Introduction
This is an experiment. I hope more people who worked in radio will take the time to educate the rest of us on how it all worked. This article is going to be similar to a Blog. It will be in parts and is Allan's reminiscences of his working life which started in radio. You will see how his radio experience then led to other related work. You have the opportunity to send in questions to Allan via the contact page, about the people he worked with, the shows he worked on or the equipment he used. I will then post the questions and the replies. Occasionally, Allan will consult with colleagues or other experts, so please do not expect instant replies.
I have also added a Contact Form after the latest Chapter in Allan's Reminiscences.
I have also added a Contact Form after the latest Chapter in Allan's Reminiscences.
ALLAN BLACK
Sydney producer engineer author Allan Black, started recording radio programs as a trainee in 1956 and sold his company and semi-retired in 2001. Here's his fascinating story.
All or part of any written material, including graphics and photographs, submitted by Allan Black and contained in any of these ‘Parts’ is strictly copyright. © Allan Black 2016 - 2024.
All other material appearing in these 'Parts' (such as externally sourced photographs, artwork, advertisements, reprints etc.) are copyright their respective copyright owners, and are reproduced here on this website, under the "Fair dealing for purposes of criticism or review" provisions of the Copyright Act, 1968. (Australia)
All rights reserved. Nothing may be stored in a retrieval device for later use. Sight impaired visitors, please visit the home page first.
All or part of any written material, including graphics and photographs, submitted by Allan Black and contained in any of these ‘Parts’ is strictly copyright. © Allan Black 2016 - 2024.
All other material appearing in these 'Parts' (such as externally sourced photographs, artwork, advertisements, reprints etc.) are copyright their respective copyright owners, and are reproduced here on this website, under the "Fair dealing for purposes of criticism or review" provisions of the Copyright Act, 1968. (Australia)
All rights reserved. Nothing may be stored in a retrieval device for later use. Sight impaired visitors, please visit the home page first.
Allan Black Part 69
John Crane, the new owner of Natec Sound Studios wastes no time in getting the vision for his new company started. Thankfully he’s happy to let the Sound Studios operate as before. While he now employs new people, as I’m the only original studio engineer he calls me into the office to promote me to Studio Manager, without any increase in money I might add.
The new company is titled Natec International Pty. Ltd. Its mission is to introduce the new multi-screen audio visual programs to new clients. Right now, one advantage is there’s no other Australian company doing this. John knows from overseas contacts, how excellent multi-screen audio-visual programs make for very profitable business, so he wastes no time in getting Natec International started, before other local companies get into the act. Some explanation how the mechanics work is necessary.
The new company is titled Natec International Pty. Ltd. Its mission is to introduce the new multi-screen audio visual programs to new clients. Right now, one advantage is there’s no other Australian company doing this. John knows from overseas contacts, how excellent multi-screen audio-visual programs make for very profitable business, so he wastes no time in getting Natec International started, before other local companies get into the act. Some explanation how the mechanics work is necessary.
It’s important to note here, that we’re still in the 1970s analogue era, before the arrival of industrial video screens with video tape. Professional audio-visual programs, are 2 Kodak slide projectors projecting 35mm slides onto one screen, their quality is much better than current video programs. A/Vs are ideal for museums, art gallery’s, travel agencies, shopping malls, tourist hotel foyers and they’re an economical way to introduce new projects, plans and designs for clients. Professionally produced audio-visual slide programs are still in use today, in museums and other areas.
On the accompanying audio tape, there’s a sound track including the 2 Kodak projectors control track. This controls slide 1 from projector A, then cuts or dissolves to slide 2 from projector B, projected onto the one screen. If you expand this arrangement to multi screens, you can wind up with a gigantic production, 30 projectors on 15 screens, ie: 3 rows of 5 screens. With a crew of 4, this takes most of the day just to set up.
And eventually, that’s what we did at Natec International for Ford Australia, introducing new cars to their dealers, flying two different model cars around country in a Bristol Freighter we leased from Queensland. The red haired 22yr old Freighter pilot had never flown below the Qld. border before and we nicknamed him Biggles. Hey! We landed in the big time but it took a lot of work.
But first things first, we had to get the basic projection gear, so John approaches a local company to request a demo of their slide projectors. This is done at Natec one afternoon, I’m there and I get the impression that their gear might not stand up to the rigours of daily use. It’s certainly good gear but more for domestic use.
