Equipment for hire

Equipment for period: from 1940's to 1950's.

The Marconi Mk III 4.5 inch Image orthicon 4-lens turret camera, appeared first in late 1954 and soon was used by most major broadcasters. Using an innovative tilting viewfinder, this large and heavy tv camera was highly reliable, especially on outside broadcasts (up in planes, on board ships). This camera was most famously used as the opening credits of BBC Televisions' 'Grandstand' programme. Picture shows the camera 'dressed' for a recent production.

The Marconi Mk II TV camera appeared first in 1951. A 3"inch Image Orthicon, this camera type was used mainly on outside broadcasts by the BBC. It covered the 1953 Coronation broadcast. Also used by CBC TV in Canada

VINTEN OUTSIDE BROADCASTING DOLLY. This compact camera dolly, designed by Bill Vinten, appeared in late 1958 and was used on the second Queens' Christmas Day Speech, broadcast live from Sandringham. (the Queen-via the BBC- had asked for a less intrusive dolly-the lumbering 'Paddock' had been used the year before). The Vinten dolly runs on solid or pneumatic tyres. The central column elevates and the camera and seat rotate 360 deg (as does the rear steering). In operation the front wheels extend outwards for stability. (Many photos exist of this dolly in BBC & ITV operation without the front wheels extended. Of course, requirements of Health and Safety held no urgency back then...)

The Newman Sinclair 'mute' model G 35mm movie camera had a clockwork drive and used a pre-loaded film cassette. The camera was used by newsreel companies during the Second World War (the evacuation of Dunkirk etc) and the Korean War. Television used the camera to shoot programme inserts, documentaries and early tv news footage. The camera pictured is in untested working condition and could be used to shoot footage.

The 'Edmonton' crane/dolly was based on the ca:1936 US Fearless 'Panoram' movie studio dolly. The distinctive Edmonton was built for the Rank Organisation and used mainly in British film studios. The crane/dolly had a central jib that could be raised 7ft and the turntable rotated 360 deg. The dolly could be adapted, with the addition of cable guards, to run in tv studios. Another version designed exclusively for television studios by Vinten was called the 'Pathfinder'. The larger picture shows an Edmonton with an RCA TK11A tv camera mounted.

An innovative camera, the PYE Mk 3 was a 3-inch b/w Image Orthicon with several automatic (if problematic) features (iris control, turret turning). First in operation with the BBC in 1951, and ITV (notably ATV) ) from 1955, the Pye Mk 3 was used for nearly 20 years by most major tv stations throughout the world. Pictured is one of our Pye Mk 3's with an original 'ATV' camera logo.(in reality, car number plate letters)

The EMI 203 was a 4 1/2" image orthicon camera used in the UK by BBC Television and ITV. European broadcasters included RAI(Italy)and MTV(Hungary). The camera had a four-lens mechanical turret with a blanking plate which could be removed. This enabled the camera image tube to be inserted. A special plate could hold also a fifth lens or diascope. Larger picture shows camera rear with functioning viewfinder and cue light.

The RCA TK11A was a 3"inch b/w image orthicon camera used mainly in the USA and Asia. Some European use. A few were used in the UK during the 1950s by the independent television company Associated-Rediffusion at their Wembley and Kingsway studios. The camera generally used Kodak Ektar lenses.

The WALL 35mm camera was a 'single system' optical sound camera. Robust with four lenses, this camera was designed for mainly newsreel work (Movietone News etc). The camera first appeared in the mid-1920s and a sound version, in 1935. The camera continued in use until the late 1970s. Click to see a larger picture of the Wall camera on a 1930s/50s style 'Edmonton' movie dolly. The Wall camera is attached to a pre-war Vinten 'J' pan head and dressed with a Newall matte box.

CINTEL monochrome monitors had distinctive red control knobs. Housed in restored vented gold cases, GA-TV has two 15-inch screen non-practical examples used originally in 1959 by Anglia Television at their Norwich studios.

The Hewitt company manufactured a range of film lighting and sound equipment. GA-TV has a restored example of a light weight Hewitt microphone boom with a 13ft arm

Lord Attenborough poses above a GA-TV Wall movie camera. Apposite promotion material for BSKYB's Millenium Movies season

A US 1950s ob scene with the President about to depart? Actually a Mercedes commercial filmed in 1997 at Walthamstow Town Hall. The RCA TK 10A tv camera is a genuine period item (as is the motor car).

