CMCR9 at the Lyceum 1970

The vision engineers at work- probably a posed shot taken during a break as the working lights must be on. The vision engineers control the exposure of the cameras by altering the iris of the lens, and control the black level of the picture. The camera operator only has to worry about framing the shot with the Varotal zoom lenses, and focussing. Colour balance is done by the vision supervisor - in

Looking back from the other end of the Vision area. The original Pye colour monitors were replaced later in the 70s as they were so unreliable. They were incredibly heavy and took four men to lift. The later Prowest monitors are still fitted and working. Cameras 5 & 6 were additional, shared between units as required, fitted in an extra rack bay, (with the engineer adjusting the monitor controls i

A view of the scanner parked behind the theatre with cables taken overhead to keep the pavement clear. The thick camera cables are connected mid-way down the near side of the truck, but the numerous sound cables carrying microphone feeds and talkback (communications) are plugged in at the back on the CTP- (Central Termination Panel). It is covered by a sliding door when not in use. Note the parkin

The Sound Supervisor gets to grips with the new 24 channel Pye desk. The two Peak Programme Meters (PPMs) are of course not stereo- all TV sound was mono. The LH one is the main PPM, the RH can be selected to monitor different channels or groups by a switch panel. The small meters show the amount of compression or limiting applied by the twin compressors. These were of advanced design and are even