<\/p>\n\n\n\n <\/p>\n\n\n\n \n Seven-thirty (19:30) \u2013 thirty minutes to go before live transmission!\n<\/p>\n\n\n\n The Technical Manager 2 (TM2) is busy on the phone lines. First job is to check that \u201cSoftly, Softly\u201d is going on air at precisely eight o\u2019clock (20:00). This depends on the state of the network and whether preceding programmes have been running to time. <\/p>\n\n\n\n <\/p>\n\n\n The \u201cRadio Times\u201d billing was for a live episode of the three-part \u201cBarlow was There\u201d <\/em><\/p><\/figcaption><\/figure>\n<\/div>\n\n\n With a long running series such as \u201cSoftly, Softly\u201d there was a variety of preceding programmes, some of which were live and some which were being replayed from telecine or videotape. For this particular day, the previous (and following) programmes for \u201cSoftly, Softly\u201d in the schedule are shown below: this is from BBC Genome: <\/p><\/p>\n\n\n\n 19:30 (Half past seven in the evening) <\/p>\n\n\n\n \n The TM2 contacts Presentation and is assured that the network is running to time \u2013 the previous two programmes are pre-recordings, and their durations are known, so no surprises there. The TM2 then asks Presentation \u2013 network control \u2013 if his programme can overrun by 30 seconds. This is based on that final run thorough. There is some discussion at the other end of the line, but Presentation comes back to say that the programme must not overrun. The next programme is the News, and word is that Alexandra Palace thinks that News has got something of a scoop, and most decidedly does not want to go on air late, in case that other network breaks the story first. In any case, the \u201cNews\u201d is broadcast at a fixed time in the schedule, so if the previous programme is overrunning \u2013 it will be cut off air, no question. So, sorry, TC3, run to time.\n<\/p>\n\n\n\n \n Meanwhile, the studio engineers, the Sound people and Vision Control are busy with Line Up.\n<\/p>\n\n\n\n \n In every studio, the cameras have to be set up to give the best picture quality \u2013 and be set up so each camera matches the others in the studio. In the half-hour before transmission, the cameras, sound systems, telecine, VT, film recording, inlay \u2013 in fact, the complete transmission circuitry – is checked for correct operation: this is called \u201cLine Up\u201d.\n<\/p>\n\n\n\n \n For sound, for example, a 1000 Hertz (cycles per second) tone (usually simply called \u2018Tone\u2019) is sent along input and output paths, and should read 4 on the BBC\u2019s Peak Programme Meters all along the transmission path. In the days of analogue sound, the PPM indicated something close to the peak amplitude of the input signal \u2013 and is a very good way of ensuring that there is no overload at the TV transmitters. (A VU (\u201cvolume units\u201d) meter used in other sound situations, such as a recording studio, shows an averaged signal level and gives an impression of perceived loudness, but does not indicate the peak volume transmission.)\n<\/p>\n\n\n <\/p>\n\n\n\n \n The Sound Assistants on the crew have a lot to keep them busy during \u201cLine-up\u201d \u2013 often to the extent that they may possibly miss any last-minute Director\u2019s or Producer\u2019s notes which are given out in the Production Gallery.\n<\/p>\n\n\n\n \n During Line-Up, the Sound Crew have to carry out tests of the complete Sound Rig, including a check that the boom microphones are secure in their cradles, but not so tight that they produce ‘rumble’ during operation. The microphones have to be checked that their outputs are in phase with each other \u2013 this is very important especially when two booms are working on the same set. One important job is a test for talk-back induction: if the plug or socket in any microphone circuit is insecure (or ‘dirty’) the mic can pick up the radio talkback transmissions. The Sound Supervisor plugs Tone into the talkback distribution and then listens to each mic in turn to check that the tone was absent. (Because of pickup of talkback, everyone is encouraged to keep their talkback volume to a minimum, as acoustic pickup of talkback is common, particularly from people who opt for \u201cdeaf-aids\u201d rather than headphones: the sound assistants remind all talkback users of the problem of talkback pickup.)