High quality 16mm silent movie camera used by tv news, wildlife photographers and the well-heeled amateur. Through the lens reflex viewfinder. Three-lens turret or zoom.

The RCA TK 10A was the 1950s studio version of the RCA TK 30A 'field' camera. The TK 10A used a 3"inch image orthicon monochome tube and had a turret of four, usually Kodak Ektar lenses. The larger image shows the TK10A with an 'implant' viewfinder, shooting 'The Last Shadow Puppets'

The Arriflex ST is a silent, battery operated 16mm camera with a off-set three-lens turret and a mirror-reflex shutter. The camera is 100ft spool-loaded with an additional fitting, if needed, of 400ft magazine and torque motor. This camera was much used by tv news and for documentaries. The matte box (see larger image) is removed when using telephoto or zoom lenses

The Bell & Howell 70DL was a high quality, lightweight but very rugged 16mm clockwork silent camera with a three lens turret and corresponding lensed viewfinder. The camera used 100ft of spool-loaded film. With the facility of through-the-lens critical focussing, this camera was an ideal choice for tv news, wildlife, and documentary film makers. The larger picture shows the correct hand-held 'shooting' position and also gives an idea of camera size.

Mole-Richardson 2K fresnel spot with barn doors, used extensively in theatre, film and tv studios. Very heavy item.

The ECLAIR 'Crab' originated in French film studios, pre-war. Purely mechanical with steerable linked tri-wheels, this pedestal could be elevated in two stages to a height of 6ft. Used from the early 1950s in tv studios and particularly on obs. Still used.

This big silver 'rock & roll' microphone type is seen often in promos and '1950s' recreations, usually featuring an overchromed reproduction. GA-TV has an original Shure 55S microphone, in brushed aluminium (better for the tv lights). Our well-worked example was used during the 1950s & 1960s by ABC Television in Hollywood for musical 'spectaculars'.

The Vinten HP 419 'Hydro-Pneumatic'gas-balanced pedestal appeared first in the mid-1950s. The pedestal was a boon to tv cameramen who could now track and jib all at the same time without losing sight of the viewfinder. Many thousands of the HP 419 design were sold worldwide. Very few remain in production use, supplanted by the later Vinten Fulmar. Our picture shows a GA-TV HP419 with one of our EMI 203's.

Still in use somewhere, the innovative Vinten Mk 3 Pan & Tilt head used risers and cams only (no fluids) to maintain the centre of gravity. This made the tilting of heavy cameras relatively easy. Indeed, if correctly mounted, a camera could be left at any tilt angle without lock off. Our picture shows designer Bill Vinten inspecting an example of his invention.

Large ribbon/cardiod microphone, used by BBC radio & television and on tv studio microphone booms. Notes: The 4033A was produced as a direct result of the needs of the 'talkies', which required a microphone that could eliminate unwanted sound from the camera and other noises off. It contains two elements, a ribbon and a moving coil (similar to a 4021 minus the biscuit). The microphone incorporated a screwdriver-operated switch that allowed either or both elements to be routed to the output. The switch was marked P. R. C. P - (Pressure) - omni directional - moving coil only. R - (Ribbon) - bi-directional (figure of 8) - ribbon only. C - (Cardioid) - uni-directional - combining both elements. The 4033A was somewhat of a compromise as it tended to be "toppy" in all three positions. Nevertheless, it was the standard TV Boom microphone for many years and was also used on Radio OBs where its cardioid response was useful for rejecting colouration from PA. (Chris Owen-Senior BBC sound engineer)

EMI produced in the early 1950s a battery operated portable tape recorder referred to as the 'Reporter'. This machine had three record speeds. The original models had valves. Much used by BBC documentary makers and news, the picture shows also an STC 4032G moving coil hand mic (ca:1955)

This clockwork-driven 16mm quality camera was non-professional and featured a twin lens turret and dedicated magazine with a 100ft film load. The camera was manufactured in the UK and USA

The Keystone A7 was a clockwork-driven amateur 16mm camera with 100ft spools. Single lens and a few speeds. The design originated in the 1930s.

