I was a very junior vision engineer (just out of shot) on Thames Unit 1 for this shoot. In fact there was also a film crew, so we were 'shooting' each other (at London Zoo if I remember correctly).
This was the era before satellite outside broadcast vans, all outside broadcats back then was done by microwave link. This was transmitting the signal from the OB truck back to the main studio via microwave using line of sight transmission. One benefit was there was virtually no lag time unlike satellite
I think they used to have link vans too with two microwave dishes on them to relay the signal somewhere mid point where there was no direct line of sight between the venue of what was being televised and the studio. One dish would receive the wanted microwave signal and the second dish would pass it on. Presumably in some cases they'd need more than one link vehicle.
That's very apparent when they did live interviews, especially during election nights. It was really something how direct those conversations were, even today with internet links.
I agree... HOWEVER The Marconi MK VII was not good enough to tie the shoe-laces of an EMI 2001 camera (If a camera had shoe-laces) The EMI 2001 was FAR a superior camera in every way.
@@briansaiditsoitmustbetrue4206 - Might that explain why Benny Hill mostly worked in film for outdoor location shoots? He made a few attempts to do outdoor shots via videotape with the OB unit (and the Mark VII's) on five different shows (Oct. 28, 1970; Dec. 23, 1970; Jan. 27, 1971; Feb. 24, 1971 and May 30, 1978), but went back to film (mostly 16mm, except for three shows in the 1973-74 series where they apparently filmed in 35mm) thereafter. How was the RCA TK-47 (which replaced the EMI 2001's at Thames' Teddington studios c.1982) in relation to its predecessor?
@@wmbrown6 In many cases, film would have been cheaper, and all the paraphernalia of a full-blown OB wasn't really justified for such material, which didn't specifically demand multi-camera treatment.
@@briansaiditsoitmustbetrue4206 I don't totally agree: I worked a lot with Mk VIIs, and they had many fine features: they were more sturdily built than the EMIs, and when correctly set up, were capable of superior pictures, as well has having certain features not present on the EMIs. And i think the camera viewfinders were better too. However, the fully external lens and overall size did make them unwieldy. Ultimately, I guess the proof of the pudding is that the EMIs were still in service into the early '80s, whereas this 1977 material from the Mk VIIs must have been one of their last outings; many companies did go directly from the MkVII to the Mk IX without going through the Mk VII stage at all. Nice, too, here to see the very typical 'look' of the Mk VIIs
@@bangerbangerbro Zooms were used more earlier because it was more cost effective than bringing several lenses wasting both time and tape on set, and in post production editing it together. Now the latter parts are so quick so zooms are less used unless as a very active style choice
@@MertBert I was talking about mobile phones rarely having optical zoom but that is interesting, I had no idea fixed magnification was used, but I guess it makes sense with how films and things like that are done.
I think that not long time after this episode date they replaced all the Marconi VII in brand new Marconi VIII cameras, By the way in this time in Israel we replace all our EMI 203 monochrome cameras in LINK 125 cameras (I think it was in the early 80's)
Except 100 years ago they had stopped burning at the stake about 200 years earlier and perfectly understood that not understanding something doesn't mean it must be magic.
Considering how many road miles that vehicle would have done by that point in its history it's actually in a reasonable condition. OB vans never got that much love on the outside, there usually wasn't much time between set ups.
Irony that even now this is a far more interesting programme than many broadcast today
I was a very junior vision engineer (just out of shot) on Thames Unit 1 for this shoot. In fact there was also a film crew, so we were 'shooting' each other (at London Zoo if I remember correctly).
This was the era before satellite outside broadcast vans, all outside broadcats back then was done by microwave link. This was transmitting the signal from the OB truck back to the main studio via microwave using line of sight transmission. One benefit was there was virtually no lag time unlike satellite
I think they used to have link vans too with two microwave dishes on them to relay the signal somewhere mid point where there was no direct line of sight between the venue of what was being televised and the studio. One dish would receive the wanted microwave signal and the second dish would pass it on. Presumably in some cases they'd need more than one link vehicle.
That's very apparent when they did live interviews, especially during election nights. It was really something how direct those conversations were, even today with internet links.
