on which the 

assessment is to take place. 

While I am on the subject of 

actual dates of meetings, you 

should be aware that the 

Assessment Panel meets as close as 

possible to each cut-off date. 

However, due to a generally heavy 

work load and various other 

commitments of all panel members, 

this is only as soon as is practically 

possible. I often get contacted by 

worried members thinking their 

work hasn’t been assessed when 

they do not hear anything within a 

couple of days of the cut-off date! 

Finally, if you have any queries or 

questions about assessments in 

general or your application in 

particular, please convey them to 

me either by email to 

chris.waterlow@iov.co.uk or by snail 

mail. As some of you will know, 

owing to my workload, I am very 

rarely around to take phone calls, 

so emails are usually the surest way 

to get hold of me and I will reply to 

them as soon as I am able. 

The next cut-off date is 31 July 

2007. Any work not received by 

that date will not be included in the 

August meeting – no exceptions! 

Remember, the cut-off date is not 

to be considered the last day of 

posting; regardless of when the 

panel is actually able to convene! 


Assessment Administrator 

chris.waterlow@iov.co.uk 


Industry News 

Local IOV News 

East Anglia & A1 Corridor 

By Malcolm Wooldridge 

We have had a reshuffle in Area 

7 and the result is a ‘team’ to run 

regular meetings. I have taken 

over the Area Rep job and many 

thanks to Bill Platts for all his 

efforts over the last four years. 

The team is comprised of Bill 

Platts, John Morrison and myself. 

After our initial meeting it was 

decided to hold an area meeting 

on the first Tuesday of every 

month with the first one on 

Tuesday 3rd July at 7.30, when 

we intend to show the 2006 IOV 

Awards winners DVD. As we 

S. Yorks, 

Humberside & 

Lincs. 

By Jim Panks 

Firstly thanks to 

those that 

attended from 

afar last 

Wednesday. The 

conversations 

were so good we never moved 

from the bar! 

We had double the numbers 

and if this continues I will be 

arranging some guest speakers 

have to be self-financing in the 

region, we thought a contribution 

of £2 per meeting would cover 

refreshments and any other 

expenses. This is open to 

discussion at the first meeting. 

At this point I must give a 

big thanks to Peter Harman of 

Vinten at Bury St Edmunds who 

has offered us the use of a 

room at their factory for the 

next twelve months. This is 

almost at the dead centre of 

our region, directly off the A14 

with easy access from the A12, 

M11 and A14. 

which will make a difference. 

The input to the meeting 

was excellent, subjects covered 

included weddings, SIV's, what 

cameras members used, lighting 

and audio issues and all the 

normal videographer chat. 

Everyone left with a little 

more knowledge and some new 

friends and possible business 

opportunities. 

The members requested that 

we study some of their work at 

the next meeting, which we will. 

Also with a bit of luck we will be 

Please come along and support 

this re-launch as it is in 

everyone’s best interests to have 

an active and informative region. 

We have started to put together 

a programme, and for the second 

meeting (7th August) Kevin Cook 

has kindly offered to come and 

talk to us on the subject of 

quoting for corporate videos. I 

am putting together an email 

circulation list to send out a 

reminder to you all in advance of 

every meeting. We look forward 

to seeing as many of you as 

possible on the 3rd. 

in a position to demo the latest 

Final Cut Pro features and 

continue our discussion about 

producing an SIV. 

So, once again thanks to 

those that attended, and to 

those that didn't - you don't 

know what you missed! But we 

would like to see you so come 

along next time! Several 

members who live close to each 

other are arranging car sharing 

which makes it even better. 

Drop me an email if this is of 

interest. 

Find out about Local 

Meetings in your Area... 

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 862100 

Scotland South 

Tony Nimmo - tony.nimmo@iov.co.uk 

01555 661541 

North East England 

Mike Trewhella - mike.trewhella@iov.co.uk 

0191 536 6535 

North West England 

Phil Janvier - phil.janvier@iov.co.uk 

0151 487 9338 

S. Yorks, Humberside & Lincs. 

Jim Panks - jim.panks@iov.co.uk 

0845 838 1519 

North & West Yorkshire 

Roger Staniland - roger.staniland@iov.co.uk 

07970 235156 

West London, 

Middlesex & 

Herts. 

By Emerson Bovell 

Paul French, 

entrepreneur, 

networking guru 

and IOV member 

travelled over 

100 miles to give 

us a presentation on Business 

Building. 

North & West 

Yorkshire. 

By Roger 

Staniland 

A slightly 

disappointing 

attendance of 

10 members 

and guests were 

entertained by an extremely 

interesting and informative talk 

on tax and accountancy by two 

partners of the Leeds firm 

Henton & Co, a long established 

and ambitious firm of Chartered 

Accountants based in Leeds. 

Simon Gray joined Henton & 

Co. as Tax Partner in February 

2006. Simon is a Chartered 

Accountant and Chartered Tax 

Adviser and is also a qualified 

accountant in the US. Simon’s 

specialist areas include: 

• The tax issues surrounding 

SMEs and their directors / 

shareholders 

An above average membership 

attendance used the opportunity 

to network before we got down to 

the main topic of the evening. 

Paul then went through the 

various stages of business 

building from getting started, 

funding, time management, 

marketing, cash flow, networking 

and exit. 

The meeting was very 

informative with members firing 

• US tax and US accounting rules 

• French & Spanish tax 

• International Financial 

Reporting 

• Standards (IFRS) and the 

associated tax implications 

He gave an informative talk on 

many matters regarding setting 

up a new business, be it either a 

sole trader or a limited company. 

Giving some extremely useful 

pointers on how to reduce a 

businesses tax burden and the 

problems with regard to 

employing other people. 

Arif Ahmad qualified as a 

Chartered Accountant with a local 

West Yorkshire practice in 1998. 

After leaving the local practice Arif 

spent two years working with Ernst 

& Young (Leeds). Arif's areas of 

expertise include dealing with 

owner managed and 

entrepreneurial businesses. Arif 

says: "I enjoy charity fund-raising 

events and family life." 

Arif gave some excellent 

quite a few questions at Paul. 

One of the tips Paul shared with 

us was to wear your name badge 

on the right when attending 

networking meetings. This makes 

the badge more visible to 

someone you are talking with. 

Well after the meeting 

formally ended members were still 

networking and exchanging 

business cards. This shows the 

value of attending local meeting. 

advice on accountancy, and the 

supply of information required by 

an accountant which again will 

reduce accountancy costs. He 

explained the use of online 

return of information to the 

Inland Revenue, keeping in 

contact with your accountant to 

discuss business development 

during the year and not just at 

the year end. 

Other subjects he covered 

were borrowing money and the 

relationship between the various 

departments within Hentons. 

Many thanks must go to both 

Simon and Arif for coming out to 

the Fox & Grapes to give an 

insight into the world of finance. 

Thanks must also go to Del 

Sagoo for making the initial 

arrangements for this meeting. 

The next meeting will be on 

11th July 2007 when Jason 

Criddle of JCE Electronic 

Solutions will gives us an insight 

into - ‘Looking after your [video] 

equipment’. 

North Wales & Borders 

Rowland Barker - rowland.barker@iov.co.uk 

01490 430507 

Midlands 

To be announced... 

East Anglia & A1 Corridor 

Malcolm Wooldridge - 01493 782174 

malcolm.wooldridge@iov.co.uk 

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 

To be announced... 

Dorset, Wiltshire & Hampshire 

Colin North - colin.north@iov.co.uk 

01725 511688 

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 

John Doran - john.doran@iov.co.uk 

028 902 00736 

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) 


Scotland South 

By Tony Nimmo 

John Lawton 

took us through 

his journey on 

gaining his 

M.M.Inst.V. this 

month and it 

certainly made 

for stimulating 

conversation. 

John refreshed our memories 

North East 

England 

By Andy Charlton 

May’s meeting 

looked like it 

might start with 

more presenters 

than delegates, 

with three 

companies 

making representation! However 

members and non members alike 

again showed their support with 

a good turnout. 

First up, a presentation from 

Chris of Planet PC with a 

Oxfordshire, 

M1 Corridor & 

NW London 

By Anthony 

Barnett 

High Definition 

was the subject 

that attracted 

members to 

travel to our 

very pleasant new venue - the 

Juliet Room at The Shakespeare 

Hotel, Bedford. Our very own 

Area 10 Fellow member - David J 

Blundell F.inst.V. FACI - was our 

guest presenter leading us to ask 

him a unanimous pressing 

question at the end: “When could 

he come again to demonstrate 

and share more of his HD 

experience!” 

David had prepared a 

thorough overview of the current 

HD consumer market place 

keeping us engrossed with his 

technical 

knowledge 

and examples 

of his HDV 

footage 

authored/ 

written as 

HD-DVDs in 

Final Cut 

Studio and 

played from 

his Toshiba E1 HD DVD player 

that had required, as he 

explained, a free upgrade 

firmware from Toshiba for him to 

play the HD-DVDs he presented 

on the Sony Bravia HD TV. 

It was from this that David’s 

presentation took its theme – our 

clients’ current equipment 

inability to show HD from HD- 

DVD or Blu-Ray authored discs. 

Often the HD consumer wide 

screen TV (plasma or LCD) is 

with his first submission and then 

we compared our own panel’s 

notes with the official panels. 

John’s own reaction was that 

when you sit down and look 

critically at your own work you 

will see that the Assessment 

Panel do know what they are 

talking about! 

We then viewed the 

successful submission and John 

pointed out the differences in 

demonstration of Premier 2 Pro 

and the Matrox RTX2 showing its 

real-time capabilities and effects 

with a mix of HD and SD content 

on the same timeline. 

This was followed by Nigel 

from JVC with the latest kit 

available in their range to 

capture and play back HD 

footage. 

Next, a rather revealing 

presentation by Michael of 

Reflecmedia. This was a rather 

jaw dropping demonstration of 

the art of chroma keying using a 

purchased at great expense and 

assumed, by the majority, to be 

playing your DVDs in true HD 

format. No - your SD DVDs 

require ‘upscaling’ at least! Just 

upscale your SD DVD demo to 

your clients ‘HD Ready’ TV - not 

a fortune! Great sales aid ! 

Curry’s are selling a Philips 

DVP5982 up-scaling DVD Player 

for about £55 that upscales SD 

to near HD-DVD quality using an 

HDMI link – but very few of our 

clients will be either going down 

that route, or just ‘don’t know’ 

and even fewer investing in an 

HD DVD player – especially with 

the ‘Blue Ray’ parallel issues. 

So why bother filming in HDV 

now One immediate selling 

point to all wedding 

videographers should be the 

superb quality of prints that can 

be created from the nonlinear 

moving image timeline. This in 

itself could render the need for a 

stills photographer at such an 

event unnecessary – an album of 

less self conscious portraits could 

be compiled increasing the 

wedding videographers piece of 

the wedding cake. 

Quoting from “Video Shooter, 

sound, compulsory shots and 

graphic changes that had been 

done and how this affected his 

marking. 

In closing, John’s advice is to 

take time to read the 

requirements of assessment 

properly, get the basics right and 

then you won’t go far wrong. 

Which, if I’m not mistaken, is 

pretty much what Chris Waterlow 

has been saying all along! 

combination of their special 

screen called ‘Chromflex’ and a 

light ring attached to the 

cameras lens. The result has to 

be seen to be believed! 

Finally, Andrew of Planet PC 

gave a talk on web streaming 

and various methods used to 

achieve effective streaming of 

your media content to potential 

audiences. 

Another great night with 

something for everyone and 

huge thanks to all who gave time 

to make it possible. 

storytelling with, DV, HD and 

HDV Cameras” by Braverman, B. 

“HDV offers five times the 

number of pixels of standard 

definition DV. This additional 

sharpness contributes substantially 

to the polished, more professional 

look of HDV images even when 

down-converted to standard 

definition DVD.” 

Quite obviously, the future is 

now, and it has to be WIDE SCREEN 

and even better in HDV or HD. 

David also offers his wedding 

clients (not his key work - about 

6 p.a) a canny extra for £200 

each inclusive; their full wedding 

edit in 16:9 format with 25fps 

digital video/audio quality on an 

Apple Video iPod. Ignore the 

Zens’ at 15 fps The flexibility of 

this kind of delivery is perfect 

and once again an instant and 

‘cool’ competition to a weighty 

photograph album. 

You can email David with any 

follow up questions via 

digital.tech@btinternet.com. 

Main picture supplied by and 

copyright David Blundell F.Inst.V. 

Shot on video in his green screen 

studio and exported to 

demonstrate video stills quality. 

Forthcoming 

IOV Events 

Calendar… 

THIS MONTH 

3rd - East Anglia & A1 Corridor 

‘IOV Awards 2006 Viewing’ 

For details contact: 

Malcolm Wooldridge 07785 266762 

4th - S. Yorks, Humberside & Lincs. 

‘Subject to be confirmed’ 


Jim Panks 0845 838 1519 

11th - North & West Yorkshire 



Roger Staniland 07970 235156 

10th - Dorset, Wiltshire & Hampshire 



Colin North 01725 511688 

12th - Kent & SE London 

Back to the Future – Chris Waterlow 


Peter Snell - 01634 723838 

17th - South Wales & Bristol Channel 

‘Subject to be Confirmed’ 


Jack Tristram 01792 816688 

18th - North West England 



Phil Janvier 0151 487 9338 

19th - West London, Middx & Herts 



Emerson Bovell 020 8575 2842 

25th - Scotland North 



Brian Rae 01224 313137 

31st - North East England 



Mike Trewhella 0191 536 6535 

31st - Scotland South 



Tony Nimmo 01555 661541 

NEXT MONTH 

1st - S. Yorks, Humberside & Lincs. 