An early 1930s/1940s example of a Bell & Howell 'Filmo' projector. USA design. Click on image for larger view.

General purpose black and white monitor from the early 1950's. One in good working order, the other can be made into 'simulated practical' if required.

Battery/mains VHF 405 line portable television with VHF radio. Watch me while I flatten your car battery! Circa 1956. BBC Television used a considerable number of these sets as monitors, usually on obs.

Still in use and manufactured today, just a little different. This one is fully functional with matching filter unit and is from the early 50's.

16 mm 'Stylist' film projector in good working order. Classic 'whirr' from the mechanism and an interesting design.

Heavy duty 16mm sound projector. Military/industrial applications and use.

Portable all valve microphone mixer. Still works very well! Lights up and the VU meter needle flicks in response.

The Evershed Power Optics P10 pedestal was a lightweight nitrogen-balanced pedestal with linked steering. This pedestal was based on the 1950s Win Strumpell US design which had six wheels and a wider base. The EPO version had a cut end making it only 27 inches across. Approximately 12 of these pedestals were made, used mainly in the UK by Thames and LWT.

During the late 1940s, the US company ZOOMAR produced a range of zoom lenses suitable for Image Orthicon tv cameras. The 'Universal Zoomar' pictured (fitted to an RCA TK 10A camera) is mechanically operated and fully typical of the period. (The images are sourced from a GA-TV Ikegami HL 79A camera)

GA-TV can accurately recreate camera badging and studio ident logos. Important items for which we have an extensive reference library. The example shows 'Associated-Rediffusion' from circa 1958.

The Kolster-Brandes console 405-line tv receiver was at the 'posh' end of the market. Our example is dated 1953 (bought for the Coronation Broadcast). This 15-inch set is not in original working condition. It has been 'implanted' with a modern monitor (monochrome or colour). The monitor fits exactly the original screen mask so there is no tell-tale modern screen 'squaring' of the edges (a common fault). Also, note that although monochrome tv sets look to the naked eye, 'black & white', they in fact have a 'blue' cast due to the screen's phosphor. This blueness is apparent when re-photographed by a film or tv camera.

The SCOOP was a 1k soft light source used originally in film studios. In the 1950s Scoop lights were used extensively worldwide in Image Orthicon monochrome studios.

The Vinten Mk 2 pan head used compression springs to moderate the tilt angle. This large pan head was also devised as a 'duo-pan head' with added pan & tilt control wheels similar to a cradle head. The Vinten Mk 2 pan head was used in 1950s tv studios until the very much better Mk 3 came along.

The Vinten 459 pedestal- seen in the picture with an EMI 201 vidicon camera- was designed as a lightweight 'cost effective' item. The pedestal has chain-linked wheels and a spring operated column. Used originally in small presentation studios-news/weather reports etc. The larger picture shows an additional 'steer ring', added by GA-TV.

This Russian LH 7 (if we have successfully translated) was an IMAGE ICONOSCOPE type high velocity tv camera pickup tube. This example was used during the 1960s by Hungarian TV.

The famous 4.5 inch Image Orthicon monochrome camera tube was devised originally (1947) in the USA by RCA. The prototype was perfected by EEV and Marconi in the UK and the first production models went into service in the mid-1950s. Later versions used the 'ELCON' target glass, making the EEV 4.5 inch I.O. the tube of choice for tv stations throughout the world. EEV I.O. tube manufacture closed in 1982 after sales of over 250,000 units.

The CPS (Cathode Potential Stabilised) EMITRON 10764 was an Orthicon-type monochrome low velocity imaging tube devised originally by RCA in the mid 1930s. A forerunner of the Image Orthicon, the Orthicon design first saw US tv service in 1941. The UK-built EMI CPS 10764 was installed at the BBC's Lime Grove studios in 1956.(Earlier CPS Emitron Orthicon types had been used by the BBC since 1948). The CPS 10764 image quality was much admired in the production gallery although on the home receiver the picture always looked 'soft'.

British made pan head with spring-tension tilt was designed for 35mm movie cameras. This type was used in the 1950s by tv cameras.