\n<\/p>\n\n\n\n \n Other jobs for the three crew sound assistants during Line-Up for a programme such as \u201cSoftly, Softly\u201d includes a check that all \u201cpractical\u201d (that is, working) telephones are on their receiver rests, and if taken off their rests that the phones can hear each other. The sound crew also check that all the Prompt Cut buttons killed the studio mics and can be un-cut by the Sound Supervisor’s bypass Switch if pressed in error. The floor manager receives talkback over a radio link, to allow the floor manager as much freedom of movement as possible, but the sound assistants have to make sure that the floor manager knows where to find the cabled talk-back headphones should he lose radio transmissions. \n<\/p>\n\n\n\n \n On the vision side, the cameramen and trackers have a much easier time, as all the vision circuits to the VT and Film Recording area and to Network Control and Presentation, and the circuits from Telecine (and any VT machines used for playback) are checked by the studio engineers. The vision signal is one volt peak to peak terminated by a 75 ohm resistance. The paths to the recording machines and network control (and from telecine) are set up such that all input sources arrive at the studio in correct synchronisation with the studio sync pulses, the studio sync pulses are timed to reach Network Control in sync with other network resources. There are central sync generators in the main Central Apparatus Room on the thirds floor at Television Centre (and lots of cable runs in the roof of Television Centre to create the necessary path lengths). \n<\/p>\n\n\n\n \n For a studio-based program such as \u201cSoftly, Softly\u201d there are no complications involved with the use of outside sources. If a live outside broadcast is featured in a program, either the outside broadcast has to set its sync pulses so that the picture arrives in sync at the accepting studio, or more likely (in 1966), the Television Centre sync pulses shift over time to match the incoming sync pulse signals from the outside broadcast (\u2018Genlock\u2019).\n<\/p>\n\n\n\n \n The cameras have to be lined up for broadcast. Image Orthicon camera tube setup is as much art as science \u2013 the tube has a narrow optimum temperature range for operation (the camera always had to be warmed up before it could be used), and many of the electrical and magnetic field adjustments affect each other. On \u201cSoftly, Softly\u201d there is no spare camera \u2013 all six were in use. For other programmes, where possible, there was a live camera ready for use as a standby on live transmission, usually sat on a trolley of some sort. Sometimes it pointed towards the studio\u2019s quick-change tent.\n<\/p>\n\n\n\n \n During the half-hour Line-Up, all the cameras are checked by the Studio Engineers (\u201cRacks\u201d). \n<\/p>\n\n\n\n <\/p>\n\n\n\n \n A major part of the camera line up is to check that the physical side of the picture capture is working satisfactorily \u2013 the light at the correct level is getting through the lens onto the Image Orthicon tube, the picture is not distorted, and that the tube is generating an appropriate output for the various input light levels. \n<\/p>\n\n\n\n \n On each camera in turn, Racks replace the 35\u00ba lens on the lens turret with a diascope: this projects a sharply focussed image directly onto the Image Orthicon tube front plate. One of the projected images is a grey chart with white and grey areas and a recessed black central box: Another image is Test Card C, and there may be other images which similarly test for resolution, linearity, and greyscale. One example of this is a glass transparency mounted in a light box which is clipped to the front of the lens hood: this is quicker than using the diascope. The transparency has a grey scale with light transmissions of 25%, 50% and 100% , and a central graticule of 3 Mc\/s sine waves \u2013 this is the maximum resolution of 405-line transmission.\n<\/p>\n\n\n\n \n The various scan coils around the Image Orthicon tube are checked to make sure that the image is not distorted (the circle in Test Card C is circular, for example,) and that the whole of the image area is being scanned without there being any distortion at the picture edges. All of this has to be done at the camera itself (the camera head). Other checks done at the camera head include the Image Orthicon tube\u2019s Beam and Target settings \u2013 amongst many other electronic checks. The Target bias is adjusted until there is an image: this is focussed by using the tube\u2019s Beam focus and Image focus \u2013 and the camera\u2019s own optical focus. The tube Gain control is adjusted for the correct lens iris position until 0.7 volts of signal is obtained. A peak-white limiter is set so that a limit of 110% peak white is set. As part of the line-up, Racks can also use free-standing glass-based charts used with a lightbox on a stand.