On the accompanying audio tape, there’s a sound track including the 2 Kodak projectors control track. This controls slide 1 from projector A, then cuts or dissolves to slide 2 from projector B, projected onto the one screen. If you expand this arrangement to multi screens, you can wind up with a gigantic production, 30 projectors on 15 screens, ie: 3 rows of 5 screens. With a crew of 4, this takes most of the day just to set up.
And eventually, that’s what we did at Natec International for Ford Australia, introducing new cars to their dealers, flying two different model cars around country in a Bristol Freighter we leased from Queensland. The red haired 22yr old Freighter pilot had never flown below the Qld. border before and we nicknamed him Biggles. Hey! We landed in the big time but it took a lot of work.
But first things first, we had to get the basic projection gear, so John approaches a local company to request a demo of their slide projectors. This is done at Natec one afternoon, I’m there and I get the impression that their gear might not stand up to the rigours of daily use. It’s certainly good gear but more for domestic use.
Meanwhile busy salesman John Crane has been out selling our new audio-visual programs. The first show he sells, is for the introduction of the new best selling 3M Scotchgard to Australia. This is a 3 screen 6 projector program that John writes the script for, the only problem is we have no gear yet. So one Friday night our new salesman Englishman Alan H. urgently flies to England to secure the Electrosonic 2001 a/v projector control equipment. The following week we get confirmation that all the gear minus the Kodak SAV 2000 projectors is on the way to Sydney. It arrives, we’ve bought the 6 Kodak projectors locally and I spend time learning how it all works. The following week, I book the narrator and record John’s 3M script in Studio A.
Starting with the history of the 3M company and its development, the v/o recording comes out at 14 minutes. So I add the music and mix it and while this is going on a couple of our new girls work carefully loading the 352 35mm slides into the 6 projector trays. With the 3 screens set up, I encode the projector control track on the tape. We run the show make final adjustments, show it to our 3M clients and they approve it. There’s no doubt John Crane’s professional script writing ability together with my experience producing K-TEL music commercials are clearly demonstrated in this Scotchgard 3 screen a/v show.
The first Sydney presentations are so successful that 3M commission a single screen version using our new portable Electrosonic 3601, which has 2 Kodak slide projectors.
Starting with the history of the 3M company and its development, the v/o recording comes out at 14 minutes. So I add the music and mix it and while this is going on a couple of our new girls work carefully loading the 352 35mm slides into the 6 projector trays. With the 3 screens set up, I encode the projector control track on the tape. We run the show make final adjustments, show it to our 3M clients and they approve it. There’s no doubt John Crane’s professional script writing ability together with my experience producing K-TEL music commercials are clearly demonstrated in this Scotchgard 3 screen a/v show.
The first Sydney presentations are so successful that 3M commission a single screen version using our new portable Electrosonic 3601, which has 2 Kodak slide projectors.
This is much easier to travel and set up, so we teach the 3M client how to operate it, and our Scotchgard a/v successfully presents in display centres and trade shows around the country for over a year.
Questions for Allan Black
Mrs. A. Kellerman asks Allan Black a question.
Dear Mr. Black. You’ve left something out, you didn’t mention, that today in July 2023 in the USA, 3M is currently being widely sued for the use of carcinogenics in their Scotchgard sprays. Years ago my mother died from cancer after she worked for a company that used Scotchgard and other sprays in the work they did. You should have included details of these legal actions in your article, to bring it up to date in respect for my late mother, and others who may have been affected.
Allan Black answers …
Hello Mrs. Kellerman. I’m sorry to read about your mother and thanks for your interest. Yes I’m aware of 3Ms ongoing court cases in the USA, but in Part 69, all the details are outside the scope of my article. I’m only writing about the introduction of Scotchgard to Australia 50 years ago in 1973. It’s in relation to Natec International, the company I worked for back in the those years.
Dear Mr. Black. You’ve left something out, you didn’t mention, that today in July 2023 in the USA, 3M is currently being widely sued for the use of carcinogenics in their Scotchgard sprays. Years ago my mother died from cancer after she worked for a company that used Scotchgard and other sprays in the work they did. You should have included details of these legal actions in your article, to bring it up to date in respect for my late mother, and others who may have been affected.
