Here is my pitch from my Patreon Page. If you want to know more, click the link at the bottom.

The Story so far.......

I began to build the model railway as a film set around fifteen years ago. The project is a one man effort, everything has been designed, built and operated by me. 

It took ten years to complete the original set to an operational standard, capable of producing the videos.
The cost of the materials for the initial build was around £100,000. 

The model is a re-creation of what I saw, just around the corner from where I grew up, a snapshot in time when I was nine years old.

The time is 1962 and the place is heavily industrialised Teesside in the North East of England.

The videos produced are uniquely from the perspective of a nine year old child, standing by the track side, or, riding on board the trains, recorded using high quality miniature cameras.  

This carefully thought out model allows the viewer to experience what it was like to see the complexity of an operational railway at the end of steam and the beginning of the Diesel Electric era. 

There has been more than 300 videos released up to now, all available free of charge on my YouTube Channel. This part of the project in known as Trenholme Junction. 

Future plans are to build another junction (working name 'Ingleby Junction') and link both the junctions together, by building intermediate layouts (sets). There has been modifications made to Trenholme Junction recently adding tunnels to give access to the intermediate layouts. The next stage is to build three intermediate layouts, one scenic and two station based to give added length to the journeys. Each of the intermediate sets will have access tunnels to the new Ingleby Junction.

Who am I....

I am a 63 year man who lives and works in beautiful North Yorkshire. Electrically trained, I spent most of my professional life in heavy engineering mainly in the oil or oil related industries. Semi retired now, I have a wife, four children and nine grandchildren.

Release Frequency

New videos are produced every other week, released usually at 8:30 GMT on Sundays. I usually choose the subject matter, but have produced many based on the requests of others.  
There has been over 350 videos produced on Trenholme Junction, the fictitious name for place which this is set. Each week an average of 20,000 watch the videos, with nearly 1.5 million views in total so far.
All the videos are available on YouTube, free of charge.
Each minute of video takes one hour to make. It's a labour of love.

There is a detailed blog which is regularly updated. Usually the subjects are a full explanation of the matters which arise from the comments posted on the videos on YouTube. The blog has been read over 43,000 times.  

Why use Patreon?

Patreon is an ideal way to raise funds on a regular basis to give a predicable, deliverable, fulfillment of the project. 

A lot of people subscribe to the YouTube Channel (dougattrenholmebar) and even more watch the videos on a regular basis, a small donation, even of around a pound a month ($2), could make a very big difference to the future development. The current viewer base has had free access to the videos for the last five years and will continue to do so.   

Why I need your help.

When I started this project around 15 years ago I had a business, financial resources to fund the build, and time to carry out the work. On approaching retirement, I have the time and the inclination to expand current set and continue to produce more videos, but need the financial resources to fund the building of it.

Assuming sufficient patrons are forthcoming, the majority of the funds will be used to build the new sets, but any surplus will be used to replace the cameras with 4K specifications and upgrade the software to produce future films in 4K format.

For further information, use the link below.

http://www.patreon.com/dougattrenholmebar

Doug Wilson

Trenholme Junction - the next phase

The following notes are to accompany the film 'Cab Ride 1 - Trenholme Junction Calling All Stations' published 19th February 2017

In my first blog, I spent a lot of time discussing the entertainment that is derived from building a layout and this layout has certainly provided me with a great deal of that. After making over 300 films from it that people still enjoy watching, it's fulfilled its role. However, there is a limit to even a layout of this size and complexity can produce and I think this limit has been reached. Thinking of new film subjects and routes has become increasingly difficult so now its time to make changes to the layout for its future.     

Tunnels

I have had more questions about the tunnels on Trenholme Junction than on any other subject, particularly about filming in these dark, featureless places. Up till now I have merely faded out the film on entry to the tunnel and then faded in the emergence, usually with a text 'tunnel' for a few seconds. I did this because filming inside the tunnels only reveals the baseboard bracing and the wiring of the board above plus a narrow chunk of illuminated wall. My films are about creating the illusion of the real thing, and, although I've said it before, the unfinished underside of a baseboard destroys this illusion. 

Since I published my thoughts of the 'Infinitive Layout' I have started to make the changes to Trenholme Junction, in preparation for its dismantling, and the links to the new layout. The new layout has a working title of 'Ingleby Junction'.

The two layouts will be linked by tunnels, filming will take place on Trenholme Junction (TJ) before the layout is dismantled and subsequently on Ingleby Junction.(IJ). 

In order to have continuity I have decided to model the inside of the tunnels. Joining the two films together is much easier in the darkness afforded by the inside of a tunnel. 

Of the films made on TJ, many are of trains entering and leaving the existing tunnels already on the layout. I have kept all the original footage and will use this stock to link these films to others made on IJ in the future.

There has been four new tunnel mouths added to TJ over the last few weeks. Note the use of the words 'tunnel mouths'. Deliberate. Complete tunnels are no longer required for this stage of the project. The 'tunnel mouths' are the exit (or entry) points to (and from) the new layout. Three of the tunnel mouths are permanent fixtures on the layout built in the traditional way but the fourth is not.

The fourth tunnel mouth is built on a portable baseboard and can be moved around the layout. This allows for a pop-up tunnel, at the end of a siding for example. The new layout will have several portable tunnels, standard sized, which will be plugged into the new layout (or its modules) to create many variations and filming combinations. 

This film is a cab ride on board a first generation DMU using all the new tunnels and is intended to demonstrate how the tunnels allow so much more flexibility to even the existing layout let alone the possibilities for linking to others. Each tunnel you enter could emerge anywhere, on any layout, in any part of the world. Or even in the Garden Shed.

