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vision supervisor and outside-broadcast specialist at the BBC).Roger NealOccupation: Vision Supervisor (Outside Broadcasts), BBCNotable: Early work on colour outside broadcasts; senior supervisor on major live eventsEarly CareerRoger Neal was among the early technical staff on colour outside broadcast (OB) units at the BBC. He started work on what were known as the “Type I” colour OB scanners, becoming only the second ever vision supervisor on the OB unit CMCR 1, which was used for the first ever BBC colour outside broadcast in 1967. adapttvhistory.org.ukHe gained expertise with the Pye PC-80 cameras and was part of the BBC team working with Pye TVT on the testing of the upcoming “Type 2” scanner units. adapttvhistory.org.ukMajor Achievements & Live BroadcastsAs a senior vision supervisor, Roger worked on many iconic events, including:The marriage of Prince Charles to Lady Diana Spencer at St Paul’s Cathedral. adapttvhistory.org.ukNumerous Wimbledon tennis championships, golf opens, the British Grand Prix, and Olympic Games (e.g., Moscow and Barcelona). adapttvhistory.org.ukA particularly memorable assignment: He spent a Christmas in the Falkland Islands to originate the first ever live transmission from the Islands. adapttvhistory.org.ukLater Career & RetirementNeal continued working on Type 2 scanners, and later with the BBC’s first handheld radio-transmitted camera PCP-90, staying in OB work at Kendall Avenue (the BBC’s outside-broadcast base) until 1996 when he took early retirement. adapttvhistory.org.ukEven after that, he continued freelance work as a vision supervisor for a further ~15 years, finally retiring completely after the Wimbledon broadcast in 2012. adapttvhistory.org.ukSignificance & ImpactRoger Neal was involved at a pioneering moment in television: the transition to colour outside broadcasting in the UK. He has described that era as writing “the grammar of colour television” — meaning the standard methods, workflows and practices for colour OBs were being developed on the fly. adapttvhistory.org.ukHis work enabled major live events to be broadcast with a new level of visual fidelity and production complexity — helping the BBC maintain its reputation for high quality live televised sports and national-events coverage.His professional journey illustrates the shift from earlier black-and-white, studio-based broadcasting to complex on-location, mobile-unit colour OBs — with rapid rig-up times, multiple cameras, mobile routing, and live transmission logistics.Key Skills & QualitiesTechnical mastery of early colour video cameras and OB equipment (e.g., PC-80, Type I/II scanners)Strong operational leadership: supervising large teams under live-transmission conditionsAbility to plan/coordinate complex outside-broadcast events: multi-camera setups, live switching, venue logisticsAdaptability: From early OB units to more mobile handheld camera technology and later freelance OB workSummaryRoger Neal played a key (though behind-the-scenes) role in the BBC’s outside-broadcast operations during the formative years of colour television and large-scale live event coverage. With career spanning from the late 1960s through to the 2010s (including freelance), he contributed significantly to the technical and production standards of live television in the UK.

Robin Sutherland joined the BBC in 1965 as a trainee technical operator. He first worked at Television Centre where he had the opportunity to assist  camera operators and sometimes be allowed to operate the cameras. Unfortunately it was a time when it was difficult to 'rise up the ladder' to become a fully fledged camera operator. Robin decided to join BBC TV Outside Broadcasts at Kendal Avenue where there were more opportunities to operate cameras. Robin stayed with BBC OBs for most of his career and became one of the most respected camera supervisors in the business.

BBC Vision Engineer, Started working in family business in Lincolnshire. Joined the BBC late in life but has had a lifelong interest in broadcast television. Member and Treasurer of the British Amateur Television Club. Moved from the BBC\'s Capital Projects Department to BBC Television Outside Broadcasts in the early 1990s, working out of Kendal Avenue.

Tom Bell was born in London in 1949. His family were active Communists and Tom joined the Young Communist League (YCL) at the age of fourteen. At  fifteen he became an appretice electician. In 1970, when he was twenty, Tom was recruited by the African National Congress ( ANC) to undertake an undercover mission with his brother Ron in Capetown, South Africa. He became the General Secretary of the YCL and he returned to the buildingbtrade as a "spark". However he fell foul of the notorious building trade blacklist and work dreied up. He then managed to find work in television lighting and ended up employed as a full time official for the Uk media union BECTU ( The Broadcasting, Entertainment , Cinematograph and Theatre Union )  Tom was with BECTU as a superviory official  for twenty two years until he retired  in 2017. 

Date of Birth: 25 October 1957 Wikipedia+2acmi.net.au+2Birthplace: London, England; she grew up in Peebles, Scotland. Wikipedia+2acmi.net.au+2Career & Major AchievementsShe began in the film industry via theatre and children's television. Riverside Studios+2Inside Pictures+2Early work includes My Beautiful Laundrette (1985), where she was location manager; she also worked as production manager on early Channel 4 films. Wikipedia+3IMDb+3rebeccaobrien.com.au+3Her producing debut was Friendship’s Death (1987), directed by Peter Wollen. Inside Pictures+2IMDb+2She formed a long-standing partnership with director Ken Loach and screenwriter Paul Laverty. In 2002, they co-founded Sixteen Films production company. Wikipedia+2Riverside Studios+2Notable films produced by her include Land and Freedom (1995), The Wind That Shakes the Barley (2006), I, Daniel Blake (2016). Two of these (Wind and I, Daniel Blake) received the Palme d’Or at Cannes. Inside Pictures+3Wikipedia+3Filmportal+3She also co-produced or produced other works outside the Loach-Laverty trio, for example Bean (1997) and Princesa (2001). IMDb+2Inside Pictures+2Industry Roles & ContributionsRebecca O’Brien has served on boards and advisory bodies, including:UK Film Council (until its dissolution in 2010) Wikipedia+2rebeccaobrien.com.au+2UK Film Industry Training Board IMDb+1PACT (Trade body of independent film producers in the UK) Wikipedia+1European Film Academy IMDb+2Wikipedia+2British Screen Advisory Council IMDb+1Recognition & AwardsShe has won a BAFTA Award for Outstanding British Film for I, Daniel Blake. Wikipedia+1Palme d’Or wins at Cannes for The Wind That Shakes the Barley and I, Daniel Blake. Wikipedia+2IMDb+2