Allan Black answers …
Hello Mrs. Kellerman. I’m sorry to read about your mother and thanks for your interest. Yes I’m aware of 3Ms ongoing court cases in the USA, but in Part 69, all the details are outside the scope of my article. I’m only writing about the introduction of Scotchgard to Australia 50 years ago in 1973. It’s in relation to Natec International, the company I worked for back in the those years.
Allan Black Part 70
In June 1967 Natec International owner John Crane receives an enquiry from his previous position as account director at the Jackson Wain advertising agency. Their question is, can he come up with a clever proposal to promote his previous agency client Pelaco, with their new range of business shirts.
So based on the current Beatles craze, John hits on the novel idea of forming a pop group he names ‘The Puppy’, to produce a cover version of the massive U.K. 1967 hit, ‘Baby, Come Back’ And for publicity photos, ‘The Puppy’ will all be wearing and promoting the new release Pelaco shirts.
So based on the current Beatles craze, John hits on the novel idea of forming a pop group he names ‘The Puppy’, to produce a cover version of the massive U.K. 1967 hit, ‘Baby, Come Back’ And for publicity photos, ‘The Puppy’ will all be wearing and promoting the new release Pelaco shirts.
The agency and Pelaco promptly approve his idea, so John contracts the versatile Ross Higgins to first audition, then coach 4 suitable males to sing the song, and in harmony. Ross tells me this is proving to be quite an exercise, many suitable applicants can’t hold a tune while some of the rejects can.
I book a 5 piece rhythm section to rehearse and record our cover version in Studio B. I manage to produce a good version of the U.K. backing track, but we have major trouble recording the vocal overdubs. In the studio Ross stands right behind ‘The Puppy’ to coach them but it takes hours, 2 sessions and Ross nearly goes nuts. But ever the professional he gets his results and our cover version sounds pretty good. The agency and Pelaco are happy, looking forward to the publicity.
I book a 5 piece rhythm section to rehearse and record our cover version in Studio B. I manage to produce a good version of the U.K. backing track, but we have major trouble recording the vocal overdubs. In the studio Ross stands right behind ‘The Puppy’ to coach them but it takes hours, 2 sessions and Ross nearly goes nuts. But ever the professional he gets his results and our cover version sounds pretty good. The agency and Pelaco are happy, looking forward to the publicity.
Even though everybody understands we have to keep our production quiet, RCA Aust. beats us to it and releases the original U.K. version here, eventually reaching 11 on the charts selling 35,000. As a result none of the other record companies here wants to get involved in releasing our cover version.
John Crane gets upset big time after all the work Ross Higgins and I put into our version of ‘Baby, Come Back.’ He calls a meeting in his office looking for answers and he asks me if I know anything about what he calls “industrial espionage” because he’s well aware I’m recording for RCA with their producer Ron Wills in Studio B. But of course when I’m doing this, everything involving Pelaco is put well away out of sight. With ‘The Puppy’ Natec International loses a lot of money while our audio visual programs are now earning it.
Disappointed and disillusioned, the Pelaco people go ahead with their Plan B national promotion. John Crane’s pop group go back to their day jobs, and the hard working Ross Higgins posts his invoice in, while breathing a huge sigh of relief.
John Crane gets upset big time after all the work Ross Higgins and I put into our version of ‘Baby, Come Back.’ He calls a meeting in his office looking for answers and he asks me if I know anything about what he calls “industrial espionage” because he’s well aware I’m recording for RCA with their producer Ron Wills in Studio B. But of course when I’m doing this, everything involving Pelaco is put well away out of sight. With ‘The Puppy’ Natec International loses a lot of money while our audio visual programs are now earning it.
Disappointed and disillusioned, the Pelaco people go ahead with their Plan B national promotion. John Crane’s pop group go back to their day jobs, and the hard working Ross Higgins posts his invoice in, while breathing a huge sigh of relief.
Eventually at the Jackson Wain agency, the current account director reports that the Plan B promotion of the new Pelaco range of shirts, is a success with their national print campaign in all states. Even though I don’t say anything I wonder if some folk at Pelaco actually had any faith in John Crane’s project, but I guess they wouldn’t have contacted him for ideas and we wouldn’t have gone ahead with The Puppy project, if they didn’t.