All metal pan head and tripod, (extended to 8 ft). First devised for use with the NS Model G 35mm clockwork movie camera. Later use with Auricon 16mm cameras on tv news.

Created especially for IBC '97 in Amsterdam this unique camera is an Image Iconoscope camera using a Cathodeon Photicon tube from 1948 powered by modern solid state electronics developed especially for the task. The result is iconsoscope pictures of the pre-war type exhibiting all the 'text book' problems of 'tilt and bend', low sensitivity etc. The top picture is of the camera head under construction, the lower left picture is of the Image Iconoscope itself and the lower right picture is an off screen image from the camera. The camera is still operational. Also see 'Pye Photicon'.

Small friction pan and tilt head, used with Auricon or Arriflex ST cameras during the 1950s & 1960s.

The TTH Varotal Mk 1 zoom lens was designed in the mid-1950s for use with Image Orthicon cameras, (Marconi Mk III, Pye Mk 3 etc.) The Varotal Mk 1 had an optical range of 4" to 20" inches and with an adapter, 8" to 40" inches at f/4.5. The zoom was mounted using a dedicated camera bolt-on front plate or sledge. Controls were by enclosed linked rods fitted to each side of the camera. The example pictured was owned originally in 1955 by Associated-Rediffusion at their Wembley studios. Initially, A-R only had this one zoom, which was shared between the studios and ob dept.

The TTH 'Studio Varotal' 2 appeared in the late 1950s and was designed for use with Image Orthicon cameras. It could also, with an adapter be used on Vidicon cameras. The zoom range was only 2.5" to 8" inches at f/4.5 and as the name suggests, this zoom was for use primarily in studios. The zoom was manipulated mechanically by using Bowden cables (sometimes with jerky backlash) attached to the pan head, or could be powered electrically by using a servo add-on unit. The basic mechanical unit with controls cost approx 800 UKP in 1960. The larger picture shows the lens fitted to a Pye Mk 3 camera.

The ORTAL range of TTH lenses were designed for 4.5" Image Orthicon cameras. All fixed-focus, a usual Ortal turret set of four would be 2"inch 3"inch 5"inch & 8"inch. The lens pictured in the larger image is a 5"inch f/4. Lenses were attached with a TV88/2 bracket and lock-mount. The lens had a rim iris cog connected to a dedicated iris motor mounted on the turret. These lenses were usually inscribed 'Taylor-Hobson' or later as 'Rank Taylor Hobson. Leicester'

Kodak adapted and provided their range of high-quality Ektar photographic lenses for use in post-war RCA 3"-inch I.O. tv cameras (TK10A etc). These now quite rare lenses, were specially fitted with turret screw mounts, and were fully colour-corrected (for infrared).

Dallmeyer made a range of lenses for tv cameras. The image shows a 'Super Six' 4"-inch f/1.9. To complicate matters, each brand of tv camera needed a dedicated lens mount. The one pictured is for a Pye Mk 3 camera. Note the four studs on the top of the mount. These were used to automatically or remotely adjust the iris when the 'taking' lens was positioned in front of the image tube. The two red marks on each side of the lens are a colour code to indicate, in this instance, 'Camera' One, (BBC Bristol OBs -MCR 12 circa 1955).

1850A Iconoscope camera tube. This tube is from the late 1940's but the design is late 1930's. The difference in the period of manufacture is denoted by the internal white flashing. The tube is not gassed and the getter is still good.

The STC 4037 was named the 'Stick'. Popular with Alan Whicker type reporters. Notes: The 4037B is a neat and unobtrusive omni directional hand held microphone designed specifically to meet the needs of television. With a frequency response described by STC as 'sensibly flat' from 30 to 12000 c/s. Finished in black shrivel enamel paint. Used extensively on both radio and TV OBs until the late 1970s when they were gradually replaced by the Electrovoice 635A and RE50. (Chris Owen)

Large hand-held moving coil microphone. Notes: Designed specifically as a light (12ozs) hand held microphone for commentators and interviewers. It was capable of working in all weathers including marine and tropical conditions. A moving coil transducer was mounted in a black Bakelite body with a stainless steel mesh screen. The handle incorporated a switch, which could be wired to provide muting or remote start/stop function for a tape recorder. In this photograph the switch has been replaced by the BBC logo. The 4032 was often issued with the EMI Midget reel to reel recorder and was also the star of many "This Is Your Life" programmes when it was thrust under the nose of the unsuspecting victim! (Chris Owen)

The GB Bell & Howell 613H was a 16mm 'silent' amateur movie projector of good quality with variable speeds. Our example is in almost mint condition and fully operational.