Jim Panks 0845 838 1519 

7th - East Anglia & A1 Corridor 

‘Quoting for Corporate Video’ 


Malcolm Wooldridge 07785 266762 

9th - Kent & SE London 

‘Editing with Avid ’ 


Peter Snell - 01634 723838 

14th - Dorset, Wiltshire & Hampshire 



Colin North 01725 511688 

15th - North West England 



Phil Janvier 0151 487 9338 

16th - West London, Middx & Herts 



Emerson Bovell 020 8575 2842 

21st - South Wales & Bristol Channel 



Jack Tristram 01792 816688 

28th - North East England 



Mike Trewhella 0191 536 6535 

28th - Scotland South 



Tony Nimmo 01555 661541 

29th - Scotland North 



Brian Rae 01224 313137 


From a business point of view 

the web offers so much. It is 

sometimes easy to forget the 

simple benefits, so it is worth 

re-stating them now - your 

website is your shop window 

to the world, open for 

potential customers to 

browse and buy 24 hours a 

day, seven days a week. 

You can display your latest 

video show-reel to the people 

that are looking to employ your 

services. This is simply not 

possible with a printed directory 

like the Yellow Pages. 

Obvious I know, but worth 

remembering. 

There's more; interested 

visitors can ask to be kept in 

touch with what you are doing 

(by means of an e-newsletter). 

What an opportunity! To be able 

to directly communicate to 

interested customers on a 

regular basis at no cost It's 

something that marketing 

departments couldn't have 

dreamt of in the past. 

Maybe we have already got 

used to the amazing 

opportunities that the internet 

provides, and we have become 

immune to the almost daily 

innovations of things becoming 

bigger, better and faster, and the 

business opportunities that exist. 

But the truth is that we are 

not all 'up to speed' when it 

comes to fully embracing the 

internet and what it has to offer 

our businesses. It is an 

interesting question to ask why, 

for instance, do only 30% of 

members display their website 

addresses on the free IOV 

directory And another 

interesting question is why do 

only a fraction of those members 

have any video showing on their 

websites 

The answers to these 

questions are probably wide and 

varied, but boil down to a few 

basic facts - maybe businesses 

fear and mistrust what they don't 

understand.... and in the past 

some web design companies 

have given the industry a bad 

name with high charges, and 

expensive fees for updates. 

But the good news is that 

you don't have to understand 

absolutely everything about the 

Internet to get the most out of it. 

The basic business function of 

the web is for customers to find 

the services or goods that they 

are looking for, and for the 

business to make a response to 

the enquiries. 

The wedding video market, 

for example, is for the most part 

made up of younger couples, 

who use the web as second 

nature. They expect to see a 

well-designed site with examples 

of other wedding videos, and 

easy to use contact details 

(through phone, email or online 

form). These details can effect 

the outcome of the visitors 

decision to buy, make an enquiry 

- or just leave the site! 

How you present your ‘shop 

window’ is so important. Why do 

the large companies put so much 

time and effort into their ‘brand’ 

or visual identity It’s because it 

is essential to sales. Why does 

the slightest change in a products 

packaging design have so much 

effect on its sales (both positive 

and negative) It’s because 

design is an important factor in 

the 'decision to buy' process. 

Design is important to businesses 

of all sizes. In a competitive 

business environment every 

improvement that you can make 

to your company’s public profile 

can have profound effects on 

business. 

Web design is a game of two 

halves! There is the graphic 

design side, the ‘shop window 

display’ that the passers-by sees; 

and the technical side - the 

programming (which definitely 

should not be visible!). Our job 

as web designers is to combine 

these elements, and make web 

sites that both look good and 

function properly for the client 

and the business! 

Chris Rees - Zone 1 Media 

01462 492062 

chris@zone1media.co.uk 

Note: IOV member, Chris Rees, 

and his company Zone 1 Media 

have been appointed as the 

IOV’s official design and hosting 

partner for providing website 

services to IOV members. They 

have also recently re-designed 

the Find-A-Videographer portal 

(www.find-a-videographer.com). 

Zone 1 Media also offers a 

range of affordable web design 

services exclusively for IOV 

members. For more details visit 

www.zone1media.co.uk/iov. 


There are two types of 

podcast; audio and video. 

But before we get into that - 

what is a podcast Wikipedia 

says that a podcast is - “a 

multi-media file that is 

distributed by subscription 

(paid or unpaid) over the 

internet using syndicated 

feeds, for playback on mobile 

devices and personal 

computers.” But what 

exactly does that mean 

I guess we’re all pretty 

familiar with the term 

‘multimedia’ - the combination of 

sound, video, text and image. 

And I guess we all know what the 

internet is… but what’s this 

syndication lark 

Another word might be 

‘sharing’ - a syndicated website 

is one where all or part of it is 

made available for use for other 

sites to use. More typically this 

refers to the content of one 

website being shared with other 

websites, rather than whole or 

part web pages. 

Syndication of content has 

been going of for many, many 

years - the Reuters news agency, 

for example, with syndication of 

it’s content (news stories) to 

newspapers. It’s much the same 

with web content, whether the 

content is text - as in blogs that 

are syndicated, or audio or video 

files. 

The Audacity! 

The audio file is often an MP3 

file, but could also be a .m4a file. 

If you own a Mac you may have 

dabbled with iLife’s Garageband 

and you may therefore have 

Audacity 

Looks the same on Mac as PC. It’s very popular and is used by 

Heather Gorringe to produce her Wiggly Wigglers audio podcasts. 

Clickable Podcasts 

Garageband-produced ‘clickable’ podcast for the band Sunsoma 

showing the structure - different chapter markets and the URLs for 

the clickable links - the same technique was used on the Royal 

Marsden Hospital podcast. 

come across this file type when 

exporting to disk - resulting in a 

file with the ‘.m4a’ extension. 

On a PC you can download the 

popular, excellent and free 

Audacity from http:// 

audacity.sourceforge.net/ 

download/windows. Audacity is 

available for Mac too, but 

whether it’s worth it as a Mac 

user is up to you. 

Just like other media, audio 

podcasts can be very cool and 

very sophisticated - or can be 

utter garbage – it all depends on 

the content. They can also be 

life changing as many a new age 

broadcaster, or podcaster, can 

affirm. These are the podcast 

equivalent to a radio show - 

sometimes mono-topic, 

sometimes with guests - jingles 

and so on abound. Our very own 

BBC Radio 4 delivers much of its 

content by audio podcasts. As an 

example of fine audio podcasts I 

can offer none better than 

Heather Gorringe’s ‘Wiggly 

Wigglers’ series from 

www.wiggleywigglers.co.uk. 

Content is King 

Before we look at some of the 

detail of production, I’d like to 

explore ‘content’ more. You 

can’t necessarily publish as a 

video podcast everything that 

you as a videographer produce - 

for example, the wedding videos 

or corporate videos - as your 

clients may not want that. In 

any case, you should be offering 

a video podcast version of the 

product as a value add-on. 

There’s no reason why you 

shouldn’t charge for it, thus 

creating an additional revenue 

stream. 


Article 

For example, in the corporate 

space, audio or video podcasts 

are an excellent way for 

communicating internally. 

However, not all things lend 

themselves to podcasts. The 

‘podosphere’ expects a series of 

shows - a one off, such as a 

show reel, wouldn’t work for you. 

So you need to map out the 

content in advance. 

List 12 topics, produce one a 

month and see how you get on. 

Producing a series of shows 

about your favourite topic may 

sound like a great idea, but there 

are plenty of still-born projects 

all ready out there. However, a 

‘reality TV’ style show of a wedding 

videographer would contain 

fun, suspense, drama, tears and 

tantrums! 

Nitty Gritty 

Now let’s look at some of the 

detail. An interesting feature of 

Garageband is the ability to 

embed into the podcast itself 

clickable links. In much the 

same way as clicking on a banner 

ad will take you to another website, 

the clickable links in a 

Garageband generated audio 

podcast will also take you to a 

website. 

We recently produced exactly 

this to help The Royal Marsden 

Hospital’s current fundraising 

appeal. We interviewed on 

location at the hospital, our good 

friend and voice over artist Andy 

Rowe hosted the show, and then 

edited the podcast back in our 

studio in Chesham, Bucks. 

We added photos supplied as 

jpegs by the hospital and then 

inserted the clickable link which 

is available for the duration of 

the show (about 20-minutes). 

The link, of course, takes you to 

their donations page on their 

website. Please download this 

show from our website, have a 

listen and donate a fiver ;-) 

The Sunsoma podcast 

illustrated on the opposite page 

used a live recording that came 

to us as an MP3 file on CD and 

was easily dropped into one 

timeline. Still images supplied as 

jpegs were then added, as were 

the clickable links. However, the 

Royal Marsden Hospital podcast 

was a lot more complex, 

featuring as it did several people 

in ‘round table’ format. 

To get the multiple audio 

feeds into separate tracks on 

Garageband we connected the 

(dynamic) mics first into a MOTU 

896HD audio mixer and this then 

connected to a PowerBookG4 

running Garageband by FireWire. 

And we made sure that we 

backed the whole thing up onto a 

Lacie FireWire drive at the end of 

the recording session. 

Back to Syndication 

A little bit more about this 

syndicated feed business before 

we look at video podcasts. There 

are different syndication 

technologies out there, but the 

most prevalent would appear to 

be something called RSS. Now if 

you really want to impress at 

dinner parties, you need to know 

that this stands for Really Simple 

Syndication. I kid you not! The 

line to take at a dinner party is: 

“Yes, well, I had my web 

Content distribution and consumption in the 21st Century. 

RSS downloads onto Mac or PC, into iTunes or other podcast 

catcher such as an Internet Browser (Firefox, for example). Once 

into iTunes, both audio and video podcasts can be downloaded 

onto video iPod and from there watched on the go or indeed on 

TV. Apple TV connects to Mac or PC via WIFI and to TV via HDMI 

or component video. 

FCP Screen Shot 

Showing the third in the series of ‘Through the Garden Gate’ ready for 

export as an iPOD Movie. The screen size is 320 x 240 resulting in a 

file 168Mb large. If I used the latest version of QuickTime this would 

be around 500Mb as the screen size has been doubled. 

designer chap add an RSS feed 

to my website...” and really 

that’s all you do need to know. 

If you decide to go with a 

professional website designer, 

they should know all about RSS 

feeds – if not, go elsewhere. 

Apple’s podcast directory, and 

most of the rest, don’t actually 

contain any podcasts 

themselves, rather they are an 

RSS feed aggregation site. The 

exception to this is Podzinger. 

Podzinger convert the audio 

tracks in audio and video 

podcasts into a searchable text 

file, so the content of each show 

can be searched, not just the 

meta-data. 

We had a fantastic content 

management system designed 

for us by www.etondigital.com as 

part of the back-end 

management system for the site. 

If you contact them, speak to 

Boban. 

Video 

In terms of video podcasts - 

these are distributed by RSS in 

the same way as audio podcasts. 

Final Cut takes the worry and 

complexity of file format away as 

the Export>Quicktime 

Conversion>iPOD has no settings 

to change. 

Now a word about this 

though - the very latest version 

of QuickTime exports video ipod 

movies as 640x480 pixels, which 

is great for resolution. Why, you 

may ask, do you need to format 

a video iPOD movie at twice the 

size of a video iPOD screen 

First of all you can in fact play 

video iPOD movies full screen on 

TV simply by plugging the iPOD 

into the Composite AV input or 

by using the recently launched 

AppleTV box. The increase in 

resolution is welcome - not 

totally necessary - but nice to 

have. 

Secondly, 320x240 is the size 

of the current video iPOD screen 

and who knows what Apple will 

be launching as the next 

generation video iPOD The 

iPhone has a screen twice the 

size, for example. 

This does, however, have a 

direct impact on the video 

podcasts. For sure, the 640x480 

videos do look lush, but the price 

to pay are larger file sizes. 

At present we format all of 

our shows 320x240 and a golden 

rule is not to upgrade QuickTime 

otherwise our half hour shows 

balloon from 180Mb or so to 

500Mb or so! If telecoms could 

keep pace with the Internet this 

wouldn’t be a problem, but being 

stuck with ADSL ‘broadband’ 

means these will always take an 

age to download. 

Final Comment 

Podcasts and the subscription to 

podcast does imply that there 

will be a series of shows, so don’t 

expect to get to the top of the 

podcast charts by only producing 

one show. In our case we try to 

publish 4 to 5 shows a month on 

a variety of topics and are 

therefore a giant in this world. 

But podcasting is only one 

method of distribution and given 

the rate at which the Internet is 

developing I’m pretty sure it 

won’t be long before the next big 

thing comes along - such as 

Joost.com (check it out!). 

Neil Fairbrother 

Note: Neil Fairbrother is the 

CEO of www.pod3.tv 


Most videographers are jacks 

of all trades, mixing event 

videography with corporate 

and SIVs. Buying new kit is 

always a compromise and as 

such you have to pick 

carefully. I use various 

cameras for different 

occasions and they vary in 

size from a Sony PD1 DVCAM, 

which is half the size of a 

paperback, to a JVC 5000 

which is a medium weight full 

size camera. Recently I have 

invested in a new Sony A1 for 

my event work and needed a 

tripod that would suite my 

range of cameras. 

Buying new kit can be a 

minefield especially when as 

soon as they add the name HDV 

or Professional a few noughts are 

added to the price! My main 

purchase requirements are for a 

tripod that can be used with the 

majority of my cameras and 

which is reasonably easy to 

transport and carry. 

PAG import Cartoni tripods 

from Italy and they have a 

reputation for being well made. 

In the hand-held range (DV/ 

HDV) is the Hi-DV fluid head with 

75mm bowl which is matched to 

one piece aluminium legs (two 

piece legs are available). The 

head is designed to take a 

camera from 0 to 5kg (0 to 

11lbs). This seemed an ideal 

tripod for my requirements. 

First impressions were that it 

was well built and the 

components were of excellent 

quality. It has black metal legs 

with a grey finished fluid head 

and looks very smart. The legs 

are sturdy and the head is robust 

with well designed controls. 

The Acid Test 

Using a fluid head ensures a 

smooth tilt and pan and provides 

a better method than just 

friction. You can set the head 

controls to dial in as much 

damping as you require and you 

can set the spring to help 

balance the camera more 

effectively. 