However, sadly Pelaco goes into receivership in 2001, selling to a private consortium and changing its name to Pelaco International. It currently employs 30 people at its Maidstone Vic. offices with a range of men’s shirts, adding women’s apparel and home manchester in 2006. It does not manufacture in Australia.
Here’s the history of the Victorian based manufacturer best known for its men’s shirts. In 1906, J. K. Pearson and J. L. G. Law formed a partnership to manufacture shirts. In 1911 they converted the partnership to a company using the first two letters of each of their surnames to create the corporate name 'Pelaco'. Today the original building in Richmond houses numerous businesses with the big Victorian heritage listed PELACO sign still on top. Lit at night it can be seen from many suburbs.
Originally, Mulg Fred, an Aborigine from the Geelong area, and the line 'Mine Tinkit They Fit' was adopted to promote the new company's shirts.
However, sadly Pelaco goes into receivership in 2001, selling to a private consortium and changing its name to Pelaco International. It currently employs 30 people at its Maidstone Vic. offices with a range of men’s shirts, adding women’s apparel and home manchester in 2006. It does not manufacture in Australia.
Here’s the history of the Victorian based manufacturer best known for its men’s shirts. In 1906, J. K. Pearson and J. L. G. Law formed a partnership to manufacture shirts. In 1911 they converted the partnership to a company using the first two letters of each of their surnames to create the corporate name 'Pelaco'. Today the original building in Richmond houses numerous businesses with the big Victorian heritage listed PELACO sign still on top. Lit at night it can be seen from many suburbs.
Originally, Mulg Fred, an Aborigine from the Geelong area, and the line 'Mine Tinkit They Fit' was adopted to promote the new company's shirts.
That first advertisement was quite acceptable back in those days and it got Pelaco Shirts off to a good start with good sales. But today in 2023, not one advertising executive in this country would ever think about using anything like it.
Question & Answer
Ellen asks Allan: We’re enjoying your experiences about your time in the industry, thanks to you and Mr. Grieve for preserving them. You’ve mentioned working with Ross Higgins before and my family always enjoyed his Ted Bullpitt character in televisions Kingswood Country, so what was it like working with him in the studio.
Allan answers: The late Mr. Higgins was one of the most professional performers in the business. And contrary to his photo above, he was also one of the funniest. Each night I looked at the studio bookings for the next day and if Ross was coming in, it bought a big smile. Even if the recording was a difficult project he always tackled it with verve and gusto, like The Puppy project I mentioned.
Next time you hear the original Mortein advert. ‘Louie D’ Fly, I’m Louie D’ Fly etc. think of Ross, that’s him in full flight!
Allan answers: The late Mr. Higgins was one of the most professional performers in the business. And contrary to his photo above, he was also one of the funniest. Each night I looked at the studio bookings for the next day and if Ross was coming in, it bought a big smile. Even if the recording was a difficult project he always tackled it with verve and gusto, like The Puppy project I mentioned.
Next time you hear the original Mortein advert. ‘Louie D’ Fly, I’m Louie D’ Fly etc. think of Ross, that’s him in full flight!
Allan Black Part 71
In 1972, ace film sound mixer Peter Fenton resigns from Artransa Films in Sydney to join Ron Purvis at United Sound Studios at 21 Pier Street at Ultimo. By now Ron’s 7 story studio complex is modelled on the operation of the prominent Hollywood Glen Glenn Sound Studios. Ron leases an apartment in L.A. to spend time studying their operation and facilities. And now at Ultimo, he has a film mixing theatre, music recording studios, a large Foley studio, an ADR (Automatic Dialogue Replacement) stage and editing rooms. All with 16 and 35mm film projection.
Ron has imported his Magna-Tech film dubbing equipment from California to complete Australia’s only studios with all these facilities, making it the largest company of its kind in the southern hemisphere. Soon major Australian feature film soundtracks are being produced and mixed by Peter Fenton at United, and in the years that follow their list of awards grows.
After Ron Purvis spent many thousands, first buying the top floor then the complete building at Ultimo, and setting up his world class facility, here’s what happened next. One morning out of the blue with no notice a letter arrived, ‘To the owner of the premises at 21 Pier St. Ultimo Sydney.’ Here’s what it explained, I’ve quoted this word for word from the Darling Harbour Authority report 1968.