The Mole-Richardson Type 103B microphone boom was a familar item in both tv and movie studios from the 1940s onwards. The boom arm extends to approx 17ft and the base 'pram' has wheels, steerable from the rear. A certain skill was required to manipulate this equipment, not least to avoid hitting the talent or falling off. The Mole boom pictured was installed in 1959, originally at Anglia Televisions' studio A in Norwich.

The Bell & Howell EYEMO range of 35mm cameras included a version called a 'Spider', presumably on account of the three-lens turret. The version pictured is from the early 1940s and has 1-inch, 2-inch & 3-inch Cooke lenses plus a matching optical viewfinder using a simple but effective system of masks and flip-over optics within the viewfinder tunnel. There is also a critical focus device. The basic camera takes 100ft of spool-loaded film, with an additional 400ft magazine and 12v motor attachment. The camera type was used extensively in WW2 for war footage and for newsreel work around the globe. Working condition.

Two VT clocks pictured, both either studio floor, or ob use. The 'blackboard' wooden vt clock has a fully practical countdown arm. This vt clock was constructed around 1960 by Anglia Television (Norwich) and could be glimpsed at the start of several Anglia 405-line quad tapes. The green plastic item is from Autocue and was used by BBCTV news (Manchester)

This pedestal is of French film origin and was used throughout the 1950s in studios by BBC Television (Lime Grove) and ITV companies. During that period there was nothing better available, at least in Europe. The Debrie had an advantage over the US Houston Fearless tv studio type pedestals inasmuch that it could crank quite low to the floor and was much lighter. This easily steered pedestal (which sometimes had three stabilising struts attached) has three linked wheels and is fully mechanical. Maximum height,6ft.

The 3 inch Image Orthicon tube was produced first in the USA by RCA initially for WW2 military use and then in 1945 for broadcast use. Termed a 'low velocity' photo emmisive tube, the 3 inch IO revolutionised tv camera design and tv production because of its high sensitivity. This enabled outside broadcasting to be undertaken in very poor light and also implimented the use of camera lens turrets and electronic viewfinders. One 'trick' of the 3 inch IO was that it could photograph the human face by the light of a single small candle. The black 'halo' reproduced around the candle flame was another matter.

This 'Vision On-Sound On' studio sign is a hand-built prop in a wall-mountable black wooden box (approx 90x60cms) with red light bulb illumination. Both 'Vision' and 'Sound' can be switched or flashed independently. Design of the unit is based on the 1936 BBC studio model and that of the BBC Riverside Studios 1950s/60s.

Compact and lightweight pedestal with a very short rise adjustment at the base and centre column (air balanced). Based on an orginal design by the US company Houston-Fearless, this version was built, we believe, by Mole-Richardson in the UK and sold during the 1960s by Marconi's. The pedestal will take a standard Vinten pan head (or others) plus a full-weight camera if required. Although the three wheels can be locked to travel in a straight line, this pedestal tends to wander and is best not moved about too much.

The EMI 201 was a 'low cost' broadcast camera using a Vidicon type b/w imaging tube. Not intended for main production use, the EMI 201 could be found in news studios and educational establishments. The pedestal is a Vinten 459 'lightweight'model

Image Iconoscope class of imaging tube. This type was made by Cathodeon (a Pye company). Similar types were made by Marconi-EMI, Philips, RCA etc. pre-war. The idea is to separate the imaging function from that of the storage function. The image section is where the light from the scene is converted into an electron image. This is then transferred to the storage target for reading by the electron gun. Later versions used a number of small lamps around the periphery to help control the 'tilt and bend' problems associated with iconoscope cameras.

Nice wooden item from Anglia Television, a studio- contructed (home made) VT clock with red 'on' light and hand grip. This durable item can be seen at the start of many Anglia 405-line tapes. This VT clock is now useful for studio re-creations of the 50's and also the occasional pop promo.