\n<\/p>\n\n\n\n \n The rest of the camera line up takes place in the apparatus room – Racks hideout \u2013 where the various controls on the Camera Control Unit are adjusted to give the correct pattern waveform as line out. As with all the vision lines, these are checked for correct amplitude (1 volt potential difference in signal level: 0 to 0.3 volt square wave sync pulses, 0.3 to 1.0 volt amplitude-modulated moment-by-moment brightness of the picture)) and that the step from the sync level to black level (the \u201cpedestal\u201d) is correct and so on.\n<\/p>\n\n\n\n \n Setting up the black level and the gain of the cameras (and gamma correction where necessary) is particularly important when captions are to be used.\n<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n \n To check for picture quality on the monitors in the various studio Galleries, PLUGE is used: Picture Line-up Generating Equipment. The Vision Control Operator checks all the monitors in the Lighting Gallery using PLUGE to set the monitors up for correct black level and gain \u2013 basically brightness and contrast. First, contrast is checked on the monitor by winding up the contrast control until just before the lines defocus, and then this light level is checked with a photographic light meter (some of the light meters had a suction cup to hold it on to the screen). Black level is checked both on the monitor (so that the nearly black bar is just about visible) and on the oscilloscope (so that the nearly black rectangle is just above the black level \u201cpedestal\u201d on the waveform). Hopefully, this procedure sets a constant picture tonal range across all monitors in a bank \u2013 except, of course, that these settings on the monitors tend to drift over time\u2026\n<\/p>\n\n\n\n <\/p>\n\n\n\n \n Although each monitor is checked using PLUGE, this does not guarantee that they all show the same quality of the image: the phosphor used in the manufacture of the Cathode Ray tubes may be degraded, and the Cathode Ray tube itself may be showing signs of ageing \u2013 or even showing distortion due to other monitors nearby. To check on consistent image quality from the cameras in the studio, the Vision Control Operator switches each camera to a designated preview monitor usually to the top left of the monitor stack. Each camera on a scene is repeatedly checked on the preview monitor to make sure that facial tones match from shot to shot.\n<\/p>\n\n\n\n \n Telecine is lined up using a film loop of Test Card \u201cC\u201d. Electronic alignment \u2013 part of Line-Up \u2013 for the telecine machine in preparation for programme transmission , takes more than an hour, using a Cossor oscilloscope, so telecine Line-Up will already have been under way by half past seven (19:30).\n<\/p>\n\n\n\n \n Other devices use Test Card \u201cC\u201d for Line Up. The inlay operator needs to check the Inlay desktop to ensure linearity of the signal \u2013 that is, when it is looking at a circle on the desk (on the iris wipe for example), the picture shows a true circle. Test Card \u201cC\u201d is a good test for this.\n<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n \n The programme is being recorded on film, typically 35mm, in the film recording suite. The 35mm reels hold approximately 10 minutes film runtime, so that change-overs happen every ten minutes or so during the programme: whilst one machine is running, the other machine has the completed section of film removed from the gate and from the machines, and a fresh reel of film threaded through the gate and onto the take-up reel.\n<\/p>\n\n\n\n \n Each Film Recording machine needs two Technical Assistants (TAs) or full Engineers to run, to handle the change-over of the reels and check the film path each time, so to record the whole 50 minute \u201cSoftly, Softly\u201d episode on to film needs four people.\n<\/p>\n\n\n\n \n There is a legend on the film recording machine to check each load of film.