Initially, I found that the A1 

would not balance very well, it 

always seemed to be back heavy, 

even after setting the spring. To 

remedy this I took the mounting 

plate and turned the mounting 

assembly the opposite way so 

that the camera could be 

mounted as far forward as 

possible and this solved my 

problem. The camera is perfectly 

balanced, and I can pan and tilt 

with just two fingers on the 

adjustable pan bar. 

One of the main problems with 

cheap tripods is that the legs will 

bend or move whilst panning. 

This ‘wind up’ manifests itself 

when you stop panning and the 

head moves back a few 

millimetres when you stop. The 

Hi-DV does not suffer from this 

and the pan is very smooth and 

adjustable. 

The locking lever has a slight 

problem in that when you take 

the lock off, the head moves 

slightly. This also affects the tilt 

lock which I am sure will get 

better once it has been used. 

Putting the locks on is very 

smooth and I put the problem 

down to the operator getting 

used to manipulating the controls 

more effectively! 

On the Move 

Other than using the tripod in 

anger, other thoughts have to go 

to transporting it around, I found 

that it would just fit into the boot 

of my car. Being only one piece 

legs it is longer in a collapsed 

state than a tripod with two piece 

legs. Moving it around on site 

again is quiet easy. The legs 

have a very neat locking system 

that is single-handed and quite 

effective in getting the legs up 

and down fast. 

The mid level spreader does 

its job well and the ring in the 

centre helps getting the legs 

closed. The only thing I found 

annoying was that you have no 

way of locking the legs in the 

closed position, so when you are 

trotting around, say, at a 

wedding it becomes tiresome 

when the legs keep on opening. 

A small nylon tag with a d- 

ring at the top of the tripod is 

quite inadequate and I would of 

thought a piece of webbing with 

some Velcro would allow you to 

secure them quickly and 

effectively. The weight of just 

3.82kg (8lbs) was fine and 

allowed me to carry it without 

too much fatigue. 

Conclusion 

When I first opened the case and 

started to use the tripod I was 

not sure that I really liked it, but 

apart from some minor problems 

I found that the more you use it 

the more it shines. 

Whilst filming a wedding the 

foot fell off of one of the legs, 

luckily whilst moving from one 

shot to the next. I thought that 

this was poor until I 

remembered that I had not even 

checked that the feet were all 

screwed tight, so that was one 

problem put to bed! 

Again, setting up the head can 

require some thinking out of the 

box, but by simply turning the 

mounting screws around I solved 

the problem. 

This tripod is not cheap but 

then the quality is there and, as I 

said before, providing you put 

some time into getting used to it 

and spend a little time setting it 

up you will not be disappointed. 

All in all it is a good piece of kit 

with just a couple of minor 

problems. 

Jim Panks M.M.Inst.V. 

Notes. The tripod specifications 

are: Hi-DV fluid head mounted on 

T621 aluminium 1 stage legs with 

mid level spreader; weight with 

Hi-DV head 3.82kg (8lbs); 

compatible cameras from 0-5kg 

(0-11lbs); max height 136cm 

(60.4 inches); min height 78cm 

(34.6 inches); folded length 84cm 

(37.3 inches). Price is £607 plus 

VAT and delivery. Available from 

PAG Ltd - 020 8543 3131 - email: 

sales@paguk.com. 


By the time that Germany 

began in 1944 to rain down 

V1 rockets onto targets in 

London and the surrounding 

area the war for them had 

effectively already been lost. 

I was reminded of this when 

having agreed to review 

Sony's new V1 camcorder in 

December 2006 it finally 

arrived at the end of April 

2007! 

But by all accounts in this 

instance sales of the V1 are 

vibrant so the Doodlebug 

analogy, alluded to by Kevin 

Cook in his preliminary review of 

the V1 in the November 2006 

Focus, ends there ('Doodlebug' 

was one of the nicknames given 

to the V1 rocket - the other was 

'Buzz Bomb' - due to the 

considerable and scary noise 

that it made). 

Now whilst January is usually 

a light month here at KLA Towers 

things begin to get pretty torrid 

from mid-April through to the 

end of September. But a promise 

is a promise so I decided that I 

would recruit some heavyweight 

assistance for the review and 

invited the redoubtable Tom 

Hardwick and my KLA colleague 

Peter Kidman (to whom both 

many thanks) to assist me not 

only in staging a camcorder 

shoot-out in the KLA garden but 

also to add their own comments 

for inclusion in the review. 

The first noteworthy point to 

arise was the size of the box in 

which the V1 was delivered. Had 

I ordered an armchair for our 

sitting room I'm sure it would 

have fitted nicely inside. But 

once open I found a store of 

unexpected goodies. 

In addition to the V1 itself 

the box included a large wide 

angle lens, at least four 

batteries, a battery charger, an 

HDV tape, a handy LCD 

viewfinder shade and the HVR- 

DR60 hard drive recorder 

(comprehensively reviewed by 

Zulqar Cheema in the May 2007 

Focus). 

The V1's features include a 

hefty 20 x zoom lens, 3 x 0.25" 

CMOS chips, HDV, DV and 

DVCAM recording and playback 

modes and HDMI out. 

Test Basis 

My testing of the V1, which was 

all done in HDV mode, fell into 

two parts. First was the 

aforementioned shootout which 

consisted of lining up the V1 with 

Sony Z1 (kindly provided by 

Tom) and A1 camcorders and 

JVC's GY-HD101E camcorder. 

And second I took the V1 with 

me on a long weekend break in a 

delightful cottage in Wales set in 

an idyllic village and close to 

stunning mountain scenery. 

The Shootout 

The first test we conducted was 

to shoot a bowl of purple flowers 

with each camcorder. 

Interpreting the results of such a 

test can only be subjective but I 

observed that in terms of 

richness of colour the Z1, V1 and 

101 were all of a similar high 

standard whilst the A1 fell a little 

way behind. In terms of 

sharpness I observed that the Z1 

and 101 delivered the best 

results with the V1 and A1 just 

behind. 

We also compared the Z1 and 

V1 in terms of exposure and 

depth of field. Our conclusion 

was that the V1 needed around a 

1/2 stop more than the Z1. 

Now one would therefore 

expect that, all other things 

being equal, this would mean 

that the depth of field would be 

shallower for the V1 in a given 

situation than the Z1. But things 

aren't equal and the much larger 

chip in the Z1 meant that the 

consequent longer focal length 

required to record the same 

image on the Z1 more than 

compensated for the slightly 

larger aperture on the V1 and 

actually depth of field was 

slightly shallower on the Z1 in 

our bowl of flowers shot in 

identical conditions. 

Tom's view was that the V1 is a 

natural successor to the Sony 

PD170 and having reviewed the 

latter back in early 2004 (March 

2004 Focus) I am inclined to 

agree. In comparing these two 

cameras Tom pointed out that 

whereas access to the aperture 

control wheel on the PD170 could 

sometimes be awkward when the 

LCD sidescreen was pointing 

upwards this has been cured on 

the V1. And the progressive 

scan, which I found so bad on 

the PD170 that I thought I must 

be doing something wrong, has 

also been vastly improved being 

a proper 25 full frames per 

second (it was 12.5 frames per 

second on the PD170!). 

Having said that, when 

testing the progressive scan 

feature alongside the JVC 

HD101E which natively shoots at 

25p, I found that in panning 

whilst following a moving subject 

the JVC slightly out-performed 

the V1 in terms of image 

steadiness though not so much 

as to suggest that this is a 

shortcoming. 

Other features such as 3-pin 

XLR sound inputs, control of 

gain, manual exposure and 

manual focus, and the Zebra, 

etc. are on a par with the PD170 

which of course boasted excellent 

layout of these features. 


Review 

We also tested the slow motion 

feature on the V1 but I found this 

a great disappointment. The V1 

offers three possible quality 

settings for this - 3, 6 or 12 

seconds of realtime motion. 

What happens is that one selects 

one of these settings, points the 

V1 at the moving subject and 

presses the record button. 

However the tape doesn't move 

at this point, the V1 merely 

stores the images in its memory. 

Once this initial recording is 

completed it then lays down the 

images to tape resulting in 

motion slowed down to around 

quarter speed. So why was it 

disappointing 

Bear in mind that when I 

used to shoot home spun dramas 

on 16mm film the way to record 

slow motion was to speed up the 

film transport e.g. to 128 frames 

per second giving a projected 

image with just over five times 

motion speed reduction but at 

full picture quality. With the V1 

even at the optimum quality 

setting of 3 seconds (giving 

around 12 seconds of sloweddown 

screen time) the image is 

considerably compressed and 

could not normally be cut into 

standard footage. I guess that 

for certain specialist applications 

like sports analysis footage this 

feature might be useful but for 

everyday use it just doesn't hack 

it I'm afraid. 

Tom felt that the big and 

heavy wide angle converter did 

not offer enough of an improved 

wide angle at 0.8x to make it 

worthwhile as it was only just 

wider than the Z1 straight out of 

the box. He also pointed out 

that there was some noticeable 

barrel distortion. On the plus 

side the wide-angle converter is 

supplied with its very own large 

16:9 shuttered lens hood and is 

beautifully multi-coated. 

The Welsh Idyll 

A few days after the shootout my 

wife and I went and stayed with 

some friends in West Wales. So 

along came the V1 to record 

some countryside images. 

For the most part the 

resulting footage was nothing 

short of stunning - the best since 

I gave up using Kodachrome II 

16mm film back in the mid 

1990s. The colours were vibrant 

and of course the degree of 

detail was awesome. The only 

minor shortcoming was that I felt 

that the auto focus feature was a 

little less responsive than I 

remember on the PD170. 

Shooting in low light in auto 

mode the gain control smoothly 

adjusted up and down without 

any obvious deterioration in 

picture quality (certainly up to 

12db). This is surprising as the 1 

Lux PD170 should perform much 

better in low light than the 4 Lux 

V1. But discussing this with Tom 

later we concluded that the more 

modern and quieter amplifiers in 

the V1 fully compensate for its 

theoretically inferior low light 

capability. 

Final Test 

As a final test I thought that I 

would try some HDV batch 

capturing using our Adobe 

Premiere Pro v2.0 editing 

system. I'm pleased to report 

that this worked without a hitch. 

Would I choose the V1 over 

the Z1 Well if long zooms are 

of ultra importance then the 20 x 

zoom on the V1 way outguns the 

12 x zoom on the Z1. And of 

course the V1 is significantly 

lighter than the Z1. Tom was 

disappointed that for the V1 

Sony has moved the LCD 

viewfinder back to its traditional 

spot on the left-hand side of the 

camera rather than continue the 

trend started with the Z1 of 

placing it on top of the camera. 

I think that on balance I 

would go for the Z1 on the basis 

that the V1, whilst smaller and 

lighter, isn't smaller and lighter 

enough to warrant the trade 

down in terms of ultimate picture 

quality due to the V1's smaller 

chips (but my company is about 

to acquire a single chip Sony HC7 

which is a really small camera). 

Nevertheless the V1 is an 

outstanding camcorder in terms 

of picture quality, ease of use 

and functionality and I have no 

hesitation in recommending it. 

Stuart Little M.M.Inst.V. 

Note: Stuart Little is a director 

of KLA Film and Video 

Communication and Swanrose 

Video Training and Consultancy. 


Cinescore 1.0 

Sony describe Cinescore 

software as - “a new concept 

in music creation technology 

that automatically generates 

complete custom soundtracks 

for movie makers, audio 

producers and other content 

creators who require royaltyfree 

music to enhance and 

enrich their work.” 

Sony go on to explain, 

“Cinescore software provides 

content creators with a broad 

palette of musical themes that 

can be customized to match the 

specific moods and genres of the 

surrounding work. Producers 

select a basic Theme, and then 

the Cinescore music generation 

engine creates music that can be 

shaped to fit. The music’s time 

and tempo, intensity, variation 

and repetition can be easily 

connected with associated video 

or voiceover down to almost 

frame-level accuracy to create 

the perfect soundtrack without 

requiring any specialised musical 

knowledge or technical skill.” 

If Sony is right, then 

Cinescore offers videographers 

the opportunity to produce fully 

finished pieces of music instead 

of having to settle for rough cuts 

with inadequate soundtracks 

because of the 

expense or 

expertise 

previously 

required to craft 

them. 

Sounds 

exciting, especially 

to me as a guitarist not a 

keyboard player, because most 

music creation tools are so 

keyboard and midi based that 

they are beyond my skills or so 

locked down in segments or 

blocks that the music produced 

has a rigid uninspired feel to it. 

What I want is something that 

allows me to use my skills and 

still allow me to adapt a piece of 

music into a unique arrangement 

that works for my productions. 

Where Cinescore 

Scores 

In the past I have used 

‘Trackmaker’ by Trackline, a 

music looping utility for use with 

Trackline’s music CD-ROMs. 

That too produced a wide variety 

of loop combinations to create a 

track which is within a few 

seconds of the length of music I 

was after and, to be honest, it 

did its job well but was limited to 

musical arrangements of the 

original recording. If my 

Cinescore 1.0 - System Requirements 

Sony lists the minimum system requirements for using Sony 

Creative Software Cinescore as: 

Microsoft Windows 2000 (SP4) or XP 

1.5 GHz processor 

512 MB RAM, 1 GB recommended 

200 MB hard-disk space for program installation 

1.7 GB hard-disk space for optional installation of themes and 

audio transitions 

Windows-compatible sound card 

CD-ROM drive (for installation from a CD only) 

DVD-ROM drive (for installation of themes and audio transitions) 

Microsoft DirectX 9.0c or later (included on application disc) 

Internet Explorer 5.1 or later (included on application disc) 

Internet connection (for Gracenote MusicID) 

understanding of Sony’s 

Cinescore is correct it offers a 

much larger range of dynamic, 

tempo and contrast, therefore 

the big question for me is - can 

Cinescore 1.0 deliver the musical 

masterpieces that I require 

Installation 

I downloaded Cinescore from the 

Sony website and it was a 

painless and quick affair, 

installation took about five 

minutes, but I can’t be sure 

exactly how long as I chose to 

check my emails as it loaded. 