This is an original BBC outside broadcast microphone type STC 4017C, complete and very rare with its detachable oak handle (the cable went up the centre). The mic type was first introduced by STC and the BBC in 1938. The design originated from the Western Electric type 618A (circa 1931) which used a 'dynamic' moving coil as the transducer. These brass microphones (very heavy at 1.5kgs) were used by the BBC throughout the Second World War and can be seen (hand-held interviewing) in many BBC photographs of the period. Notes: The mics overall performance was excellent, with coil resonances damped by acoustic filtering which was incorporated in the mechanical construction. The 4017C remained in widespread BBC use up to about 1950.(Chris Owen) The letters 'LO OB' are engraved below the mic on the metal stem. They referred to 'LOndon OB' (outside broadcasts). The 'BBC' badge is an exact reproduction.

Quality moving coil microphone. Our example was used by ABC News during the 1950s and 1960s

Large and heavy moving coil PA mic with stand. First manufactured in 1939, this Grampian mic looks good hanging from a microphone boom or fronting a 'jive' concert. Floor stand or desk stand available

Large 2kw spotlight with barn doors, our example was used originally by the Disney studios. Of a 1930's design, this Mole has since been implanted with a household light bulb for 'show' only.

Lens manufacturer DALLMEYER produced two lengths of their fixed focus TELEOG telephoto lenses: 25 inches (f/5.6) and 40 inches (=1000mm-f/9.4). Possibly the largest tv camera lens of the time, the lens system was referred to as 'folded' because to reduce excessive length and weight, light was transmitted via an internal periscope arrangement. The optical part formed the front, with internal mirrors at the rear 'folding' the light to the image orthicon tube. The lens pictured (the lens shell was built by Cox, Hargreaves & Thomson Ltd) is the 40" inch version. The mount here takes the space of two lenses on the Pye Mk 3 camera turret. The front of the lens (with the dangling chain) is for a screw-on lens hood, (chained in case of 'accidents') increasing the length. These lenses were used to good effect on sports obs and the Coronation.

Grampian Reproducers Ltd of Feltham Middx produced the DP4/H, a hand held moving coil microphone with a response of 50-15,000 c/s.

Classic microphone shape, this ribbon mic from GEC is displayed here as a 'BBC' microphone with a correct period reproduction badge. The mic is complete with floor stand and lead. (see larger image.)Working condition.

A dynamic microphone made by Electrovoice for the Auricon range of 16mm cameras. Good quality.

Exotic-looking 1950s Japanese chromed large microphone from the CALRAD company. Called the 'Lafayette 99 4545' this dynamic mic is a copy of the Astatic 77A. Table or floor standing.

Completely fake 1920s style 35mm 'silent movie camera' with 1000ft magazine, designed as a generic item by GA-TV exclusively for use in theatrical productions, thus safe from close scrutiny. Genuine wooden tripod included. Crank handle turns. Very lightweight.

Several types of well-known amateur camera pictured including 8mm, super 8mm and 35mm snapshot.

The Steenbck ST4 is a portable roller caption machine, with either hand-powered or electrical roll ability. Can be used also as an 'autocue' device, as pictured.

Not used these days, a caption stand was usually placed on the studio floor in order to hold a test card, nameplate, VT clock, station ident, or credit list.

A dressed Pye Mk3 camera for a new BBCTV drama production set in the mid to late 1960s, 'Hancock and Joan' featuring Ken Stott as 'the lad 'imself'. Golden Age Tv can always authentically recreate the correct studio 'look' for a given tv era, in this case the ABC-TV, studios at Didsbury in Manchester.

Double pass amateur 8 mm turret film camera.

MN6 series, BBC designed and built this unit has an unusual vertical CRT display of the 'Slim Jim' type and an over-large illuminated source ID. Electrically very similar to our other example, a smaller and thinner version. Fully operational.

Officially: Tone Source, Portable PTS/10/170. Very old all valve design, battery operated. As used for general purpose audio frequency response testing, especially for OBs. Operational.

Distinctive audio headsets, used during the 1930s/40s/50s, often seen in BBC radio and television studios.