\n<\/p>\n\n\n\n Check picture<\/strong>\n<\/p><\/td> Check Camera<\/strong>\n<\/p><\/td> Sound Misc<\/strong>\n<\/p><\/td><\/tr> \n Also the Technical Assistants have to make sure that the machine is set up for the line standard in use. Line-Up for film recording was usually simply \u201cIdent Lines\u201d – check the incoming line from the studio, check line standards and so on. The TM2 chats with Film Recording during Line-Up to make sure that they are ready to run when the programme starts. There is no command over production talkback to start film recording \u2013 film recording usually starts up on the time scheduled for recording, unless the TM2 advises them of anything different.\n<\/p>\n\n\n\n The picture frame caught on the Film Recording is smaller than the picture produced by the Television camera -as the film pull-down time is longer than the frame blanking time \u2013 although FR use neutral density filters to try to compensate for the phosphor decay time on the lines at the top of the frame. If the programme is recorded purely on Film, the cameramen compensate for the \u201cshrinkage\u201d by framing the shots somewhat wider: but \u201cSoftly, Softly\u201d is going out live to domestic receivers, so the Film Recording is slightly compromised. <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n \n In 1964 this installation had been modified to accept the new 625-line system ready for BBC2. However, most sources still worked on the \u201cold\u201d 405-line standard. \n<\/p>\n\n\n\n \n While the technical Line-Up is going on, there are final notes from the director in the Gallery. These notes can range from minor changes to dialogue for timing reasons (which, of course, could affect length of a shot or a camera move) to the cutting of parts of a scene (which, of course, could significantly affect length of a shot or a camera move). Notes rarely made things easier for the studio crew.\n<\/p>\n\n\n\n \n Ten minutes to go before being live on air with a potential audience of 18 million viewers (\u201cSoftly, Softly\u201d regularly pulled in 18 million viewers a week). So we had better get ready to work.\n<\/p>\n\n\n\n \n As we come out of the gallery onto the gantry steps, the tension in the studio is quite palpable \u2013 like a first night in the theatre with all the usual concerns \u2013 will I remember that that track has to end with a slight curve \u2026 will I remember the sequence of lens change on that fast shot sequence\u2026hope I get to position B on time \u2026\n<\/p>\n\n\n\n \n You can feel the tension as you step down the gallery steps to the floor of the studio: there is an air of expectation, like waiting for the curtain to go up.\n<\/p>\n\n\n\n \n One thing that each cameraman has to do is to switch OFF orbit. If the cameraman forgot to switch OFF Orbit on transmission, he was in for a dressing down from the Technical Manager (and\/or others) at the end of the programme. On the EMI cameras in other TC studios (1, 4 and 5), the orbit switch was on the camera rear panel, under control of the cameraman. On the Marconi Mk IVs, orbit was switched by Racks. If it was left on, any static picture on the camera would gently move on a circle at one minute per revolution. Very noticeable on any captions.\n<\/p>\n\n\n\n \n Once the cameramen have unchained their camera pan-and-tilt heads (as Racks will probably have left at least one chain on if they have had to do anything with the camera) and checked that the pan-and-tilt head\u2019s frictions are set correctly, they check the viewfinder! The bane of the cameramen\u2019s lives is that the studio engineers change the viewfinder brightness and contrast during Line-Up!\n<\/p>\n\n\n\n As the cameramen begin to line up their first shots, the Vision Control Operator can set the iris, gamma and black level for each camera. Cameras 1, 4 and 5 are looking at the brightly lit \u201coutdoor\u201d pub scene, and the Vision Control Operator can match those three cameras \u2013 although the actors don\u2019t appear in shot yet. The matching is not only done by looking at the monitor bank: each monitor, although set up by PLUGE, is somewhat different in its picture quality. So one monitor, top right on the VCO’s monitor stack, is a dedicated \u201cpreview\u201d monitor. When the Vision Control Operator presses down on the camera control lever, that camera\u2019s picture is shown on the preview monitor. Each of the cameras 1, 4 and 5 are previewed in turn and and tweaks to iris and black level made to ensure that teach camera\u2019s picture looks similar on preview. <\/p>\n\n\n\n \n Camera 6 is in the police station office, so the picture controls are placed mid-range until there is a need to match with the other cameras. Cameras 2 and 3 are looking at the title black and white captions. The iris on each camera is opened such that the peak white of the caption is hitting the top mark on the oscilloscope next to each camera\u2019s monitor (without being clipped), and the black level is adjusted until there is nothing above the pedestal waveform except for the caption words.