Wow! Fantastic piece of film, what a pleasure to watch. So many memories but how things have moved on. Thanks for this.
Lovely images of the Marconi Mk VII cameras and other technology in this clip.
I agree... HOWEVER The Marconi MK VII was not good enough to tie the shoe-laces of an EMI 2001 camera (If a camera had shoe-laces)
The EMI 2001 was FAR a superior camera in every way.
@@briansaiditsoitmustbetrue4206 - Might that explain why Benny Hill mostly worked in film for outdoor location shoots? He made a few attempts to do outdoor shots via videotape with the OB unit (and the Mark VII's) on five different shows (Oct. 28, 1970; Dec. 23, 1970; Jan. 27, 1971; Feb. 24, 1971 and May 30, 1978), but went back to film (mostly 16mm, except for three shows in the 1973-74 series where they apparently filmed in 35mm) thereafter.
How was the RCA TK-47 (which replaced the EMI 2001's at Thames' Teddington studios c.1982) in relation to its predecessor?
@@wmbrown6 In many cases, film would have been cheaper, and all the paraphernalia of a full-blown OB wasn't really justified for such material, which didn't specifically demand multi-camera treatment.
@@briansaiditsoitmustbetrue4206 I don't totally agree: I worked a lot with Mk VIIs, and they had many fine features: they were more sturdily built than the EMIs, and when correctly set up, were capable of superior pictures, as well has having certain features not present on the EMIs. And i think the camera viewfinders were better too.
However, the fully external lens and overall size did make them unwieldy.
Ultimately, I guess the proof of the pudding is that the EMIs were still in service into the early '80s, whereas this 1977 material from the Mk VIIs must have been one of their last outings; many companies did go directly from the MkVII to the Mk IX without going through the Mk VII stage at all.
Nice, too, here to see the very typical 'look' of the Mk VIIs
HAHA - that hanging microphone in the end ;-)
1:50 “it’s called a video tape recorder”
Well no kidding.
(I’m only being cheeky)
I remember Magpie, it went head to head with Blue Peter, the cast of Mag looked like a load of hippies.
True, but they didn't talk down to their audience as if they were 5 year-olds, unlike Blue Peter.
Is there another control van with another director and vision mixer to enable filming of the original OB crew? 😁
If you look at 1:09, at the upper right monitor, you can see the shot we're seeing. I can only assume then that they were shooting themselves.
On day in the distant future all that will fit in your pocket and can be operated by a single person.
Maybe it will but it still doesn't.
Still not
I don't think a THREE TUBED STUDIO CAMERA, QUADRUPLEX VTR and VISION MIXER will ever "fit in your pocket" 👎😂😂😂
@@marcse7en 😂
@@marcse7en I do believe these are Marconi MKVIIs, which actually had four tubes.
Now we have better video quality in our pocket at all time.
Wit no optical zoom most of the time .
@@bangerbangerbro Zooms were used more earlier because it was more cost effective than bringing several lenses wasting both time and tape on set, and in post production editing it together. Now the latter parts are so quick so zooms are less used unless as a very active style choice
@@MertBert I was talking about mobile phones rarely having optical zoom but that is interesting, I had no idea fixed magnification was used, but I guess it makes sense with how films and things like that are done.
I think that not long time after this episode date they replaced all the Marconi VII in brand new Marconi VIII cameras, By the way in this time in Israel we replace all our EMI 203 monochrome cameras in LINK 125 cameras (I think it was in the early 80's)
Thames didn't use the Marconi MkVIII. They replaced the MkVII with Link 110 cameras.
It would have been, Tzadik - I worked with Link 125s from 1984 until 1992.
it makes you curious as to what technology will be like in another 40 years, take a smart phone back 100 years and you would be burnt at the stake
Except 100 years ago they had stopped burning at the stake about 200 years earlier and perfectly understood that not understanding something doesn't mean it must be magic.
what a tatty looking vehicle
Considering how many road miles that vehicle would have done by that point in its history it's actually in a reasonable condition. OB vans never got that much love on the outside, there usually wasn't much time between set ups.
Pure muck
What do you mean?