Picture shows two EMI 203 4.5 image orthicon cameras on Debrie pedestals. Jason Isaacs is seen playing 'Harold Steptoe'in the famous junk yard set for a BBC4 drama series entitled 'The Curse Of Comedy'. GATV supplied also several vintage cameras and related equipment for two other plays in the series, 'Hancock & Joan' and 'Most Sincerely', about Hughie Green.

Unique in the UK, a complete RCA friction pan & tilt head with tripod (type TD 11A) and dolly (type TD 15A). This friction head type was used extensively in American monochrome tv stations and also on 'remotes' with the tripod and dolly combination which folded for easy transportation. 'Low cost' tv studios also used the tripod and dolly as an alternative to a pedestal. Manufactured by Houston-Fearless, the RCA pan head & dolly was used for over twenty five years (and may indeed still be running around somewhere). Larger picture shows the Dolly/Skid folded.

Vitavox version of the STC 4017C moving coil microphone. Our example(on a repro table stand with 'BBC' flag) was used by the Corporation until the early 1950s. Looks the part in a radio studio of the period. Larger image shows floor stand and from the rear which would be the usual operating position view

The Aiwa M18 is a 1950s crystal microphone intended for home use. However, the microphone is a 2/3rds 'lookalike' for the much more expensive and iconic RCA 77-B studio 'Pill' ribbon mic (introduced in 1937) which usually sells for more money than we care to contemplate. The Aiwa M18 can be used on a table or floor stand. The trio of 'Pills' pictured are the Aiwa M18, the Eagle MC-70 and the Crown MC-70, all very similar. Larger picture shows floor stand ensemble. Nice 1940s/1950s recreation. Three available.

1960s vintage Grampian desk mic on a gooseneck. Suitable for 'talkback' scenes in the gallery or general PA.

Large 1950s style bronze moving coil mic from EMI. Industrial or PA application. Looks good on a mic boom as pictured.

10 lamp, 2KW flood bank. As used in many British TV studios, especially in the 1960s. Fibreglass body. Fully practical and a useful lamp.

Handheld (or bracket mounted)cine lights. The two pictured are 650 watts and mains powered only. Very bright & very hot. Used on tv news or documentary work. Also amateur movie-making.

A reproduction microphone in the classic style of the Shure 55S. The Eagle G148 is a 'super cardioid' dynamic microphone with a frequency response of 50/1500 Hz. 3-pin XLR lead. Brand new and in fully working condition.

The Vinten Model J Gyro Tripod consisted of two gyroscopic movements in the panning and tilting mechanisms that introduced drag. This resulted in a smooth, steady motion, especially useful when using very long lenses. Designed in the 1930s for full-sized 35mm cameras such as the Vinten H or Wall/Bell & Howell types. The example pictured has been fully restored.

ASTROLITE cameraman intercom headset (also air pilot or related profession). Complete with boom mic arm. This example ex-BBC tv obs.

STC type telephonist's headset with horn-shaped mouth piece. Used by BBC Television cameramen throughout the 1960s. Also BBC Radio (but without the mouthpiece)

GEC spotlight of probably 1950s vintage. Non-practical but does have a 100w bulb implanted for 'effect'. Used originally for am-drams, in church halls or on cheap British films.

Large silver microphone from the Turner company of Cedar Rapids Iowa. 1950s 'retro' style. Larger image shows floor standing rig.

Reproduction Clapper Board.

Reproduction microphone in the style of an Electrovoice 'Cardax' cardioid microphone of the 1940s/1950s. This YOGA is a good quality dynamic microphone in muted silver die cast zinc housing. FR 60Hz-16,000Hz. Sensitivity -78dB. Three-pin XLR.

A full-sized Bell & Howell 35mm sound newsreel camera of the type used by Movietone News during the 1930s/1950s. 1000ft magazine. In fact, the entire camera is an exact and skillful reproduction, made of wood. This (very lightweight) item would be suitable for stage or display. Can take HD imaging without detection. Non-fuctioning. The 'Movietone' badges are fixtures.

The ENSIGN AUTOKINECAM appeared in 1931. British made 16mm amateur camera. Lens taylor Hobson 1" inch f/3.5.