System requirements should 

not tax any serious editing PC, 

and to be fair it also loaded 

quickly on my non-editing PC (I 

very rarely allow my editing PC 

onto the Internet - no contact, 

no viruses is my working rule). I 

downloaded the software onto a 

flash drive and it ran very 

smoothly on my editing PC. 

I understand that it will not 

run on Microsoft Vista, that is 

until a update that’s expected 

late this summer. Knowing 

problems in this area I didn’t 

attempt this on my Vista 

machine. I can say for certain, 

however, that Cinescore 1.0 runs 

on Windows XP Pro completely 

without fuss. 

So what do you get for your 

money Well the cheapest I’ve 

seen it on the net in GB£s is 

£129 including VAT, but often 

downloads are from sources 

wanting payment in US$ and 

then it’s selling for around $199. 

The price alone tells you that 

Sony wants you to treat this as a 

professional product and to be 

fair they have good reason. 

The Interface 

Cinescore 1.0, when it starts, 

looks just like a stripped down 

version of Sony Vegas so anyone 

familiar with that layout will 

instantly feel at home. But don’t 

worry if you are used to a 

different layout as it is very 

intuitive. You do not get really 

impressed with Cinescore 1.0 

until you press the Generate 

button and activate the powerful 

Theme Chooser. Once activated 

you can select and adapt your 

Sony Theme Packs musical 

offerings almost infinitely until 

you are happy with the 

arrangement of the piece and 

have timed it to fit your video 

production. 

Theme Packs 

The basic program comes with 

two themes preinstalled, Blizzard 

of Sparks and The Monaco 

Diamond. It is then possible to 

build on these by purchasing 

additional selections of Sony’s 

Sound Series Cinescore Theme 

Packs. As Sony puts it - “Each 

Theme Pack is a collection of ten 

Cinescore Themes that can be 

opened and adjusted with your 

Cinescore software to produce a 

limitless amount of musical 

variations. While the Theme 

Packs are geared to provide 

soundtracks for special situations, 

the flexibility of the Themes 

themselves ensures a perfect 

musical fit in an extraordinary 

wide range of scenes.” 

The five packs I have are: 

Incredible Vistas - Visual and 

Emotional Panoramas; The Ideal 

Vacation - Music for Life; High 

Tech World - Kinetic Tracks; 

Adrenaline Surge - High Energy 

Lifestyle; and (one which a good 

number of IOV members may 


Article 

find helpful) Pass the Ring - The 

Wedding Soundtrack Library. 

As I said earlier, Sony is 

excited by this product - 

“Cinescore Theme Packs take 

film scoring to a new level by 

providing royalty-free music 

that can be very easily shaped 

to meet the requirements of any 

video content,” said Dave 

Chaimson, vice president of 

Marketing for Sony Media 

Software. “Virtually anyone 

working in any creative medium 

can now generate original music 

soundtracks automatically, and 

achieve results that rival 

Additional Key Features 

• Automatically generates 

music to fit project length 

• Includes 20 fully 

customisable Themes in 

multiple genres 

• 16-bit, 44.1 kHz song 

quality for high-fidelity 

performance 

• User-defined settings yield 

unlimited musical results 

• Custom variations can be 

created and saved 

• Hint markers control 

changes in tempo, mood, 

and intensity 

• Multiple ending types for 

generated media 

• Includes over 300 sound 

effects and audio 

transitions 

• Themes sorted based on 

instruments, keywords, and 

more 

• Video scoring track and 

real-time preview window 

• Audio sweetening track 

• Real-time editing during 

playback 

• Interactive Show Me How 

tutorials and online help 

• Volume and pan envelopes 

• Audio time stretching 

• Track markers and regions 

• CD audio extraction 

• External monitor preview 

• Unlimited undo/redo 

• Project media bins 

original scores of the highest 

calibre.” 

Styles 

Themes styles range across the 

musical spectrum from Rock to 

Orchestral, and each theme has 

roughly thirty variations, each 

variation then has another set of 

options, including mood, 

intensity, and tempo 

adjustments. 

It would be impossible to 

review here each of the Theme 

Packs individually so I hope over 

the coming year to do a mini 

review of each pack, but one 

thing is consistent over all the 

range - and that’s the amazingly 

high quality of this product. To 

give you an idea of what is 

available per track I will look at 

one of the preinstalled tracks, 

Blizzard of Sparks, and break it 

down into some of it’s options, in 

the following section. 

As you would expect when 

you get started there is the usual 

timeline, preview window, and 

explorer for finding files. As you 

would also expect the program 

imports and exports video so you 

can build your score exactly 

timed to what is happening on 

screen. You can if you want just 

play with the program as an 

audio only tool, but if you do you 

will miss out on so much. 

The Sony teaching program 

states that you can add high 

quality music with just three 

clicks and they are not wrong! 

Simply import your video track, 

and then click the Generate 

Music button and access the 

Theme Chooser. Click on your 

music of choice and then click 

‘OK’ and it will generate a piece 

of music to fit the length you 

require. Of course, you will want 

to adjust it to fit the climaxes 

and quieter moments of your 

video and all of that is possible, 

but it does work well even at a 

simple level. 

Blizzard of Sparks 

Blizzard of Sparks is described as 

being electronica and medium 

paced, and has all the following 

variations: 

Bass and Percussion, 

Chemical Rhythm, Arpeggiorma, 

Synths at Night, Minimal House, 

Deep Grove, Bass Riffing, 

Relaxed Mood, Early Rave, 

Turntable Start, Chemical 

Percussion, Live Funk, Fast 

House Beat, TB-303, Synthetic 

Bubbles, SFX Lead-in, Live Jam 

(1), Live Jam (2), Filtered 

Synths, Darker Mood, Darker 

Mood + Live Rhythm, Epic Synth 

Theme, Slower Disco-House, 

Glamour Disco, Afro-Cuban In 

NY, Synth Groove Lite, Synth 

Groove Pumping, Make Them 

Dance and Cymbals Lead-in. 

You can then adjust the 

length by scale or by being made 

to fit exactly. All edits are 

marked into coloured blocks, 

Intro Main Groove, Mood, 

Arrangement, Tempo, 

Intensity, Mode and Range. 

Intensity is one of the most 

important items in the program, 

as it is based not on loudness as 

you would expect but on the 

number of instruments used in a 

dramatic section. In the 

teaching pack an example is 

given of a low intensity piece 

where just an acoustic guitar is 

playing acoustic rock, increase 

the intensity and more and more 

of the band join in until an 

electric rock guitar and band 

carry the theme! 

Conclusion 

Sony like to point out that while 

Cinescore is a standalone 

product, when someone has it 

installed on a machine along with 

Vegas, it will act as a 'plug-in' in 

Vegas. The user can click on the 

‘generate music' icon in Vegas 

and it will open a Cinescore 

dialog box for generating music. 

I’ll come clean from here on 

in - I love playing with this 

program and reviewing it has 

been a pleasure! I have no 

hesitation in stating that 

Cinescore is a powerful musical 

composing tool. It will not 

remove the need for real 

composers creating unique 

scores, but for me it does what it 

says on the box - it produces 

high quality royalty-free music 

for video productions. 

I am very grateful to Heidi 

Habeger at Sony Creative 

Software for letting me have 

access to this program. 

Phil Janvier M.M.Inst.V. 

Notes: Additional information 

and a trial download is available 

on the Sony web site: 

www.sonymediasoftware.com 


Part 12 - Archiving 

How much value do place on 

your camera master tapes 

There’s two ways of looking at 

this question. Firstly, does the 

material they contain have 

any sell-on value Secondly, if 

you needed that material in 

the future, what would it cost 

you to re-film 

These are the two main areas 

that I’m going to concentrate on 

in this issue - kicking off with the 

technical aspects of archiving your 

material. Whilst you might think 

that keeping everything you shoot 

might not seem practical or cost 

effective, I hope to dispel that 

belief. Tape is as cheap as chips 

these days, and unless you are 

shooting everything to hard drive 

or P2 cards, then its going to be a 

false economy to erase what 

could be vital content one day. 

And even if you are shooting to 

hard drive or P2, you should really 

back this up in its original form to 

tape or other suitable media. 

Worse Case Scenario 

OK, in case you don’t believe me 

I’m going to start with the 

blindingly obvious reason for 

keeping your camera originals and 

masters in their native format. 

It’s as simple as this really - one 

day you’ll wish you had done! 

I often read on the IOV 

forums that some members only 

ever store a master DVD of their 

programmes - then erase the 

camera masters for re-use and 

wipe out the projects on their 

NLEs. This is all well and good 

until the client wants you to reedit 

and your only option then 

would be to re-ingest the DVD to 

your NLE and muck around trying 

to separate pictures from the 

audio and cut something that still 

looks decent. It can be done, but 

the trade off not only comes 

through the time its going to take 

but also in the drop in quality that 

will come about through reencoding 

MPEG-based video. 

Sure, DVDs are compact and 

cheap to use for archiving, but if 

your plans for these DVDs are any 

more than simply running off 

another duplicate then you are 

working to a false economy. You 

might even find you have a nasty 

surprise in store when you do 

eventually need to dupe from 

these DVDs. 

This begs another question - how 

often do these people check their 

DVD archives 

DVD-/+R Lifespan 

The longevity of recordable DVD 

media is still very much in 

question. Even though some socalled 

experts say they should last 

50-100 years, I know from 

personal experience that this is 

not always the case. They 

certainly do not last as long as a 

glass mastered DVD and are 

probably no more reliable than 

recordable CD media. 

Recordable DVDs uses a dye 

that changes colour or reflectivity 

when heated by the recording 

laser in your DVD recorder or 

drive. There are a variety of 

different dyes in use today and 

each will delivery varying levels of 

long-term stability. Other 

contributing factors include the 

performance and working 

condition of the laser. A defective 

laser might not burn the dye 

sufficiently, resulting in a DVD 

which plays fine initially but over 

time starts to stammer and twitch 

on playback. You might have 

experienced this yourself! 

In addition, burning speeds 

will also have an impact on the 

stability of the recording. It does 

not necessarily follow that a DVD 

burned at a slower burn speed will 

result in a more stable disc. The 

dye can be likened to the 

photographic development 

process, in that each dye material 

will be optimised for a given 

exposure time. So, not only can 

you burn a DVD too fast but you 

can also burn it too slowly. 

Never, repeat never, stick 

labels on your DVDs. This can 

cause all sorts of problems. Not 

only is it almost impossible to 

stick a label exactly central on 

the DVD (which might cause it 

to oscillate when spinning in the 

drive), but apparently some 

label glues will eat their way 

into the DVD. 

The dye itself is situated 

within a pancake of layers which 

are laminated together. The dye 

layer is actually situated nearer 

the label face. If you flex a DVD 

these laminated layers can come 

apart and destroy the data. It’s 

also worth remembering that 

recordable DVDs tend to fail from 

the outside in - so avoid packing 

them more than about 80% 

capacity. 

Finally, poor storage will also 

have an effect on longevity. 

Humidity could have a negative 

impact on the lamination of the 

DVD - and generally they must 

be protected from scratches and 

impact damage like any other 

media. But, most worrying, the 

dye is photosensitive - so must 

be stored away from direct or 

strong light sources. That’s all 

well and good until you have to 

pop it in a DVD player and 

expose it to a laser! 

Are you still happy about 

archiving that important, 

unrepeatable and valuable 

footage to DVD If you are 

shooting on mini DV tapes, or any 

other tape format come to that, 

then the cost saving is negligible. 

If you said to your clients - “I can 

either store your footage on a 

tape - or you can save £10/£20 

and have it stored on a DVD” 

What do you think they would go 

for having empowered them with 

the previous information! 

The size of a tape is also not 

really an issue if you compare 

them to a properly stored DVD in 

a case - especially mini DV tapes. 

But there’s more to the logic of 

keeping those camera masters 

than just the fear of losing the 

data they contain. Tape itself is 

susceptible to poor storage, 

handling, etc. - so there has to be 

more advantages. 


Article 

Work Flow 

Again, another little question for 

you. How many of you batch 

capture your masters when 

ingesting into your NLE system 

Again, I know from some of the 

comments on the IOV forums that 

many simply play the material 

into their NLEs and hit record. 

Sure, it’s a quick solution to 

getting the material on to the 

timeline, but you are missing a 

very important stage of being able 

to re-conform an edit once it’s off 

of your NLE. 

Whilst I agree that you could 

waste a whole lot of time logging 

and capturing every shot, as long 

as you have a consecutive 

timecode on your tape you could 

tell the system to start the batch 

at the beginning of the tape and 

end it on the last shot on the 

tape. This information, which 

references the precise timecode 

on the camera master, is stored in 

a very small file which can be 

saved elsewhere along with the 

NLEs project file (again - another 

small file). Should you ever need 

to re-edit a programme you 

simply open the batch capture file 

which will then re-capture the 

tapes precisely, then everything 

else on the timeline will be 

reproduced as before. 

There are other work-flow 

principals that you will have to 

follow - such as when you have 

more than one camera tape on a 

shoot you will need to use the 

additional User-Bits facility on 

your timecode to distinguish 

between tapes 1, 2, 3, etc. It’s a 

bit of a pain to have to remember 

- but well worth it if you find 

yourself having to re-ingest a 

project from start. 

Tape Content 

OK, hopefully you’re now going to 

keep all those camera masters - 

but what’s the point unless you 

know what’s on them and where 

they are stored This means a 

further level of administration - 

but it needn’t be complex. 

In a wedding scenario you 

really only need to keep the tapes 

together - along with the saved 

project and batch capture files. 

Quite how long you keep them is 

down to you, as there will be a 

finite period where you should 

reasonably be expected to offer 

re-edits. However, this should be 

covered in your contract 

explaining what will happen to the 

tapes after that given period. It 

might even present you with an 

opportunity to capitalise further 

by giving your clients the chance 

to buy them before they are 

‘recycled’. However, keep in mind 

that you will often shoot many 

weddings at the same venue - so 

some cutaways or general 

ambient scenes may well be of 

use to you in the next wedding 

you shoot there. In fact - don’t 

only think about another wedding 

- general scenes could also have 

re-purpose value in an unrelated 

programme. 