Derek Threadgall was born in 1938 the eldest of three children in Harwich, Essex.Fate decreed that the largest and grandest cinema of the three cinemas in that area, the Regal, should be a two minute walk from his two-up, two-down terraced home. The 940 seats Regal cinema (now demolished) also introduced him to the cinema going   experience. In 1947, the family moved farther along the coast to a seaside resort which also had three cinemas each of which would play a major part in his formative years. His interest in films was boosted by his weekly visits to the popular Saturday Morning Pictures in his local Odeon (also a two minute walk from his new home in the town centre. During his teenage years he visited his local cinemas six and even seven times a week. This was possible because cinemas’ weekly programming was changed in mid- week in order to run a fresh presentation for the remainder of the week.  Soon these early film life experiences began to form his ambition to work in the film industry.He was introduced to practical amateur film making in the mid-1950s by a local school teacher, Lew Broom, who had broken new educational ground by successfully introducing ‘film’ as an educational tool.  Mr Broom also ran the local youth club film group which Derek joined. Mr Broom helped him gain his first employment in the film industry with the British Film Institute Film Appreciation Department in London. His appointment followed a meeting arranged by Mr Broom with Dr Roger Manvell, Director of the British Film Academy in London.He later moved to the BFI’s National Film Theatre (NFT) in London’s south bank arts complex as a trainee projectionist (the NFT was the original Telekinema from the 1951 Festival of Britain. It was  transferred to BFI management after the Festival had closed).Derek worked with Air Ministry in London during his National Service with The Royal Air Force. He travelled throughout England and abroad with the RAF promotions and recruitment team and a mobile 16mm cinema. The team attended events such as The Royal Tournament and Ideal Homes exhibitions to promote The Royal Air Force. his team was also responsible for maintaining the RAF film library located in RAF Hendon. In return, the RAF paid for him to take a London University course on the History and Art of Film sponsored by the British Film Institute. After completing his National Service, he joined Rank Film Distributors in London from where he plotted his final push to work in a British film studio.In 1960, he succeeded in joining the management team at Shepperton Studios working in the Operating Office (the nerve centre of the studio). In 1965, he left the studio to freelance as a writer and documentary producer for which he formed his own film company.In 1968, he joined the London advertising agency, Ogilvy Benson and Mather, to manage   their television commercials library. He later joined Haymarket Publishing as annuals production editor and writer for their ‘Film Making’ magazine. He continued writing for several media and consumer magazines including ‘Atlantic’ for the American Chamber of Commerce in London.In 1972 Shepperton Studios was under threat of closure. He ran the 16 months public campaign to prevent the studio from being demolished for a housing development. Following the campaign’s                                                                                         2success in 1973 he formed his own public relations business specialising in financial PR and fund raising for registered charities. His first book, ‘Shepperton Studios – An Independent View’ (a corporate history of the studio) was published in 1994 by the British Film Institute. It was  followed in 2019 by a companion book ‘Shepperton Studios – A Personal View’.                                                                                   Over the past ten years he has enjoyed sometime lecturing on cruise ships highlighting ‘The Golden Age of Hollywood’ (1920s to 1960s).  On dry land he has presented over 100 talks covering cinema going in the 1940s 50s and 60s.In 1996 to commemorate 100 years of British film making  he ran the team which ‘borrowed’ the Odeon, Leicester Square, in London, for ‘The Super Saturday Show’ a recreation of a 1950s Saturday Morning Pictures show. It aided the Children’s Film and Television Foundation, the Prince’s Trust and the Variety Club of Great Britain.Now, long retired as a film and cinema historian and an industry veteran, he is a volunteer for The British Entertainment History Project based in London for which he interviews entertainers and employees from Film, Television, Radio and Theatre  His interviewees have worked in front of or behind the camera or microphone, but importantly they have a story to tell.Derek is married to Liz and has two children, Clare and Roy, and three daughters from a previous marriage. Derek Threadgall     March 2019

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Occupation: Film / television editor (primarily TV). IMDb+1Active (notable period): Mainly from the mid-1980s onward (credits through the 2000s). IMDb+1Career highlightsThe Secret Life of Machines (Channel 4) — credited as editor on the popular British educational series (late-1980s / early-1990s). This is one of his best-documented credits and shows his work on short, explanatory television programmes. WikipediaEquinox (1986) — listed among his earlier editorial credits (documentary/TV strand material). IMDbIn the Night Garden (2007) — credited as an off-line editor for at least one episode of the children’s TV series. (Shows he worked across genres, from adult-oriented factual TV to children’s programming.) IMDb+1Typical work / mediumMost credits are for television (documentary and children’s programming), indicating a career as a TV editor rather than a feature-film editor. His credits appear in series/episodic production contexts (multi-camera or mixed-format shows). Wikipedia+1