Two genuine CLAPPER/SLATES. Used in the British film industry to 'mark' sound films on set. Generic design.

Another STC 4017C dynamic microphone with exact repro BBC badge. This type of microphone was used extensively by the BBC in studios and on outside broadcasts until about 1953. The mic type was first introduced in 1938 by STC and the BBC. The design originated from the Western Electric type 618A (circa 1931) which used a 'dynamic' moving coil as the transducer. Notes: The mics overall performance was excellent, with coil resonances damped by acoustic filtering which was incorporated in the mechanical construction. Chris Owen)

A late model in a series of sets commonly known as 'GEC bow front.' Very popular in the UK in the early 1960s. Currently not operational.

405 line set made in 1948 and in full working order. Can be supplied with a miniature 625-405 line digital converter. The set's design, being a 'mirror lid', is of pre-war origin and could be regarded as typical of its type back to the mid 1930s.

Solidly built work horse. Operational, with optical sound.

Operational unit in excellent condition.

An original microphone from the 1930s with it's unique lever-operated (but clumsy) lead connector.The Western Electric No. 618A is an important historical mic. It was the world’s first dynamic (moving coil) mic (developed by Bell Labs) and introduced in 1931. It quickly became a favorite of US broadcasters as an all-purpose studio mic. It was used also as the standard 1930s newsreel mic and notably by Franklyn D. Roosevelt for his US radio ‘fireside chats’.

Sony's Consumer Video camera from 1965, part of their reel- to-reel monochrome 'home video' taping system (1/2" inch tape running at 12" inches per second). Note the camera's snazzy metal fame 'viewfinder'. In fact this system, which retailed in the US for $695 was used mainly by business or educational establishments.

A rare Marconi-BBC Type 'B' ribbon microphone, developed in 1937 for use mainly on obs. This microphone, weighing in at 1.7kgs could be floor-mounted or suspended. BBC photos of the period show the microphone in widespread WWII use (eg: Grace Fields, ITMA,'Workers Playtime'). Large and imposing, the mic pictured (dressed with a BBC logo)is in working condition. This actual mic was used by The International Broadcasting Company in their London, 35 Portland Place studios for Radio Normandy, a famous pre-war 'commercial pirate' radio broadcaster. The larger picture shows the mic on a heavy duty stand. Hire of this item under strict conditions. (Technical note). Over 4" inches in diameter, this ribbon mic was made possible by the use of Alnico alloy (aluminium-nickel-cobalt) for the magnet, which allowed a small circular magnet to be used rather than the large horseshoe-shaped magnet of the Type A mic. The type 'B' mic became popular for OBs and sports commentaries. It could be fitted to a breastplate, worn by the commentator. This ensured that the mic was always facing him as he turned to follow the action. This system was not totally successful and ultimately it led to the development of the L1 lip mic in the same year. (Chris Owen- Senior BBC engineer)

Modest 'footprint' microphone boom. Suitable for small studio spaces.

An example of a Dallmeyer DALMAC lens: 5"-inch f/3.5. This lens is dated 1951 and it fitted onto the turrent of a Marconi Mk II image orthicon monochrome tv camera. The 'sleeve' around the front of the barrel was a toothed ring, linked to an 'auto iris' servo motor. The rear attachment was a bayonet system.

Large and certainly not 'Lite'(sic), this 2kg Dallmeyer 'TELEVISION SUPER LITE' lens, 7"-inch f2.1 is dated 1948 and was used on the Pye Photicon camera range. The beautiful chromed barrel is as clear today as it was at manufacture. The only unknown is the turret mount which is certainly not that of a Pye Photicon camera. The mount is a very heavyweight bayonet type and looks to have been made as a special order. Any info will be gratefully received.

A Dallmeyer Super Six 3"-inch f/1.9 television camera lens. This fitted ('TV 88')the turret of a Marconi Mk III image orthicon monochrome tv camera. The lens is dated 1955.

A BBC speaker from 1939, the LSU/1 Loud Speaker Unit was part of the OBA/8 outside broadcast 'portable' transmission kit as used throughout the 1940s and 1950s. Our example is in restored working condition. The larger picture shows the back baffle, 'up'.