The Darling Harbour Authority acquires land and is obliged to pay just compensation to the person from whom the land has been acquired. The amount of compensation may be agreed to by the person and the authority. However if there is no agreement, the valuer-general determines the amount of compensation.
The owner is issued with a notice of the intention to resume, NIR. Every owner whose property is the subject of a resumption will receive one of these notices. If you have not already, it is vital at this stage, that you receive independent legal advice in relation to your rights to object and to maximise the chances for receiving a satisfactory resumption outcome. At this stage you have a chance to object on limited grounds or alternatively accept the notice of intention to resume.
What will happen next, if there is no objection there will be a ‘Taking of Land Notice’ published by the constructing authority. This is a significant document because at this stage the ownership of the land, the subject of the resumption, will pass to the constructing authority. From this date the landowner is entitled to claim compensation for the loss of the value of the land. Owners have 3 years in which to bring a claim for compensation.
After Ron Purvis spent many thousands, first buying the top floor then the complete building at Ultimo, and setting up his world class facility, here’s what happened next. One morning out of the blue with no notice a letter arrived, ‘To the owner of the premises at 21 Pier St. Ultimo Sydney.’ Here’s what it explained, I’ve quoted this word for word from the Darling Harbour Authority report 1968.
The Darling Harbour Authority acquires land and is obliged to pay just compensation to the person from whom the land has been acquired. The amount of compensation may be agreed to by the person and the authority. However if there is no agreement, the valuer-general determines the amount of compensation.
The owner is issued with a notice of the intention to resume, NIR. Every owner whose property is the subject of a resumption will receive one of these notices. If you have not already, it is vital at this stage, that you receive independent legal advice in relation to your rights to object and to maximise the chances for receiving a satisfactory resumption outcome. At this stage you have a chance to object on limited grounds or alternatively accept the notice of intention to resume.
What will happen next, if there is no objection there will be a ‘Taking of Land Notice’ published by the constructing authority. This is a significant document because at this stage the ownership of the land, the subject of the resumption, will pass to the constructing authority. From this date the landowner is entitled to claim compensation for the loss of the value of the land. Owners have 3 years in which to bring a claim for compensation.
Claiming for Compensation. The claim for compensation must be in writing. We also strongly recommend you engage a valuer and a lawyer to assist you at this stage. Claiming compensation for land is a specialised process. You should also be aware that you are entitled to recover reasonable fees for legal and financial advice in relation for assisting to prepare and file the claim the compensation. This can be a more detailed and difficult process, if the claim involved is for a commercial venture. For example rural or primary producers compared to a residential property. In most situations the Government will make you an offer. It is vital that once you receive the offer you seek legal advice to determine if the offer is fair and reasonable and covers all heads of damages you are entitled to.
In the years I knew him, Ron Purvis exhibited a calm but purposeful persona. I did see him angry once or twice but I never saw him lose his temper. However it’s easy to imagine what his response to that final demand for his building was. And demanding it certainly was, that was it, the end of his United Sound Studios, the end of Ron’s dream. I imagine he followed the dismal legal advice from the DHA and received some adequate compensation, but I don’t know what it was. However nothing would have compensated him from having to tell his wife, Peter Fenton, his staff, all his valuable clients then selling all the equipment he carefully acquired. Walking away from his building at 21 Pier St. Ultimo for the last time, I was going to say would have been the crushing finale, but stoic Ron Purvis would have been already working on his next venture.
In the years I knew him, Ron Purvis exhibited a calm but purposeful persona. I did see him angry once or twice but I never saw him lose his temper. However it’s easy to imagine what his response to that final demand for his building was. And demanding it certainly was, that was it, the end of his United Sound Studios, the end of Ron’s dream. I imagine he followed the dismal legal advice from the DHA and received some adequate compensation, but I don’t know what it was. However nothing would have compensated him from having to tell his wife, Peter Fenton, his staff, all his valuable clients then selling all the equipment he carefully acquired. Walking away from his building at 21 Pier St. Ultimo for the last time, I was going to say would have been the crushing finale, but stoic Ron Purvis would have been already working on his next venture.