As for corporate and SIV 

videos, my view is that you 

should rarely recycle the camera 

masters. Once you’ve produced 

one successful corporate video for 

a company they are likely to come 

back to you again further down 

the line. My experience is that 

they will assume that you’ve kept 

the original material and will 

simply want to update this with 

some new material. To tell them 

that this no longer exists might 

given them an incentive to go 

elsewhere. 

With a corporate video you do 

have some persuading arguments 

for shooting everything afresh. If 

people appear in shots then this 

footage will date very quickly. 

Fashions change every year, and 

it doesn’t take too many years 

before the video will look old. 

This is the origin of the wildlife 

programme-makers saying - 

‘Lions don’t wear flares.” A lion 

filmed today will look exactly like 

a lion filmed 50-years ago - unlike 

people. 

This gives wildlife and other 

similar types of footage an 

extremely long shelf life - and is 

the reason why SIV programme 

makers should store and 

catalogue their masters 

indefinitely. Sure - there will be a 

few subjects which are very much 

about the here and now - but if 

you are going to specialise in films 

about a hobby, sport, activity, 

location, etc., building an archive 

of historic material will become a 

valuable asset to your business 

(especially if you want to sell the 

business as a going concern). 

Being able to easily lay your 

hands on this footage might not 

only save you a fair bit of time, 

but once you have a reputation 

for producing specialist material 

there will be opportunities for you 

to licence the use of your footage 

to others. Stock footage searches 

are becoming more common on 

the IOV forums, that’s for sure. 

Next Month 

I guess this month was a bit 

technical for me, but there was a 

business angle to it. Next month 

I’ll be a bit more ‘Business’ 

focussed with a look at the 

importance of networking. 



CLASSIFIED SECTION CLASSIFIED SECTION CLASSIFIED SECTION 

CALL KEVIN COOK ON 020 8502 3817 FOR MORE DETAILS 

Equipment & Service Suppliers 

This space could be 

yours… 

Contact Kevin Cook 

020 8502 3817 

kevin.cook@iov.co.uk 

SALES & WANTS SALES & WANTS SALES & WANTS SALES & WANTS 

CALL 020 8502 3817 OR ORDER ON-LINE AT WWW.IOV.CO.UK 

Sales & Wants Rates 

All adverts are listed here and at 

www.iov.co.uk for up to three issues/ 

months. 

IOV Members 

£17.63 Inc. VAT per item 

(per 25 words or part thereof) 

Non Members 

£23.50 Inc. VAT per item 

(per 25 words or part thereof) 

Cameras/Camcorders 

Sony DSR250P and Equipment 

DSR 250P Boxed. 0hrs / hold-all / wheel 

trolley/ rain cover. Wide angle 

lens. Tripod. Hawkwood twin charger/ 

power supply with 2 x 4hour 

batteries. Ultra light. Bebob Zoe. All 

equipment virtually brand new. 

Cost over £5000 will accept £2000. 

Contact Joe: 07920 162518 

Email: Luke@luke20.fsnet.co.uk [152] 

Four Canon XL1's and editing 

equipment 

Two with B&W viewfinders and mic 

adapters - two with colour 

viewfinders. All with batteries, cases, 

etc. As new - stored for years. 

Offers around £750 each. 

Two Casablanca Avios. Offers around 

£350 each. 

Also - DVD Recorders, monitors, 

camcorders free to collector. 

Contact: John on 00353 1 495 3937 / 

Email: dalyvideo@utvinternet.ie [152] 

Production Kit For Sale 

Complete production Kit , cameras, 

tripods , lights , Players , Monitors , Edit 

Pc's , mic's .. 

www.diamondgeezer.uk.com 

Contact Dev: 07957 222 867 

Email: info.films@gamil.com [152] 

DSR200AP 

Shoulder mounted three chipped DVCAM 

camcorder. Sony DSR200AP (revised 

model of the 200). Three 1/3" chip, 

shoulder mounted camcorder. Takes fullsize 

DVCAM cassettes (up to 3hrs 

continous recording). Manual overrides 

for all functions or full auto. 2 channel 

Balanced XLR inputs. Supplied with 

charger, camera power adaptor, 1x 

NP570 battery and comes with 

customised flight bag. 7 years old, 

regularly serviced at BSC Reading. Price: 

£900 plus VAT. 

(Based in SE London) 

Contact Phil: 020 7635 0732 

or 07958 634 952 

Email: phil@purpleflame.com [152] 

JVC GY-DV5000E Camera and 

Manfrotto 516/515 tripod 

JVC GY-DV5000E camera, less than 25hrs 

14x lens 2 batteries, rain jacket, 

manual and carry case £2200. 

Manfrotto 516/515 tripod for the above 

and similar £350 

Contact Mike: 01782 644587 [151] 

Email: mike@altavideo.co.uk 

Video Cameras for Sale 

Panasonic AG DVC200 30 Drum Hours 

14x Lens £2,000.00. Sony DSR PD150P 

Low Hours £1,250.00. Sony DSR 250P 

50 Drum Hours £1,850.00. Sachtler 

Video 14 Pedestal Professional Tripod. 

£950.00 Tascam DA-P1 Portable DAT 

Recorder & Player £275. Sachtler DV4 

professional tripod and sturdy tripod case 

£550.00 [151] 

Contact John: 07860-490676 (anytime) 

Email: videocameras@hotmail.co.uk 

Complete video outfit for sale 

I have many items for sale in almost new 

condition. Most of the items have been 

used rarely (for a hobby) and some items 

never used. There are too many items to 

list so please visit my website for further 

information on all the equipment I have 

for sale. http:// 

www.rogerwilshaw.co.uk/forsale.htm 

Contact Roger: 07766 540403 [150] 

Email: rogerwilshaw1701@hotmail.co.uk 

Pal Canon XL2 

The camera is in immaculate condition 

and just under 1 year old with an extra 2 

years warranty that I bought with it new. 

I have used the camera for 6 weddings 

and 4 school plays so it has had very little 

use and was never used as a feeder. It 

comes with its original box and 

accessories, a Hoya UV filter also bought 

with it and fitted from the lens came out 

of the box. It has 2 extra 6000mAH 

batteries and the ch-910 dual charger. 

Any viewing or test of the camera is no 

problem. I live in Co. Tyrone, N. Ireland 

£2200.00 

Contact Paul: 0789 4395 314 

Email: info@pgvideos.co.uk [150] 

Cameras for sale 

Sony DSR390 (1750 hours) Canon 19x 

lens, Porta Brace cover, mic holder. Mint 

condition. €6200 JVC 500 (270 hours) 13x 

Canon lens,mic. Great cam. €2200. Canon 

XM2 with Canon 0.7 wide angle lens, 2 

batteries, flight case. Little used. €1500 

Contact John: 00353 87 6886720 

Email: avalonvideo@eircom.net [149] 

Complete Production Outfit 

Second User Video Equipment. For full 

list see website. [149] 

www.camera-and-equipment-sales.co.uk 

Call 020 8502 3817 or order on-line at www.iov.co.uk 

JVC GY-DV500 Camera 

130 Hours on Drum (Drum Replaced in 

2004) Fujinon S14x7.3B12U Lense + 

Manfrotto 501 Tripod & Tripod Plate. Price 

£1000.00 

Contact David: (01752) 511423 [148] 

Email: davidjames@encoreproductions.co.uk 

DSR 300 accessories 

Fujinon Lens, charger, 3 batteries, raincape, 

manual. Plus Panasonic adaptor/charger, 

Citizen 3" LCD monitor. Offers. 

Contact Mike: 01484 684617 [148] 

Email: mikewade@yorkshirevideoarts.co.uk 

Sony DSR 250 DVCam camera+ 

One boxed Sony DSR 250 DVCam camera 

in as new condition with 21 hours on 

drum. It also comes with Porta Brace 

cover, which the camera has never been 

used without being on it. Also included is 

a hard case build by CP Cases & Tripod 

Plate. £2600 for the lot. 

Contact Allan: 077894 86858 

Email: allan@allangordon.com [148] 

Recorders/Players 

Sony DV-300E Digital Video Cassette 

Recorder and Manfrotto tripod head 

Very useful mini-DV player/recorder with 

mains power or battery 

options. FireWire, A/V and S-video 

connections. Excellent condition, light 

use only. Boxed. £500.00. 

Manfrotto 501 tripod head. £80.00. 

Contact Barry 

tel: 01628 528682 

email: barry@bwvideofilms.co.uk [152] 

Continued… 


CLASSIFIED SECTION CLASSIFIED SECTION CLASSIFIED SECTION 

CALL KEVIN COOK ON 020 8502 3817 FOR MORE DETAILS 

Voice Over Services 

Insurance 

Services 

This space could be yours… 

Contact Kevin Cook: 020 8502 3817 - kevin.cook@iov.co.uk 

Format & Standards Transfer 

SALES & WANTS SALES & WANTS SALES & WANTS SALES & WANTS 

CALL 020 8502 3817 OR ORDER ON-LINE AT WWW.IOV.CO.UK 

Computer & NLE Products 

DVC Canopus Storm 2 

Real time Video Editor, 3 yrs old but only 

light use and dedicated to video/audio. 

140gb hdd, 2.4GHz, Pentium 4 (2) 

processor, dual 31cm TFT monitors, 

Audigy front-facing sound interface, 

Adobe Premiere 6.5, DVD Re-writer etc 

with all manuals and software. Cost 

£3,000+ For Sale at £700 ono 

Contact David: 01256 411031 [151] 

Email: david_france@ntlworld.com 

Canopus Storm 2 Dual Xeon NLE PC 

Dual Xeon 3.06Ghz, 2Gb RAM, 320Gb 

Sata raid array, 40Gb SCSI system drive. 

2 DVD Drives. Premiere pro,AfterEffects 

etc, XP Pro, Dual DVI card. Coolermaster 

case. Too much to list. £2500 ono 

Please Email for full specs: 

Contact Chris: 07786 636743 

Email: ba6hovey_c@hotmail.com [151] 

2 x Casablanca Krons 

Very useful to wedding companies who 

use this system. 2 casablanca Krons for 

sale complete with lots of software and 

removable caddie system with 9 hard 

drives. 

Contact Simon: 01582 614658 

Email: info@ultimatevisuals.com [150] 

Canopus Storm 2 edit station built by 

Planet PC 

Pentium 4 - 2.8ghz, 1 gig ram, 40gig 

system drive, 80gig & 200gig media 

drives, Pioneer DVD DVR107 re writer. 

Windows XP, Premiere 6.5, Photoshop 5, 

Corel draw 10, Soundforge 6, Ulead 

Workshop 2, Ulead Cool 3D and 

more..... Any reasonable offer 

considered. Ring for more details, based 

in West Yorkshire 

Contact Mike: 01924 515100 [146] 

Email: mike@tapebank.co.uk 

Miscellaneous 

Teac P-55 CD/DVD Printer 

High-end CD/DVD thermal printer. Under 

300 print count! This is as good as it gets 

for a small biz CD/DVD printer. Hardly 

used. Under 300 print count. Still a 

current model this unit sells new for 4500 

pounds including VAT. Click on the link 

below for details: http:// 

www.veritysystems.co.uk/printers/ 

discprinter.aspid=5 

Note this is where I purchased my unit. 

2500 pounds takes it home today. No 

VAT will be charged. 

Contact Rob: 07810821192 

Email: laundrybob@gmail.com [150] 

Sony Gun Mic 

ECM-672 gun mic. Little use from new - 

still in original box. £220 ono. 

Contact Adrian: 01964 503771 

Mobile: 07980 531349 [148] 

Datavideo SE 800 4 Channel Digital 

Mixer 

+ Datavideo TLM 4 LCD Monitor Bank + 4 

20m DV Cables. Only used 6 Times in 

mint Condition. List price of these items 

are over £3300 + Vat. I will sell for 

£2200 ono. no Vat. 

Contact Shay: +353 46 9071008 

Email: ragtv@iol.ie [148] 

WANTED 

Matrox RT10 or RT100 Capture Card 

and Software 

Contact David: 01782 516431 [151] 

Email: info@castleviewproductions.co.uk 

Premiere 6 keyboard 

I need a keyboard for Premiere 6, I prefer 

USB but will consider PS\2 

Contact Geoff: 01706 221928 

Email: vms@beeb.net [149] 

26 July 2007 Focus Magazine www.iov.com 

Call 020 8502 3817 or order on-line at www.iov.co.uk

Animation & Graphics 

Planet PC 

The Old School, 690 Bradford Road, 

Birkenshaw, West Yorkshire BD11 2DR 

Tel: 01274 713400 

Web: www.planetdv.net 

Audio Equipment Supplies 

Edirol Europe Ltd 

Studio 3.4, 114 Power Road, London W4 5PY 

Tel: 0870 350 1515 

Email: info@edirol.co.uk 

Web: www.edirol.co.uk 

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 

Ortus Media Ltd 

34 Metropolitan Park, Taunton Road, 

Greenford, Middlesex UB6 8UQ 

Tel: +44 (0)20 8578 1955 Fax: +44 (0)20 8578 1956 

Email: info@ortus.tv 

Web: www.ortus.tv 

Sennheiser UK Ltd 

3 Century Point, Halifax Road, High Wycombe, 

Buckinghamshire HP12 3SL 

Tel: 01494 551551 Fax: 01494 551550 

Email: info@sennheiser.co.uk 

Web: www.sennheiser.co.uk 

Soundgenie 

Unit 19C, Bentalls Shopping Centre, Heybridge, 

Maldon, Essex CM9 4GD 

Tel: 01621 843200 

Email: info@soundgenie.co.uk 

Web: www.soundgenie.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 

Hattrick Studios 

P.O.Box 8, Whetstone, Leicester LE8 6WX 

Tel: 0116 2234 119 

Email: sales@hattrickstudios.co.uk 

Web: www.hattrickstudios.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 

Planet PC 



Tel: 01274 713400 


Batteries & Power contd... 




