CLUB SANDWICH 47-48

            Shooting on both days went on till dusk at about 5.30, starting at 7.30 am on the Saturday. Did Trevor find it one of Paul's trickier video shoots?
            "It was one of the most hairy, though some of the Broad Street shoots topped it in the uncomfortable stakes - spending all night on Broad Street Station in minus two degrees, for instance."
            How could Paul hear the tape of 'Once Upon A Long Ago' up there on the rock?
            "The crew usually have walkie-talkies," continued Trevor. "There was a sound man with a walkie-talkie and the tape playing into it. Paul had a walkie-talkie under his lapel, but the helicopter largely drowned it out."
            Was the sun glinting on Paul's instrument spontaneous, I asked Mike Ross?
            "No: the camera was positioned so that the sun would shine over Paul's shoulder.'
            Mike filled in some technical bits: "Adding colour with the paintbox took a long, long time, but tracing it along the strings made it easier. The transfer from guitar to violin was one of the easiest bits. It was my longest video in terms of pre- and post-production."
            Was it the first time he'd blended film and animation?
            "In a way - we overlaid type on film in a Hue and Cry video. I enjoy incorporating animation or graphics in the editing."
            And who was the old codger, Trevor?
            "An actor called Fred Evans - we liked his face."
            Oh, and the way he swept those sparkles...