Ron persevered forming Ron Purvis Producers Sound Services and using other facilities he and Peter continued to produce major film sound tracks. The inaugural Screen Sound Awards was held in Sydney on 16th Oct. 1998 at a sold out dinner at the Sebel Town House. “Post sound is the last chance you have to get the picture right,” said film producer David Hannay before announcing two lifetime achievement awards. Ron and Peter then took the stage to a standing ovation and the night took a turn for the funnier, mixed with tears from some in the audience. “I’ve taken 44 years working to get up here” said Ron, “So I guess a few more minutes won’t hurt.” “We were born at the perfect time for all this, and to see the rebirth now of the Australian film industry.”
The night continued with both Ron and Peter quoting memorable anecdotes from their careers, till finally the audience went home, satisfied film sound track production continues in good hands.
Some time later, nearing retirement Ron bought a coffee lounge in the shopping centre at St. Ives in Sydney and I regret I never called in there to congratulate and thank him for hiring me at Natec Sound Studios in 1964. The coffee would have been top class.
Sadly, shortly before he died of cancer in hospital on 4th May 2001, Ron told Peter Fenton he’d achieved everything he wanted to do, and at his funeral service Peter delivered a fitting eulogy to a packed attendance - standing room only.
RIP Ron, it was a great ride
The night continued with both Ron and Peter quoting memorable anecdotes from their careers, till finally the audience went home, satisfied film sound track production continues in good hands.
Some time later, nearing retirement Ron bought a coffee lounge in the shopping centre at St. Ives in Sydney and I regret I never called in there to congratulate and thank him for hiring me at Natec Sound Studios in 1964. The coffee would have been top class.
Sadly, shortly before he died of cancer in hospital on 4th May 2001, Ron told Peter Fenton he’d achieved everything he wanted to do, and at his funeral service Peter delivered a fitting eulogy to a packed attendance - standing room only.
RIP Ron, it was a great ride
Question & Answer
Max McDonnell asks Allan: Thanks for your detailed story about a Darling Harbour Authority resumption case. Their operation was legally defined and they were expanding that area to promote the future of Sydney. Do you know what other lands they acquired in that area, was there any supreme court cases and what finally happened to Mr. Purvis’s building.
Allan answers: Thanks for your comments, no I’m not aware of any other resumptions, although there could well have been more successful business premises with angry owners. Ron’s 7 story building was soon demolished and today at 21 Pier St. Ultimo, there’s a huge multi-storey Novotel Hotel which opened in 1991. So obviously Ron’s land appreciated in value and eventually the DHA sold it to the Accor Group with the intention that an international Hotel would attract more visitors to Darling Harbour.
Part 71 is longer than usual, I explained the effect the disastrous take over of his successful going business would have had on Ron Purvis, who gave me my start in the industry. My articles usually take about 5 minutes to read so thanks for reading.
Allan answers: Thanks for your comments, no I’m not aware of any other resumptions, although there could well have been more successful business premises with angry owners. Ron’s 7 story building was soon demolished and today at 21 Pier St. Ultimo, there’s a huge multi-storey Novotel Hotel which opened in 1991. So obviously Ron’s land appreciated in value and eventually the DHA sold it to the Accor Group with the intention that an international Hotel would attract more visitors to Darling Harbour.
Part 71 is longer than usual, I explained the effect the disastrous take over of his successful going business would have had on Ron Purvis, who gave me my start in the industry. My articles usually take about 5 minutes to read so thanks for reading.
Allan Black Part 72
The direction that NATEC International is now heading with our new multi-screen audio visual programs has created some interesting challenges for me, though disturbing repercussions for owner John Crane. Soon other professional photographers envisage their own 35mm slides appearing in their own audio visual programs, new profitable business for them but opposition for us.
The company, Convoy International in Woolloomooloo Sydney becomes the Australian agent for the English Electrosonic a/v control equipment and organises an ‘Introduction to multi-screen audio visual programs’ night at the Town House Hotel convention room, inviting everyone interested.
The company, Convoy International in Woolloomooloo Sydney becomes the Australian agent for the English Electrosonic a/v control equipment and organises an ‘Introduction to multi-screen audio visual programs’ night at the Town House Hotel convention room, inviting everyone interested.
