Film Recording
The installation was staffed as follows:-
  1. Darkroom - loading and unloading the film magazines in complete darkness (often the job of a TA or new recruit)Graham Sissons always remembered changing a magazine with his eyes shut (as one tends to in a darkroom by instinct), and then opening them to find that the light had been on all the time!.
  2. Cameras – lacing the film, cleaning between each reel and adjusting the display for correct exposure
  3. Sepmag – loading the magnetic film, adjusting bias and levels
  4. Supervisor – responsible for the whole operation, communicating with the studio, running and stopping the cameras and sound recorders and monitoring the incoming levels.
This was the main recording installation for major studio productions such as Maigret, Dr. Finlay’s Casebook, Taxi (Sid James), Dr.Who and Wednesday Plays, the Festival Series including LysistrataEspecially remembered by VT staff for Ann Bell's entrance down the staircase. Many Schools programmes were recorded.
In 1964 this installation was modified to accept the new 625 line system ready for BBC2. However, most sources still produced 405 lines.
This mixture of line standards caused some anguish. One evening the cameras were all loaded and lined up ready for the recording. The four staff departed to the Club in Smith’s Yard and later returned to ‘Ident lines’ and check levels from the studio. They (we) were all greeted with a screeching sound and realised there would have to be a fast conversion to 625 – not an easy process. Perhaps the hint in the programme title should not have been overlooked. It was Jazz 625!
FR4

FR4 Two 16mm suppressed field recorders. The short persistence phosphor was blue and allowed cheaper raw film stock to be used. As with the other film recorders, a variable area optical sound track was always recorded.
The optical sound stack is on the right and the compressed air gun, to assist cleaning, can be seen hanging on the left.
Sport (e.g. boxing) was often recorded here. Instructions from a PA sometimes asked for only the last set of a tennis match to be recorded! Another way for production to save money was to avoid sending the unwanted exposed film to the processing labs.
A ‘Direct Positive’ recording could be made by showing a negative picture on the CRT and so avoid the need to print the negative. This was adequate for a cheap viewing copy.

FR6 A single 16mm. suppressed field channel with Sepmag. This had previously been the third channel in FR4. VERA was installed here when it was moved to Lime Grove from Designs Department in 1958, although the room was called TR5 - possibly this explains the missing FR5 in the sequence.. Note: All installations had their own dry darkroom.

FR Office
Believed to be part of the FR office SA7 LG