Tel: 01527 861911 



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 

Calumet Pro Video (Formatt Filters) 

93-103 Drummond Street, London NW1 2HJ 

Tel: 08706 030303 (option 4) 

Email: provideo@calumetphoto.co.uk 

Web: www.calumetphoto.co.uk 

Ortus Media Ltd (Century Optics) 



Tel: +44 (0)20 8578 1955 Fax: +44 (0)20 8578 1956 



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 

KATA UK Ltd 

15 Gatwick Metro Centre, Balcombe Road, 

Horley, Surrey RH6 9GA 

Tel: 01293 823232 

Email: sales@uk.kata-bags.co.uk 




Tel: +44 (0)20 8578 1955 Fax: +44 (0)20 8578 1956 



Pyser-SGI Limited (Portabrace) 



Tel: 01732 864111 Fax: 01732 865544 



Chromakey Supplies 

Planet PC 



Tel: 01274 713400 


VFX Blue Screen Solutions (Bristol UK Ltd) 

Unit 3, Sutherland Court, Tolpits Lane, 

Watford WD18 9SP 

Tel: 01923 779333 Fax: 01923 779666 

Email: vfx.sales@bristolpaint.com 

Web: www.bristolpaint.com 

Commemorative Video & DVD Cases 

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 




Tel: 01527 861911 



Warehouse Video Services 

Burnside, Horton Road, Staines, Middlesex TW19 6BQ 

Tel: 01753 689400 Fax: 01753 689401 

Email: sales@warehouse-video.co.uk 

Web: www.warehouse-video.co.uk 

Computer Hardware & Software 

CreativeVideo.co.uk 

Priory Mill, Castle Road, Studley, Warks. B80 7AA 

Tel: 01527 854222 

Email: sales@creativevideo.co.uk 

Web: www.creativevideo.co.uk 

Hybrid Media Production & Distribution 

7 Birches House, 245 Birchfield Road, 

Redditch, Worcestershire B97 4LR 

Tel: 01527 544883 

Email: sales@hybridmedia.co.uk 

Web: www.hybridmedia.co.uk 

MediaAtlantic 


Tel: 0870 161 5050 Fax: 0870 161 5051 






Tel: 01527 861911 



Planet PC 



Tel: 01274 713400 


Quad Logic (Apple Video Expert) 

Unit 46, Station Road Workshops, Kingswood, 

Bristol BS50 4PJ 

Tel: 0117 970 1550 Fax: 0117 970 1440 

Email: sales@quadlogic.co.uk 

Web: www.quadlogic.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 

Copyright Free & Commissioned Music contd... 

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 

Cranes & Remote Heads 

Calumet Pro Video (Cambo distributor) 


Tel: 08706 030303 (option 4) 



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 




Tel: 01525 850911 






Tel: 01372 800404 



Dolly & Track Systems 

Calumet Pro Video (Cambo distributor) 


Tel: 08706 030303 (option 4) 



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 




Tel: 01483 813814 Fax: 01483 811668 



DTV / Nonlinear Training 


Priory Mill, Castle Road, Studley, 

Warwickshire B80 7AA 

Tel: 01527 854222 



Symbiosis (FCP & DVD Studio Pro) 

47 The Parade, Royal Priors, 

Leamington Spa CV32 4BL 

Tel: 01926 436930 Fax: 01926 885936 

Email: sales@symbiosis.com 

Web: www.symbiosis.com 

Batteries & Power 

DS Video Facilities 

Unit 27, Metro Centre, Britannia Way, 

Coronation Road, London NW10 7PR 

Tel: 020 8965 8060 

Tel: 0141 300 3404 (Glasgow office) 

Email: info@dsvideo.freeserve.co.uk 

Web: www.dsvideo.co.uk 

Hawkwoods Ltd 

Briscall House, Wotton Rd, Ashford, Kent TN23 6LW 

Tel: 01233 638715 

Email: info@hawkwoods.com 

Web: www.hawkwoods.com 




Tel: +44 (0)20 8578 1955 Fax: +44 (0)20 8578 1956 



PAG 

565 Kingston Road, Raynes Park, London SW20 8SA 

Tel: 020 8543 3131 

Email: sales@paguk.com 

Web: www.paguk.com 

CD & DVD Recordable Media 

MediaAtlantic 


Tel: 0870 161 5050 Fax: 0870 161 5051 



Multi Media Replication Ltd 



Tel: 01264 336330 

Email: info@replication.com 

Web: www.replication.com 




Tel: 01527 861911 



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 

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 

Motcombe-Relf Music 

PO Box 254, St Peter Port, Guernsey, Channel 

Islands GY1 4LH 

Tel: 01481 257804 

Email: royaltyfree@cd2.com 

Web: www.royaltyfree.cd2.com 

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 

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 




Tel: 01264 336330 



MVS Video 

Alkham Valley Road, Folkestone, Kent CT18 7EH 

Tel: 01303 891468 

Email: sales@mvsvideo.com 

Web: www.mvsvideo.com 


Duplication Services contd... 




Tel: 01527 861911 



Ram Peripherals Ltd 

14 Lombard Road, Merton, London SW19 3TZ 

Tel: 020 8543 9222 

Email: sales@ram-peripherals.co.uk 

Web: www.ram-peripherals.co.uk 

DVD & CD Applications 



Tel: 0113 244 3550 






Tel: 01527 861911 



DVD & CD Replication Services 

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 



Tel: 0113 244 3550 






Tel: 01264 336330 






Tel: 01527 861911 





Tel: 020 8543 9222 



DVD Duplication Equipment 




Tel: 01264 336330 






Tel: 01527 861911 



Planet PC 



Tel: 01274 713400 




Tel: 020 8543 9222 



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 

Starmount Ltd 

25-27 Churchill Way, Lomeshaye Industrial 

Estate, Nelson, Lancashire BB9 6RT 

Tel: +44 (0) 1282 619365 

Email: sales@starmount.co.uk 

Web: www.starmount.co.uk 

Editing & Facility Hire 

Activelight 

Coppins, West Road, Stoney Common, 

Stansted, Essex CM24 8NQ 

Tel: 01279 647682 

Email: john@activelight.co.uk 

Web: www.activelight.co.uk 

Equipment Dealers 

Calumet Pro Video 


Tel: 08706 030303 (option 4) 




Priory Mill, Castle Road, Studley, Warks. B80 7AA 

Tel: 01527 854222 



Gearhouse Broadcast 

Unit 12 Imperial Park, Imperial Way, Watford, 

Hertfordshire WD24 4PP 

Tel: 0845 820 0000 Fax: 01923 691499 

Email: uk@gearhousebroadcast.com 

Web: www.gearhousebroadcast.com 

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 

MVS Video 


Tel: 01303 891468 



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 

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 

Production Gear Ltd 

Millennium Studios, Elstree Way, 

Borehamwood, Hertfordshire WD6 1SF 

Tel: 020 8236 1212 

Email: sales@productiongear.co.uk 

Web: www.productiongear.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 

Symbiosis 



Tel: 01926 436930 

Fax: 01926 885936 

Email: sales@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 

TNP Broadcast Sales Ltd 

PO Box 2035, Watford, Hertfordshire WD18 9WZ 

Tel: 01923 712712 

Email: sales@tnpbroadcast.co.uk 

Web: www.tnpbroadcast.co.uk 

TouchVision 

6 The Riverside, Farnham, Surrey GU9 7SS 

Tel: 01252 823850 

Fax: 01252 711702 

Email: ian.dudley@touchvision.tv 

Web: www.touchvision.tv 

Equipment Rental 

3rd Eye Broadcast Group Ltd 

202B The Big Peg, 120 Vyse Street, The 

Jewellery Quarter, Birmingham B18 6NF 

Tel: +44 (0) 121 693 9977 

Fax: +44 (0) 121 693 9976 

Email: michael@3rdeyebroadcast.com 

Web: www.3rdeyebroadcast.com 



Tel: 08706 030303 (option 2) 

Email: rentals@calumetphoto.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 

Equipment Service & Repair 



Tel: 08706 030303 (option 4) 



MVS Video 


Tel: 01303 891468 



Field Production Cases 

MVS Video 


Tel: 01303 891468 






Tel: 01732 864111 Fax: 01732 865544 



Grip Equipment 




Tel: 01483 813814 Fax: 01483 811668 



Insurance Companies 

Aaduki Multimedia Insurance 

2d Cranmere Road, Oakhampton, 

Devon EX20 1UE 

Tel: 0845 838 6933 Fax: 0845 838 6944 

Email: media@versatileinsurance.co.uk 

Web: www.aaduki.com 

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 

Web: www.photographicinsurance.co.uk 

Towergate Camerasure 

Funtley Court, Funtley Hill, Fareham, Hants. PO16 7UY 

Tel: 0870 4115511 

Email: camerasure@towergate.co.uk 

Web: www.towergateunderwriting.co.uk 

LCD Monitors 

MediaAtlantic 


Tel: 0870 161 5050 Fax: 0870 161 5051 



Pyser-SGI Limited (TV Logic) 



Tel: 01732 864111 Fax: 01732 865544 



Lens Service & Repair 

Pyser-SGI Limited (Fujinon) 



Tel: 01732 864111 Fax: 01732 865544 



Lighting 

ARRI (GB) Limited 

2 High Bridge, Oxford Road, Uxbridge, 

Middlesex UB8 1LX 

Tel: 01895 457000 

Email: sdaly@arri-gb.com 

Web: www.arri.com 

Lighting contd... 

Cirro Lite (Europe) Ltd 

3 Barretts Green Road, London NW10 7AE 

Tel: 020 8955 6700 

Email: sales@cirrolite.com 

Web: www.cirrolite.com 

Desisti Lighting (UK) Ltd 

15 Old Market Street, Thetford, Norfolk IP24 2EQ 

Tel: 01842 752909 

Email: desisti@globalnet.co.uk 

Web: www.desisti.co.uk 

Gekko Technology Ltd 

Unit 4, Gallery Works, Common Lane, 

Kenilworth, Warwickshire CV8 2EL 

Tel: 01926 863366 

Email: sales@gekkotechnology.com 

Web: www.gekkotechnology.com 

Ianiro UK Ltd 

Unit 7, Walkers Road, Manorside Ind. Est., 

North Moons Moat, Redditch, Worcs. B98 9HE 

Tel: 01527 596955 Fax: 01527 596788 

Email: ianirouk@aol.com 

Web: www.ianiro.com 




Tel: 01483 813814 Fax: 01483 811668 






Tel: 01525 850911 






Tel: 01732 864111 Fax: 01732 865544 



Studio & Lighting Services 

3 Cedar Drive, Loughton, Essex IG10 2PA 

Tel: 020 8418 9848 

Email: peter@slservices.co.uk 

Web: www.slservices.co.uk 




Tel: 01372 800404 



Matte Boxes 

Pyser-SGI Limited (Vocas) 



Tel: 01732 864111 Fax: 01732 865544 



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 

Avid Technology 

Pinewood Studios, Pinewood Road, Iver Heath, 

Bucks. SL0 0NH 

Tel: +44 (0)1753 655999 Fax: +44 (0)1753 654999 

Web: www.avid.co.uk 

Canopus Europe 

Unit 4, The Duran Centre, 14 Arkwright Road, 

Reading, Berkshire RG2 0LS 

Tel: 0118 921 0150 

Email: sales@canopus-uk.com 

Web: www.canopus-uk.com 


Priory Mill, Castle Rd, Studley, Warks. B80 7AA 

Tel: 01527 854222 



Dalco UK (distributor for Casablanca) 

PO Box 165, Brough HU15 1WH 

Tel: 0845 456 0734 

Email: sales@dalco.co.uk 

Web: www.dalco.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 

Digital Video Computing Ltd 

Pheonix House, 17-19 Norway Street, 

Portslade, East Sussex BN14 1HQ 

Tel: 01273 707200 

Email: sales@dvc.uk.com 

Web: www.dvc.uk.com 


Nonlinear & Hybrid contd... 



Tel: 0870 350 1515 



Holdan Ltd 



Tel: 0845 1304445 



Hybrid Media Production & Distribution 

7 Birches House, 245 Birchfield Road, 

Redditch, Worcestershire B97 4LR 

Tel: 01527 544883 

Email: sales@hybridmedia.co.uk 

Web: www.hybridmedia.co.uk 

In-Deep 

15 Abrahams Road, Henley on Thames, 

Berkshire RG9 2ET 

Tel: 0870 350 2450 

Email: robbie@in-deep.net 

Web: www.in-deep.co.uk 

MVS Digital (Sony Vegas) 

Unit 23, Wordsworth Business Centre, 21 

Wordsworth Road, Perivale, Middlesex UB6 7LQ 

Tel: 0845 456 0801 

Email: anil@micronetuk.com 

Web: www.mvsdigital.com 

Planet PC 



Tel: 01274 713400 


Planet Video Systems 

33 Bournehall Avenue, Bushey, Hertfordshire 

WD23 3AU 

Tel: 020 8950 1485 

Email: sales@planetaudiosystems.co.uk 

Web: www.planetaudiosystems.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 

Outside Broadcast 

MVS Video 


Tel: 01303 891468 



Photo Imaging Training 

Symbiosis (Aperture & Lightroom Training) 

(Skillset funding available for Freelancers) 



Tel: 01926 436930 

Email: training@symbiosis.com 


Post Production Software 

New Media AV 

(Avid distributor) 

25 Basepoint, Caxton Close, East Portway 

Industrial Estate, Andover, Hampshire SP10 3FG 

Tel: 08456 446663 

Email: sales@nmav.com 

Web: www.nmav.com 

Planet PC 



Tel: 01274 713400 


Radio Microphones 

Sennheiser UK Ltd 

3 Century Point, Halifax Road, High Wycombe, 

Buckinghamshire HP12 3SL 

Tel: 01494 551551 Fax: 01494 551550 

Email: info@sennheiser.co.uk 

Web: www.sennheiser.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 

Radio Microphones contd... 