\n<\/p>\n\n\n\n \n Camera 3 has the episode title on a 12 inch by 9-inch caption card, held loosely on a caption stand, and camera 2 has the drama series title: \u201cSoftly, Softly\u201d.\n<\/p>\n\n\n\n \n Both cameramen have to take care that the caption does not \u201cstick\u201d on the tube, otherwise they would have to try to get rid of the stick: there is not really enough time for that during the first scene. They can\u2019t keep orbit on, because the caption moving around on the screen is intensely distracting for the viewer at home, so once they have lined up the shot, they lock off the camera and defocus the image. There is enough time on the film titles to focus up the image correctly. Vision Control will have to make any necessary adjustments when the picture is refocused.\n<\/p>\n\n\n\n Artist\u2019s Impression: Caption sequence at the start of the show, cameras 3 and 2 <\/em><\/p>\n\n\n\n <\/p>\n\n\n\n As noted, telecine Line-Up is typically done \u201coff-line\u201d and is usually ends up with a film loop of test card \u201cC\u201d played through the system and the scan controls of the machine adjusted to give a correct picture. Once that has been done, the programme titles are re-threaded through the machine and run through until the number 10 is in the gate. The Technical Manager 2 has checked with the telecine operator that everything is running satisfactorily. <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n If the telecine machine in use is one of the twin lens telecines, these can not display a still frame, so the 10 on the leader appears something like this on the studio monitors: <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n \n Just about a minute to go.\n<\/p>\n\n\n\n \n TM2 checks that film recording is ready to go: after the film recording is complete, the various ten minute segments are developed and then edited together in sequence: a standard BBC film leader is spliced to the front of the film recording so there is no need for a studio countdown for the film recording \u2013 it just has to be running in time for the programme start.\n<\/p>\n\n\n\n \n 35 seconds to go\n<\/p>\n\n\n\n The BBC uses cue dots superimposed by the Presentation play out area onto the top right corner of the outgoing network transmitted picture to signal to the next live studio (or Outside Broadcast (OB)) that they are about to go on-air. (The BBC stopped using cue dots from Presentation when digital TV started (because the delay in off-air processing locally in the receiver meant it was no longer an accurate time signal)). <\/p>\n\n\n\n <\/p>\n\n\n\n \n Artist\u2019s Impression: preceding programme end with cue dots in the top right corner\n<\/p>\n\n\n\n \n The floor manager announces to the whole studio \u201c30 seconds to go! Remember, everyone, pacey pacey!!\u201d\n<\/p>\n\n\n\n \n The studio transmission lights start flashing \u201cTransmission\u201d in red. This is done by Network Control.\n<\/p>\n\n\n\n The Technical Manager 2 checks with film recording that the film recorder is running and is up to speed. <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n At 10 seconds to go, the cue dots disappear from the network broadcast signal. Presentation offers up a station ident \u2013 in these analogue days, it is often a clock. <\/p>\n\n\n\n <\/p>\n\n\n\n \n Telecine (TK) needs an 8.5 second run up to get to correct speed, so a cue just after the 10 second cue dot has disappeared is usually the right timing.\n<\/p>\n\n\n\n <\/p>\n\n\n\n \u201cSoftly, Softly\u201d leader and titles on telecine:<\/p>\n\n\n\n![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/image-16.png\")
![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/word-image-16800-2.png\")
The Best of Hancock: The Blood Donor<\/strong>
Wed xxxxxx 1966, 19:30 on BBC One London
19:55 (Five minutes to eight)
Points of View with Kenneth Robinson<\/strong>
Wed xxxxxx 1966, 19:55 on BBC One London
A quick look at criticism and comments from viewers.
