I worked with Gerry on “Curtain of Fear” – very enjoyable.
Alec Bray

See also http://tech-ops.co.uk/next/the-art-of-direction/

Gerry Mill ended up Producing and Directing “Heartbeat” for about 15 years.  
David Brunt

More than half a century has passed, but I remember him as a very affable and very reasonably accommodating director, and who certainly had a great deal of enthusiasm for directing "Dixon".   As I recall, he (often?) came down to the studio floor, and I can see him now, rushing past me with a smile on his face.  I can’t remember any scenes or shouting or bad language or anything like that with Robin during my (short) time with the BBC.

It was interesting to see in Obits and Wikipedia how Robin Nash had progressed.  
Alec Bray

“Best of Both Worlds”.  There is nothing on IMDB – and just a title on BFI.  More information comes from BBC Genome: “Leading conductors from Britain and America present the music they compose and arrange”. I worked on most of the BoBW and I can assure you that it was not a simple mic rig! The crew usually did “Grandstand” on the Saturday before the BoBW on Sunday. During the afternoon lull we used to nip up to TC, get the gear out of stores and start organising the rig. The Henry Mancini show orchestra used three bass flutes(!) and we ended up with 25 powered mics. This was long before phantom power so each mic needed a power box and access to mains. The slung C12 needed an extra box to alter the polar diagram. In TC1, where most of the shows were done, there were only two multi-mic mic points, eight mics each, so there were lots of cables extended from all round the walls! I still have some 1/4 inch recordings of some items, and although in mono, they are still great.  
Dave Mundy

I worked on “Best of Both Worlds” with Yvonne Littlewood when I was on crew 11.   I remember testing the Chapman Hercules crane beforehand but can’t remember if it was used on the actual shows.  I remember swinging the arm with Chris Eames and trying to do a high speed crane up with John Lintern on the front!  It took some stopping – I nearly got crushed underneath the bucket!  The crane was driven by an amazing character called Alan Blowey – he kept on reminiscing about having just worked on Lawrence of Arabia!
Derek Martin

One of the Chapman driver’s claims to fame, apart from Lawrence of Arabia, was that he was done for speeding, with the crane, on the North Circular! It was  a bit slower in TC1 on electric power!
Dave Mundy

I remember a big orchestral show in TC1, which started off with something like 2 Moles, 2 Herons, a motorised Vinten  and a ped, and ended up as 1 Mole, a Heron and 4 peds.  There may have been a creeper involved, too, but the original set-up was simply unworkable, and I was only cable bashing at the time.
Alasdair Lawrance

see also Tech Ops – Best of Both Worlds 1964

That’s such sad news for so many of us he mentored. “Z-Cars” will always be his stand-out claim to fame: Elwyn Jones, John Hopkins and David Rose were the triumvirate who masterminded the concept and the series right from the start in 1962 and through to “Softly Softly”. It was a privilege to have been on the camera crew with David in the gallery, right from episode 1 until beyond no. 100, the last live episode he directed, which was something of his nemesis for all the wrong reasons.
A lovely, lovely man. 
Hugh Sheppard

David Rose was an undisputed master of that most difficult  of all television  crafts – live drama! “Z Cars” was a perfect example of this genre, conceived at a time when the TV Centre was  newly open, and crackling with creative energy. The live transmission was the climax of six weeks of planning and rehearsal, and was perhaps closer to live theatre with respect to its performance from the artist’s point of view. Alan Stratford Johns (Barlow) was an enthusiast for live TX and was influential in maintaining this format when the trend was towards VT. I still recall with admiration his grasp of the technicalities of the studio floor, whereby he would delay a line of dialogue until a camera had completed a move and the red light was on, without in any way compromising his performance!
Live drama required teamwork of a high order, and in those days the adrenalin flowed throughout the TX for cast and crew alike, which some would argue added to the crispness of the performance. David had to co-ordinate and orchestrate all this, which he did with great skill and confidence – how the memory lingers on!  
Gordon Blockley