Wireless Mics. & Ears 

Unit 19C, Bentalls Shopping Centre, Heybridge, 

Maldon, Essex CM9 4GD 

Tel: 01621 843200 

Email: info@soundgenie.co.uk 

Web: www.soundgenie.co.uk 

Royalty Free Media 

Dalco UK (animations and stock footage) 

PO Box 165, Brough HU15 1WH 

Tel: 0845 456 0734 

Email: sales@dalco.co.uk 

Web: www.dalco.co.uk 

Holdan Ltd 



Tel: 0845 1304445 



Studio Lighting Design 


Watt House, Pirbright Rd, Normandy, Surrey GU3 2AG 

Tel: 01483 813814 Fax: 01483 811668 






Tel: 01525 850911 



Tape Stock 

MVS Video 


Tel: 01303 891468 






Tel: 01527 861911 



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 

Burnside, Horton Road, Staines, Middlesex 

TW19 6BQ 

Tel: 01753 689400 Fax: 01753 689401 

Email: sales@warehouse-video.co.uk 

Web: www.warehouse-video.co.uk 

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 

Camera Dynamics Limited 

Western Way, Bury St Edmunds, Suffolk IP33 3TB 

Tel: 01284 752121 

Web: www.vinten.com 

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 

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 

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 




Tel: +44 (0)20 8578 1955 Fax: +44 (0)20 8578 1956 



Video Accessories 

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 



Tel: 0845 1304445 



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 

MVS Video 


Tel: 01303 891468 



Pyser-SGI Limited 



Tel: 01732 864111 Fax: 01732 865544 



Video Editing 

Hattrick Studios 

P.O.Box 8, Whetstone, Leicester LE8 6WX 

Tel: 0116 2234 119 

Email: sales@hattrickstudios.co.uk 

Web: www.hattrickstudios.co.uk 

Planet PC 



Tel: 01274 713400 


Video Manufacturers 



Tel: 0870 350 1515 



Holdan Ltd 



Tel: 0845 1304445 



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 Business Systems 

Panasonic House, Willoughby Road, Bracknell, 

Berkshire RG12 8FP 

Tel: 01344 853855 Fax: 01344 853847 

Email: enquiries@panasonic-pbe.co.uk 

Web: www.panasonic-broadcast.com 

Sony Broadcast & Professional UK 

The Heights, Brooklands, Weybridge, 

Surrey KT13 0XW 

Tel: 01932 816275 

Web: www.sonybiz.net 

TV One Limited 

Unit V, Continental Approach, Westwood 

Industrial Estate, Margate, Kent CT9 4JG 

Tel: 01843 873300 

Email: sales@tvone.com 

Web: www.tvone.co.uk 

Video Streaming 

Planet PC 



Tel: 01274 713400 


Voiceover Services 

Colin Days Overnight Voiceovers 

The Old Rectory, Ombersley, Worcs. WR9 0EW 

Tel: 01562 822222 

Email: info@voiceover-uk.co.uk 

Web: www.voiceover-uk.co.uk 

Geoffrey Annis 

25 St Peter's Avenue, Wilson Street, Anlaby 

East Yorkshire HU10 7AR 

Tel: 01482 647461 

Email: geoff@gannis.fsnet.co.uk 

Web: www.voiceovers.co.uk/geoffrey.annis 

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 

Link from the IOV web site Trade 

Directory to your own web site 

Automatic discounts on 

advertising 

Discounts on IOV Convention 

exhibition space 

Priority consideration of your 

company news/press releases for 

publication in Focus magazine 

Priority introduction to 

IOV regional meetings 

Product reviews undertaken 

by professionals in true 

working situations 

And last, but not least, our 

excellent magazine delivered every 

month to your door! 

Additional 

Headings 

Welcome! 

Call Kevin Cook (Sales) 

on +44 (0) 20 8502 3817 

Kevin Cook 

IOV Focus Limited 

PO Box 625 

Loughton 

IG10 3GZ 

United Kingdom 

Email: kevin.cook@iov.co.uk 


19 

18 

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... 

A Corporate, Industrial & Commercial Video Services 

B Wedding & Celebrational Video Services 

C Freelance Videographer 

D Freelance Audio Engineer 

E Freelance Lighting Technician 

F Freelance Directing 

G Script Writing 

H Freelance Production Assistant 

I Presenter and Voice-overs 

J Graphic Design & Animation Services 

K Freelance Editing Services 

L Training 

M Broadcast Production 

N Special Interest Videos 

O Steadicam Operator 

P 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. 

01847 895899 ABC 

Mark Stuart M.M.Inst.V. 

01224 782777 ABCDJKMN 

Alan Rae M.M.Inst.V. 

01224 703745 ACK 

Brian Rae M.M.Inst.V. 

01224 862100 ACK 

Ron Carmichael M.M.Inst.V. 01382 520437 

Iain Johnston M.M.Inst.V. 

01764 655655 ABCK 

Scotland South (Area 1b) 

Graham Mackay M.M.Inst.V. 01236 730770 ABC 

Douglas Miller M.M.Inst.V. 01555 860382 

Lee Mulholland M.M.Inst.V. 01294 217382 ABN 

Ken Neil F.Inst.V. 

0141 779 3915 ABFILMN 

Tony Nimmo M.M.Inst.V 

01555 661541 ABC 

Pro-Create.Co.Uk * 0141 587 1609 

Jonathan Robertson M.M.Inst.V. 0131 476 5432 ABCK 

Paul Russell F.Inst.V. 01563 523424 

Steve Towle M.M.Inst.V. 

0131 561 6280 AB 

Michael Ward M.M.Inst.V. 

0141 644 1136 ABCKL 

Graeme Brown M.M.Inst.V. 01577 865000 BCKN 

Jack Buchanan M.M.Inst.V. 0141 643 1651 

Alex Crosbie M.M.Inst.V. 

01555 665236 ABC 

Danny Hart M.M.Inst.V. 

01563 542195 AB 

Trevor Jenkins M.M.Inst.V. 020 8551 9399 P 

Guy Kinder M.M.Inst.V. 0131 221 1697 

John Lawton M.M.Inst.V. 

0141 339 1797 ABCK 

Wendy Love F.Inst.V. 

0141 954 0840 AB 

James Lundy M.M.Inst.V. 

01501 739153 ABCFNKO 

North East England (Area 2) 

Andrew Charlton M.M.Inst.V. 01661 844542 ABC 

Andrew Crinson M.M.Inst.V. 01429 824177 

Glenn Huntley M.M.Inst.V. 

0191 549 3675 ABCFGHJKLMN 

Brian Jenkinson M.M.Inst.V. 0191 252 7354 ABCFGHJKLMN 

Andrew Leckonby M.M.Inst.V. 0191 268 8209 

David Pethick M.M.Inst.V. 07712 802922 

Mike Trewhella M.M.Inst.V. 0191 536 6535 ABCFKN 

Peter Watkinson M.M.Inst.V. 01388 605386 

Neil Wood-Mitchell M.M.Inst.V. 0191 270 9063 ABCFHJKN 

Michael Bell M.M.Inst.V. 

01325 241821 ABCFK 

Roger Brown M.M.Inst.V. 

07786 705066 ACHIKN 

Mike Cassidy M.M.Inst.V. 

0191 478 7038 ABC 

North West England (Area 3) 

Mark Newbolt M.M.Inst.V. 

01928 733225 ABCK 

Andrew Ogdon M.M.Inst.V. 0161 761 1900 AP 

Peter Parker M.M.Inst.V. 

01772 611590 ABCK 

Arthur Procter M.M.Inst.V. 0161 427 3626 

Geoff Proctor M.M.Inst.V. 

01706 221928 AKN 

David Royle M.M.Inst.V. 01942 244903 

Stephen Slattery M.M.Inst.V. 01706 230545 ABCHJK 

Steven Smith M.M.Inst.V. 

0161 797 6307 AKN 

Ken Stott M.M.Inst.V. 01282 414073 

The Graham Fenton Experience * 01253 884100 AB 

Peter Thornton M.M.Inst.V. 01706 812008 ABKN 

Mike Waring M.M.Inst.V. 

01704 531576 ABCD 

Les White M.M.Inst.V. 

01768 899936 ABCKN 

Des Williams M.M.Inst.V. 0161 928 7361 

Tony Williams M.M.Inst.V. 01704 232116 ABCJK 

Chris Abram M.M.Inst.V. 

01524 736573 ABCNP 


0151 722 6692 ABCK 

1a 

1b 

5 

3 

2 

4b 

4a 

6 7 

8 10 

11 

9 

13 

14 

15 

12 

Matthew Aindow M.M.Inst.V. 01204 843549 AGJKMN Denise Semple M.M.Inst.V. 020 7501 5383 

Graham Baldwin M.M.Inst.V. 01257 264303 ABCK 

Sam Spence M.M.Inst.V. 

020 7738 4162 ABK 

Dave Barrow M.M.Inst.V. 01254 830823 

Alan Benns M.M.Inst.V. 

020 8943 2666 ABCEKMN 

Roy Beaumont Swindlehurst M.M.Inst.V. 01254 679625 

Adam Carroll M.M.Inst.V. 07768 014503 

Dave Bone M.M.Inst.V. 

07803 797472 B 

Andrew Cussens M.M.Inst.V. 0800 234 6368 

David Brindley M.M.Inst.V. 01772 458300 KLN 

Peter Fison M.M.Inst.V. 

020 8133 0081 ACFGIKN 

Philip Chrystal M.M.Inst.V. 

01204 604840 BC 

Mike Henson F.Inst.V. 

01494 438904 AJM 

Paul Cragg M.M.Inst.V. 

01204 847974 ACFK 

Chris Dell M.M.Inst.V. 

01772 622522 ABCKM Oxfordshire & M1 Corridor (Area 10) 

Jack Ebden M.M.Inst.V. 

0161 428 9646 ABCN 

First Sight Video* 

01993 878252 AB 

Steve Edwards M.M.Inst.V. 01942 703166 ABCHJKN 

Ken Franklin M.M.Inst.V. 

01993 868479 ABC 

Nick Farrimond M.M.Inst.V. 01254 830823 CM 

Gillian Gee M.M.Inst.V. 01753 553312 

Jimmy Goodinson F.Inst.V. 01204 576826 ABC 

Hamish Maclean M.M.Inst.V. 01582 596935 

Gavin Gration M.M.Inst.V. 

0161 303 0125 ABCKMN Gordon O'Neill M.M.Inst.V. 01494 786611 

Mark Higham M.M.Inst.V. 

01625 523237 BC 

John Snelgrove F.Inst.V. 

01442 250088 AM 

Peter Hinkson M.M.Inst.V. 01253 735200 ACKMN 

Anthony Barnett M.M.Inst.V. 01553 776995 AFIKLN 

John Hodgson M.M.Inst.V. 01253 899690 B 

David Blundell F.Inst.V. 

01234 764883 AJKL 

David Howles M.M.Inst.V. 

01706 657835 ABCDE 

Dave Collins M.M.Inst.V. 

01908 522157 ABCGK 

Phil Janvier M.M.Inst.V. 

0151 487 9338 ABCDGN Driving Standards Agency* 01234 744060 

Thomas Jones M.M.Inst.V. 

01744 603799 BN 


Lee Mannering M.M.Inst.V. 

01744 29976 ABCG 

01254 393683 ABCKN E. London, Essex & Hertfordshire (Area 11) 

Van Martin M.M.Inst.V. 

0161 902 9000 ABFKM 

Zulqar Cheema M.M.Inst.V. 01279 413260 ABCDKLN 

Mirage Digital Video Productions * 01253 596900 ABCDFKLMN David Chevin M.M.Inst.V. 

020 8502 7232 BC 

Gordon Moore M.M.Inst.V. 

01706 215914 ABCK 

Albert Clack M.M.Inst.V. 

01462 629212 CFGI 

Jeffrey Mortimer M.M.Inst.V. 0161 487 1200 B 

Fred Curtis M.M.Inst.V. 

01708 343123 ABCH 

David Durham M.M.Inst.V. 020 8281 7041 ABCGK 

E. Midlands, S. Yorks, Humberside & Lincs. (Area 04a) Rick Fiore M.M.Inst.V. 

01702 293003 ABCFGHIKL 

John Harding M.M.Inst.V. 

01206 793315 ABCK 

John Goodwin M.M.Inst.V. 01246 850963 AB 

Duncan Hector M.M.Inst.V. 01462 892638 

Chris Goulden M.M.Inst.V. 

01430 431634 ABCJ 

Martin Klein M.M.Inst.V. 

01707 655895 ABC 

Philip Groves M.M.Inst.V. 01526 353225 

Elaine Laurie M.M.Inst.V. 

020 8502 6198 ABCKN 

Lynne Hamilton M.M.Inst.V. 01246 852969 ABCK 

Alan Legg M.M.Inst.V. 

020 7193 4060 B 

Dean Hodson M.M.Inst.V. 

01246 268282 ABN 

Tony Lench M.M.Inst.V. 

01702 525353 ACE 

Geoff Knight F.Inst.V. 

01472 811808 ACDFGIKN Anthony Manning M.M.Inst.V. 020 8923 6068 ABCGN 

Matthew Leech M.M.Inst.V. 0121 308 1227 B 

Hugh Morris M.M.Inst.V. 

020 8220 6955 AFKL 

Adrian Medforth M.M.Inst.V. 01964 503771 ABC 

Colin Pethurst M.M.Inst.V. 01992 461858 

Ben Newth M.M.Inst.V. 

07984 629968 BK 

Kresh Ramanah M.M.Inst.V. 020 8521 3322 ABCHK 

Alfred Overy M.M.Inst.V. 

01405 704381 AB 

John Rose M.M.Inst.V. 

01375 483979 ABCN 

John Port M.M.Inst.V. 

01803 214414 ABCEFGKMN Two Dragons Film Studios* 07812 410866 N 

Shane Rumsey M.M.Inst.V. 01909 733291 

Iain Wagstaff M.M.Inst.V. 

01376 556417 B 

Gordon Simpson F.Inst.V. 