20:00 (8 o\u2019clock pm)
\u201cSoftly, Softly\u201d<\/strong>
20:50 (Ten minutes to nine in the evening)
The News<\/strong>
(this sample schedule is based on information from BBC Genome. Different episodes of this long-running series had different programmes scheduled before it.) <\/p>\n\n\n\n![\"A](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/a-picture-containing-text-clock-description-auto.png\")
<\/figure>\n\n\n\nLine Up<\/strong><\/h3>\n\n\n\n
![\"A](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/a-picture-containing-text-device-meter-gauge-d.jpeg\")
![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/word-image-16800-5.png\")
![\"A](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/a-picture-containing-text-control-panel-descript.png\")
![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/CCU-Schematic.png\")
![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/word-image-16800-8.png\")
(shown incorrectly here so that the black areas are clearly visible)<\/em><\/figcaption><\/figure>\n\n\n\n![\"Diagram\n\nDescription](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/diagram-description-automatically-generated.jpeg\")
![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/word-image-16800-10.png\")
(ComOpt)<\/strong>\n<\/p><\/td>Scans\n
Focus\n
Spot Wobble\n
Contrast\n
And CLEAN<\/b> the screen\n
\n
\n<\/td>\n Footage counter\n
Emulsion\n
Lacing\n
Loop size\n
Sound Arm\n
Inching\n<\/td>\n Lamp Current\n
Galvo Switch\n
Galvo Card\n
Sound Stack\n
\n
\n
\n<\/p><\/td>\n Bellows\n
Motor Control\n
\n
\n
\n
\n
\n<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n![\"FR20\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/fr20.jpeg\")
![\"A](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/a-picture-containing-logo-description-automatical.png\"){kind=logo}
<\/figure>\n\n\n\n![\"A](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/a-picture-containing-text-music-piano-descripti.png\")
<\/figure>\n\n\n\n![\"A](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/a-picture-containing-logo-description-automatical-1.png\"){kind=logo}
<\/figure>\n\n\n\n![\"A](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/a-picture-containing-logo-description-automatical-2.png\"){kind=logo}
![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/word-image-16800-16.png\")
<\/figure>\n\n\n\nSeconds to go
to LIVE Tx<\/strong><\/td>Cue Dot<\/strong><\/td><\/tr> \n 30\n<\/td> \n ON\n<\/td><\/tr> \n 10\n<\/td> \n OFF\n<\/td><\/tr> \n 5\n<\/td> \n ON\n<\/td><\/tr> \n ON AIR\n<\/td> \n OFF\n<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n <\/td> TalkBack<\/strong>\n<\/td><\/tr> Director:<\/em>\n<\/td> \n30 Seconds, Studio\n<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n ![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/word-image-16800-17.png\")
<\/td> TalkBack<\/strong>\n<\/td><\/tr> Production Assistant:<\/em>\n<\/td> 10 seconds\n<\/td><\/tr> Director:<\/em>\n<\/td> Cue TK\n<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n ![\"A](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/a-black-and-white-clock-description-automatically.png\")
![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/runTK.png\")
<\/a><\/figure>\n<\/div>\n\n\n![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/word-image-16800-19.png\")
![\"No](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/no-photo-description-available-.jpeg\")
![](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/word-image-16800-21.png\")
<\/figure>\n \n![](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/word-image-16800-22.png\")
<\/figure>\n \n<\/td><\/tr>![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/word-image-16800-23.png\")
![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/word-image-16800-24.jpeg\")
![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/image-19.png\")
![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/image-20.png\")
![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/word-image-16800-27.png\")
<\/td>![](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/word-image-16800-28.jpeg\")
<\/figure><\/td><\/tr><\/tbody><\/table>\n\n\n\n![\"Gamma\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/gamma.png\")
![\"\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/image-21.png\")
![\"A](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2024\/02\/a-person-working-on-a-machine-description-automat.png\")