We’re tasked with presenting a short promotional 3 screen a/v program and with many adv. agencies and pro photographers attending, the room is full. (The photo is for illustration purposes only, our cabling layout is much neater and safer than that.) However the result of this successful night is, in the next few days at the studio I get phone calls asking if the program scripts and all the 35mm slides are supplied, can I produce a finished sound track and maybe encode the projectors to sync their programs? And the difficult question, what will the cost be? An hourly studio rate won’t work, I have to provide the final price before the job starts, so my new client can quote to their client to initiate the job. This is difficult, so I supply quotes on 5-10-15-20-30min. programs on the high side, while things settle down.
However as the manager of NATEC studios I can see this as new business, but how does owner John Crane feel about any opposition? When I ask him, he again raises the question of ‘industrial espionage’ with our programs, but I’m expecting this and I’m able to satisfy him with answers. After working on our programs, everything will be put away out of sight before the ‘opposition’ enters the studio.
So the new studio a/v clients are Bruce Hamilton Productions, who produces travel company programs, David Beale’s Audience Motivation company, which has IBM as their big a/v client, and NAVA in Broadway, which has various a/v clients. Together with half a dozen individual photographers who plan to solicit multi-screen a/v business.
Meanwhile Ford Australia becomes NATEC Internationals big client, their a/v shows become the largest in Australia. Twice a year, we produce a show, each one bigger than the last. The purpose of the shows is to introduce new model Ford cars to their dealers around Australia. Originally Ford plans to fly their dealers into Sydney for a few days for each show, including meetings with senior management, but this proves too time consuming, and costly.
However as the manager of NATEC studios I can see this as new business, but how does owner John Crane feel about any opposition? When I ask him, he again raises the question of ‘industrial espionage’ with our programs, but I’m expecting this and I’m able to satisfy him with answers. After working on our programs, everything will be put away out of sight before the ‘opposition’ enters the studio.
So the new studio a/v clients are Bruce Hamilton Productions, who produces travel company programs, David Beale’s Audience Motivation company, which has IBM as their big a/v client, and NAVA in Broadway, which has various a/v clients. Together with half a dozen individual photographers who plan to solicit multi-screen a/v business.
Meanwhile Ford Australia becomes NATEC Internationals big client, their a/v shows become the largest in Australia. Twice a year, we produce a show, each one bigger than the last. The purpose of the shows is to introduce new model Ford cars to their dealers around Australia. Originally Ford plans to fly their dealers into Sydney for a few days for each show, including meetings with senior management, but this proves too time consuming, and costly.
Fords answer is we go to them, so we fly their audio-visual shows with the Ford cars and all the projector, audio gear and screens around Australia in a Bristol Freighter aircraft. Powered by two 1,675hp Bristol Hercules radial engines it will carry a weight of 5 tons and with the 2 cars with spares weighing almost 4 tons, after double checking, our a/v gear almost makes up the total.
But the Freighters most notable feature is the hydraulically operated nose clam shell doors which make loading easy and will allow the 2 Ford cars to drive up the ramp into the cabin and out again. The Bristol will also carry passengers, a few Ford executives, a couple of aircraft engineers, our road crew and all their luggage. The six pretty Ford uniformed hostesses for the shows will fly local airlines.
But the Freighters most notable feature is the hydraulically operated nose clam shell doors which make loading easy and will allow the 2 Ford cars to drive up the ramp into the cabin and out again. The Bristol will also carry passengers, a few Ford executives, a couple of aircraft engineers, our road crew and all their luggage. The six pretty Ford uniformed hostesses for the shows will fly local airlines.
Ford leases a Bristol Freighter from Queensland, one that was used to fly cattle to and from the various properties. Our 22yr old red haired affable pilot has never flown below the Queensland N.S.W. border before, and we nickname him Biggles.
When he first lands at Mascot airport, the first report back from the aircraft is the whole interior stinks with cattle dung, so a cleaning crew is urgently sent out to Mascot to spend time cleaning the whole plane before the brand new Ford cars also end up smelling like crap. John Crane just shakes his head agreeing, we’re very lucky we have time to do this before the Freighter takes off for the destination for the first shows.
So the Bristol is first based at Mascot Airport in Sydney and our road crew for the shows, prepare to fly to the various cities and major centres that Ford and John Crane have worked out, booked and arranged for.