01724 720111 ABCG 

Gillian Walters M.M.Inst.V. 

01708 724544 ABCFKN 

Tim Smithies M.M.Inst.V. 0114 281 3320 

Peter Walters M.M.Inst.V. 

01708 724544 ABCFKN 

Robin Walters M.M.Inst.V. 01482 441007 ABC 

Andreas Andreou M.M.Inst.V. 0208 369 5956 ABCKN 

Philip Wilson F.Inst.V. 

01482 304830 ABCFGJKLMN 

Ross Campbell M.M.Inst.V. 01376 344353 ABCKN 

Kevin Winn M.M.Inst.V. 

01482 782187 AB 

Sean Atkinson M.M.Inst.V. 

Andrew Blow M.M.Inst.V. 

01472 507367 

01522 754901 ACFGIKM West Country (Area 12) 

Broadcast Media Services * 0115 955 3989 

Pip Critten M.M.Inst.V. 01752 361210 

Quentin Budworth M.M.Inst.V. 01964 562073 

Chris Ellery M.M.Inst.V. 

Mark Huckle M.M.Inst.V. 

0117 910 9704 ABC 

01872 270434 BCN 

North & West Yorkshire (Area 04b) 

David James M.M.Inst.V. 

0117 979 2858 ABCHJN 


01752 510999 ACFJKN 

George Duncan M.M.Inst.V. 01943 870431 ABCFIKN Mark Brindle M.M.Inst.V. 

01271 891140 ACDJKMN 

Simon Hare M.M.Inst.V. 

0113 258 8147 ABCKMN 

Ian Jackson M.M.Inst.V. 

Christopher Lawton M.M.Inst.V. 

07979 914996 ACFJKLNR 

0113 218 9298 ABCFHK Dorset, Wiltshire & Hampshire (Area 13) 

Simon Marcus F.Inst.V. 

0113 261 1688 ACDFGHJKLMN Paul Cascarino F.Inst.V. 

01666 860574 ABCD 

Antony Meade M.M.Inst.V. 01423 755397 AIN 

Nick Curtis M.M.Inst.V. 

01794 324147 ABCHIKMN 

Richard Mortimer F.Inst.V. 

01924 249700 ABCHJK 

Jon Durrant M.M.Inst.V. 

01225 866474 B 

Terry Mullaney M.M.Inst.V. 01924 864613 AB 

Steve Feeney M.M.Inst.V. 

01962 622549 ABCKN 

Paolo Pozzana M.M.Inst.V. 01756 798335 ABCHKN Galton & Rostance * 0800 051 4510 

Dave Redmond M.M.Inst.V. 0113 263 2496 ABCGIKN Stewart Guy M.M.Inst.V. 

01256 850142 ABCDFIKMN 

Iain Rogerson M.M.Inst.V. 01759 369811 

Brian Harper M.M.Inst.V. 

01225 866348 ABCKM 

Mike Wade F.Inst.V. 

01484 684617 ABCFG 

Greg Hawkes M.M.Inst.V. 

0800 0433126 BCFGKLN 

Mike Walker F.Inst.V. 

01924 515100 ABCDEFHKLMN Otton Hulacki M.M.Inst.V. 

01308 423095 ABCJKN 

Mike Wells M.M.Inst.V. 

01347 868666 ABD 

Ray Joyce M.M.Inst.V. 

01202 692008 ACGKN 

Gail Allaby M.M.Inst.V. 

01422 844392 ABCFGHK Patrick Kempe F.Inst.V. 

01590 675854 ABCGHK 

Philip Burton M.M.Inst.V. 

01274 595421 BCKN 

Kazek Lokuciewski M.M.Inst.V. 0118 965 6322 ABCDEFGIJKN 

Colin Campbell M.M.Inst.V. 01274 690110 

David Lovett M.M.Inst.V. 

01425 615626 ABJ 

Tim Martin M.M.Inst.V. 

01985 212863 AGIJN 

North Wales & Borders (Area 5) 

Ernie McKenna M.M.Inst.V. 01373 832763 ABCKN 

Graham Mew M.M.Inst.V. 

01256 397387 BCKN 

John Ford Evans M.M.Inst.V. 01492 543246 CK 

Eric Montague M.M.Inst.V. 01722 711958 

George Fenney M.M.Inst.V. 01902 377882 

Colin North M.M.Inst.V. 

01725 511688 ABCN 

David Gold M.M.Inst.V. 

01743 355725 ABCGIJKM Jeremy Payne M.M.Inst.V. 01202 417084 BCK 

James Goodchild M.M.Inst.V. 0845 345 1703 A 

Jennifer Roberts M.M.Inst.V. 07850 587415 ABCDJ 

David Jones F.Inst.V. 

01743 891286 ABCKN 

James Smith M.M.Inst.V. 

01202 488140 ACIKMN 

Graham Kay M.M.Inst.V. 0151 342 8184 

Henry Allen M.M.Inst.V. 01929 552035 

Richard Knew F.Inst.V. 

01978 358522 ACFKM 

David Angus M.M.Inst.V. 

01793 612299 BCKN 

Tudor Owen M.M.Inst.V. 

01352 755397 ABL 

Steve Axtell M.M.Inst.V. 

01202 718522 P 

Christopher Smith F.Inst.V. 01948 780564 AIMN 

David Bennett M.M.Inst.V. 01590 623077 ABL 

Rowland Barker F.Inst.V. 

01490 430507 ABCFGHKLN 

Maurice Brake M.M.Inst.V. 

01202 512449 ABC 

Cam 3 Media * 

01588 650456 ABCFGHIKN 

Martyn Chidlow M.M.Inst.V. 

James Edwards M.M.Inst.V. 

01978 350122 ABCHKN 

01952 605213 AC 

Surrey, Berkshire & Sussex (Area 14) 

Peter Eggleston F.Inst.V. 

A 

Mike West M.M.Inst.V. 

01903 892951 BC 

Kevin Fitton M.M.Inst.V. 01952 412587 

Mark White M.M.Inst.V. 

David White M.M.Inst.V. 

023 92 837677 B 

01372 360145 B 

Midlands (Area 6) 

Nigel Bates M.M.Inst.V. 07966 416339 

Noriko Brewster M.M.Inst.V. 020 8661 7703 

Mike Walters M.M.Inst.V. 

0845 257 8207 ACKN 

Matthew Derbyshire M.M.Inst.V. 01323 430800 ABCJKM 

Jackie Williams M.M.Inst.V. 01455 848199 

Leo Ferenc M.M.Inst.V. 

01825 873533 ABCDEFIJKMP 

Simon Hammond M.M.Inst.V. 01386 47013 ABCFKM Paul Finlayson M.M.Inst.V. 

01372 273527 BCK 

Stephen Hart M.M.Inst.V. 01527 878433 

Focal Point Television* 01483 811999 

ICE * 

01926 864800 ABCFGJKM Brian Hibbitt M.M.Inst.V. 

01344 777010 AJN 

David Impey F.Inst.V. 

01926 497695 ACFGJKLMN Neil Hodgson M.M.Inst.V. 

0118 961 9981 ABLK 


01782 514942 ABJ 

Martin Hooper M.M.Inst.V. 023 9225 0618 ABCKLN 

Colin Jones M.M.Inst.V. 

07802 978511 ABCK 

Peter Howell M.M.Inst.V. 

01483 765605 ACFKMN 

Nick Kirk F.Inst.V. 

07836 702502 ACFGKL 

Laurie Joyce M.M.Inst.V. 

0118 947 8333 ABL 

Bob Langley M.M.Inst.V. 

0845 606 6593 AJMO 

Robin Kay M.M.Inst.V. 

023 92 255108 ABCFGIKMN 

Michael Leach F.Inst.V. 

01902 893068 BC 

Carole McQuarrie-Watson M.M.Inst.V. 01903 730549 

James Mackenzie M.M.Inst.V. 01902 342154 A 

Philip Nash M.M.Inst.V. 

01252 821623 AB 

Brad Miles M.M.Inst.V. 

0116 275 2100 AB 

Anthony Neal M.M.Inst.V. 01489 581397 

Adrian Moore M.M.Inst.V. 01283 515861 

Derrick Oakins M.M.Inst.V. 01983 612704 ABC 

Chris North M.M.Inst.V. 01530 836700 

Frank Prince-Iles M.M.Inst.V. 01903 810148 ABCK 

Mike Payne M.M.Inst.V. 

01283 567745 ABKN 

Ines Probst M.M.Inst.V. 

01737 373992 B 

Gillian Perry M.M.Inst.V. 01676 541892 

Simon Reed M.M.Inst.V. 01428 652832 

Roger Perry M.M.Inst.V. 01676 541892 

Take One Productions * 

01403 256255 ACFGM 

Michael Shaw M.M.Inst.V. 

01782 746553 B 

Gerald Thornhill M.M.Inst.V. 01444 881391 ABCGHKN 

VegaTV & Media Solutions Ltd* 0870 080 1961 ACDKMN Chris Towndrow M.M.Inst.V. 01932 866294 

East Anglia & A1 Corridor (Area 7) 

David Watson M.M.Inst.V. 

Barry Weare M.M.Inst.V. 

01903 730549 ABM 

01628 528682 AB 

Jim Panks M.M.Inst.V. 

01775 822200 ABCEKLN 

Dave Parkhouse F.Inst.V. 

01634 295101 ABCDHK Kent & SE London (Area 15) 

Bill Platts M.M.Inst.V. 

01733 370922 CDKN 

Michael Moore M.M.Inst.V. 01634 220839 ABCK 

John Suckling M.M.Inst.V. 

020 8517 6752 ACN 

Barrie North M.M.Inst.V. 01322 526653 

Malcolm Wooldridge M.M.Inst.V. 01493 782174 N 

Kevin Pert M.M.Inst.V. 

01233 664737 ABN 

John Worland M.M.Inst.V. 

01206 241820 AB 

Katherine Shannon M.M.Inst.V. 01843 595017 BCFG 

Hedley Wright M.M.Inst.V. 07836 595859 ABCKN 

Peter Snell M.M.Inst.V. 

01634 723838 ABCDEK 

Bernard Coe M.M.Inst.V. 

01223 441137 ABC 


020 8851 0105 ACFKLMO 

Stephen Curtis M.M.Inst.V. 07884 432420 BCN 

Brett Allen F.Inst.V. 

01634 720321 ABCHKM 

Mike Deal M.M.Inst.V. 

0800 970 6159 ABCGJKLN Vince Babbra M.M.Inst.V. 

07976 550592 BCD 

Extreme Video* 

01603 630555 A 

Ben Bruges M.M.Inst.V. 07766 052138 ABCFGJKLN 

Brian Gardner F.Inst.V. 

01603 260280 ACFGKMN John Chilton M.M.Inst.V. 

01732 840768 ABNR 

Colin Goody M.M.Inst.V. 

01473 257595 AB 

Colin Fowler F.Inst.V. 

01732 454593 ABCGIK 

Nigel Hartley M.M.Inst.V. 01449 614378 

Brian Harvey M.M.Inst.V. 01892 652379 

David Haynes F.Inst.V. 01842 862880 

Michael Hughes M.M.Inst.V. 01959 576255 ABJKN 

John Lambert M.M.Inst.V. 01603 610566 

Stephen Kane F.Inst.V. 

01795 424248 ABCGIK 

Shaun Lawson M.M.Inst.V. 01493 441162 ABCKN 

Roger Lowe M.M.Inst.V. 

01795 410957 BCKN 

Simon Page M.M.Inst.V. 

01362 822577 ABC 

Neil Missing M.M.Inst.V. 

0870 787 9170 ACFKMN 

South Wales & Bristol Channel (Area 8) 

Roger Missing M.M.Inst.V. 

0870 787 9170 ACFHKN 

Colin Riddle M.M.Inst.V. 

01437 769635 ACGJKLN Channel Islands (Area 16) 

Alan Torjussen F.Inst.V. 

029 20 666007 AFGLMN Peter Laine M.M.Inst.V. 

01481 200026 ACGJKM 

Jack Tristram M.M.Inst.V. 

01792 816688 ABC 

David Le Brocq F.Inst.V. 01534 723166 

Alan Vaughan M.M.Inst.V. 

01453 835422 ACFGN 

Chris Wheatley M.M.Inst.V. 

Peter Cluer M.M.Inst.V. 

01242 579712 ABCDN 

01453 832624 ACGKN Northern Ireland (Area 18) 

Glyn Edwards M.M.Inst.V. 

01443 838715 BC 

John Doran M.M.Inst.V. 

028 902 00736 ABCDEFHKLMN 

Steve Hart M.M.Inst.V. 

01568 620644 ABCJKN 

Frazer Smyth M.M.Inst.V. 028 9267 1958 

Michael Hill M.M.Inst.V. 

01242 674462 ABCDIKN 

Harley Jones M.M.Inst.V. 

029 20 520599 ABCFK Republic of Ireland (Area 19) 

Manolo Lozano M.M.Inst.V. 01792 520450 

Brian Scully M.M.Inst.V. 

00353 86 606 1420 ABCKMN 

Ian Melding M.M.Inst.V. 

01792 818085 ABKMN 

Tom Fortune M.M.Inst.V. 00353 552 1785 

Dawn Morgan M.M.Inst.V. 

01792 776121 ABCN 

Michael Lynch M.M.Inst.V. 00353 21 733 2240 

Andrew O'Leary M.M.Inst.V. 01656 650249 ABC 

Keith Malone M.M.Inst.V. 

00353 87 681 4208 ABCEFGHKLMN 

Nick Pudsey M.M.Inst.V. 

01646 651555 ABCK 

Justine May-Quinn M.M.Inst.V. 00353 1 835 3389 ABCEFGHJKLN 

West London, Middlesex & Herts. (Area 9) 

John Murphy M.M.Inst.V. 00353 93 35933 

Michael Lawson M.M.Inst.V. 020 7932 1190 

Stuart Little M.M.Inst.V. 

Anthony Myers M.M.Inst.V. 

020 8347 9567 ACFGKLN 

020 8958 9838 BCK 

* indicates Corporate Member

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