Sony BVE

If you've been following the story of editing systems in sequence, you will have read under Vantage that discussions had taken place with Sony with respect to their new BV9000 series.
In the late 1980s an 'edit-off' took place between every commercial system that might possibly be a replacement for Electra. Several systems spent some time in Edit Suite B being assessed by their future users. The final system to be tried was the Sony BVE9000.

Sony 9000
Off the shelf 9000s had a 'conventional' QWERTY keyboard which was not totally admired by those who tried it. The picture above is of a Sony 9000 hired in along with Sony HDD1000 VTRs for the editing of "Ginger Tree" in 1989. A temporary edit suite was built in the gallery of TC1 to accommodate the equipment.
The BBC version of the 9000 keyboard (9100) had the keys re-arranged and became the standard edit suite editor in Television Recording. It formed the basis of the new major edit suites being built in Stage V.
BBC Sony 9000
The prototype 9100 suite was installed in Edit Suite C along with a GVG200 vision mixer (which had also been chosen as the standard vision mixer for Stage V). The photograph below shows the general layout.
Edit Suite C
This design transferred well to Stage V as the photograph of Edit Suite 7 below shows. Collo Caulton at the keyboard and Graham Welham just creeping in to the left hand side of frame. The standard DVE chosen was the ADO100 (bottom right) and an Aston Caption was provided as well.
Edit Suite 7

BVE910 keyboard
The standard editor for the multi-purpose areas was the Sony BVE900/910 - keyboard shown above. With a GVG100 vision mixer it integrated well in all manner of fast turnaround operations. The picture below shows Andy Barker in VT1 (Stage V) during the Winter Olympics in January 1992.
Both the BVE900/10 editors and the GVG100 vision mixer allowed some operational continuity between quick turnaround 'multipurpose' suites and the more complex BVE9000/ GVG200 suites.
Andy Barker in VT1 (Stage V) during the Winter Olympics in early 1992.
The other advantage of the 910/91000 range was that they could drive any machine that had a serial interface. The picture below, taken at the same time as the one above, shows Stan Pow offline editing an episode of Lovejoy on U-Matic with a CUEDOS logging system.
Stan Pow offline editing an episode of Lovejoy