When he first lands at Mascot airport, the first report back from the aircraft is the whole interior stinks with cattle dung, so a cleaning crew is urgently sent out to Mascot to spend time cleaning the whole plane before the brand new Ford cars also end up smelling like crap. John Crane just shakes his head agreeing, we’re very lucky we have time to do this before the Freighter takes off for the destination for the first shows.
So the Bristol is first based at Mascot Airport in Sydney and our road crew for the shows, prepare to fly to the various cities and major centres that Ford and John Crane have worked out, booked and arranged for.
Allan Black Part 73
The Bristol Freighter piloted by Biggles, with the 2 new Ford cars, our crew and all our a/v gear, takes off flying northward to Coffs Harbour. There a big hall, like other halls, cinemas etc. around Australia, has been booked by Ford for a day for 2 shows, morning and afternoon to display their new models, in conjunction with our multi-screen audio visual program.
All the Ford dealers in these relevant areas will, or have been notified with an invitation to a show, a major undertaking by the Ford administration in Melbourne but far less costly than flying all their dealers to Sydney or other capital cities. Having completed the multi-screen program and because of other studio work, I don’t go with the crew in the Freighter to attend the shows, but later I get to hear their stories about the fun, problems and excitement they experienced.
All the Ford dealers in these relevant areas will, or have been notified with an invitation to a show, a major undertaking by the Ford administration in Melbourne but far less costly than flying all their dealers to Sydney or other capital cities. Having completed the multi-screen program and because of other studio work, I don’t go with the crew in the Freighter to attend the shows, but later I get to hear their stories about the fun, problems and excitement they experienced.
There are 2 positions the a/v gear can be set up, front or rear projection. It depends on the hall or cinema they’re in. The best set up is rear projection, because all the gear will be out of sight of the audience, but only if there’s enough room behind the screen to set all the projectors up. If not then it’s front projection, but this has all the audience sitting in the theatre, between the projectors and the screen. Also this means longer Kodak 2000 projector lens have to be fitted, and, all the 35mm slides have to be reversed in their trays. As the shows get bigger over 3 years this becomes quite a job, taking most of the day to complete the setups and run a test of the show.
One war story I can relate is, after the Freighter landed in Brisbane and the crew takes all their gear in a Ford truck out to the hall, set up and tries to run a test very early in the morning before the first afternoon show, a serious problem appears. The projector control track on the 2 inch tape on the 24 track won’t run the projectors. After trying a few times, Bill B. our tour manager rings me in Sydney, and I ask him has he cleaned the recorder tape heads properly with the Iso-propyl alcohol and cotton buds, I’ve provided in his kit. Yes he has but he’s in big trouble and can I fly up there? Huh! Well yes I guess I can, so I race out to Mascot and grab the next 95 minute flight to Brisbane. From the airport I take a fast cab to the hall, meet Bill and study the problem. Finally I ask to see the bottle of Iso-propyl alcohol and examine it.
One war story I can relate is, after the Freighter landed in Brisbane and the crew takes all their gear in a Ford truck out to the hall, set up and tries to run a test very early in the morning before the first afternoon show, a serious problem appears. The projector control track on the 2 inch tape on the 24 track won’t run the projectors. After trying a few times, Bill B. our tour manager rings me in Sydney, and I ask him has he cleaned the recorder tape heads properly with the Iso-propyl alcohol and cotton buds, I’ve provided in his kit. Yes he has but he’s in big trouble and can I fly up there? Huh! Well yes I guess I can, so I race out to Mascot and grab the next 95 minute flight to Brisbane. From the airport I take a fast cab to the hall, meet Bill and study the problem. Finally I ask to see the bottle of Iso-propyl alcohol and examine it.
WHAT! This is not alcohol it’s .. Acetone for g*** sake! I find a tooth pick and flick a dried clear mold of the play heads, off the heads. The little glass bottle of Iso-propyl is exactly the same type as the little glass bottle of Acetone, but where did he get that? I’m speechless but Bill has never cleaned tape heads much before so I can’t really say anything. So I get him to run a proper head cleaning and a run test, and just after it starts and I see it’s all operating ok, I leave to race out to catch a plane back to Sydney.
When I get home that night my wife asks, what was my day like?
When I get home that night my wife asks, what was my day like?