The film also indulges my love of DMU cab rides from all those years ago.  

Please post all comments on the YouTube page.

To view the film Click here 

  

New Track Layout and Parcels Station

Executing the Infinite Layout 

In previous blogs I have mentioned about the idea of the infinite layout. 

The idea is all about building a series of layouts which all have tunnels and then to film the layouts from on board the trains, entering and leaving each like scenes from a film. 

This development on Trenholme Junction is the first of the points where this idea will be developed. The South Bay of the Main Station was really unfinished when the layout was originally built and now it has a new tunnel and track leading off to a branch? or another tunnel maybe.

This film is the testing shots and is intended to show up any building faults which cannot be seen from the human viewing point. Its quite remarkable how something which looks right from a distance but when subjected to the scrutiny of a HD Camera does not look right. The station platforms show to be different heights but they were fine when I built them in the warm house, its quite a bit colder in the train shed, maybe they'll settle down when they become acclimatised, otherwise I'll have to make some adjustments.

The tunnel is unfinished in this film.

All buildings, walls, platforms and tunnel mouth are built from Metcalfe Kits. 

It's possible now to have several different routes through this part of the layout which previously was no more than a set of three sidings. From the tunnel end arriving trains can run through the original Platform or the new Parcels Station. From the original station trains can still depart on the original route but also to the new branch. From the new station the same routes can also be followed. Locomotive hauled stock can also run round their trains within the confines of the Bay area. It is possible to use this area as a terminus between to other layouts (each with its own tunnel).

There are several other points on the layout where there will be similar take off points going off into tunnels and I intend to make a stock of films ending entering the tunnel mouths to be used later to make films to places which have not even been thought of yet.

This is a rough film to test the finished product and to show routes.

To see the film




     

Thanks a Million!

When I set out to build this layout over ten years ago, I could never have imagined that so many people would see the results of this endeavour. 

As I have said in previous blog's, it was my intention, originally, to allow people on the internet to log onto the layout and drive the trains live on line. Everything in the build was to lead up to this goal. 

When YouTube came along and the 'live driving' seemed to be less of a good idea (see previous blogs), the filming of the layout seemed to be a good way of letting a lot of people see it rather than a small number driving the trains. The experience of watching the trains as a passenger is not too dissimilar from the driving, the camera positions are the same.

I first put films onto YouTube around four years ago for my own entertainment and I was quite surprised that very quickly others were watching them, even though they were poor in quality and content and, the layout was bereft of virtually all scenery.

At this point, I was still working towards the notion of 'live driving' and I was trying to see the practical implementation of this idea in order to progress to the next stage which would be to write the software to do the work of controlling the trains. The YouTube experiment was to see the quality of the films that could be achieved and then to start the selection process of the cameras. The initial experiments were using covert spy cameras with transmitters which worked surprisingly well, although the quality left a lot to be desired.  

YouTube was still on the rise at this time and there was some good content being generated connected with model railways and the potential of doing something different presented itself when YouTube had the idea of allowing a collection of videos to be grouped into one place and so the YouTube channel was born. At this point I decided, together with other factors (see previous blogs) to opt out of the 'live driving' idea and simply film the layout. This way I could demonstrate what I really set out to do, show the operations of a 1960's railway.

Initially, the films were a little hit and miss in content but the latest are in themed series, are quite often they continued from one another in the numbered sequences, a bit like a soap.
All the film footage is stored in an archive including all the unused scenes, its my intention to re-make some of them using different editing techniques and adding authentic sounds.  

I thought that maybe if I could get a thousand views of the layout, that would be a great thing, but I never dreamed it would pass a million. I've really enjoyed making the films and I would like to extend my thanks to all of you who have encouraged me, made comments and all of you who have simply watched, I have made some really good friends along the way.

Some statistics include a monthly average audience of around 25,000, the most popular places are UK, United States, India and Australia. 
The blog has been read 25,000 times.
The Track Plan has been downloaded 1,150 times. 
Initially, almost 100% of the audience watched the films on a computer, now that's only 50%, 40% are on Tablets and Mobile Phones.
The channel has 280 published films, one film has been watched a third of a million times.
Sundays are the most popular days for watching. 

To view the channel click here


         

Driving J94 at Peak Rail

My children clubbed together and bought me a Steam Engine Driver Experience for my birthday. 

If you'd asked me what I wanted to do in life, from the age of nine, driving a steam engine would have always been the answer. Around twenty years ago I had the money to buy a locomotive and a place to put it. There wasn't any for sale that I could find. I never thought there would be any substitute for driving the real thing, but decided to create a model that would simulate the experience which is what you see in the films I produce today. The model was built without ever standing on a footplate. Had I got it right? Would this experience show that what I had already shown to the world was completely wrong?  

I know there are plenty of videos and lots of literature around about how to drive a steam engine. 
I had a choice. 
I could read everything, watch all the videos or even have a go on a simulator. This means when I went on the day I could roar out of the station in a cloud of smoke and steam and impress the living daylights of everybody.
The alternative was to go with no preconceived notions or detailed knowledge and let the crew show me what was required, bearing in mind I fully understand how a steam engine works.
I chose to do the latter.

The only preparation I made was to read about the history of the line.  

On the day I was incredibly nervous, I can't remember feeling this trepidation even when I took my driving test back in the seventies.

After a brief introduction from the station staff at the buffet, I was introduced my driver and fireman for the day. Jan the driver and Richard the fireman.  

I was still in two minds whether I should have acquired more detailed knowledge before climbing the six foot from the ground to the footplate of the already fired, awaiting locomotive. 

Even an 0-6-0 shunter seems huge when you are standing on the footplate. The first thing that struck me was the very poor visibility the driver has. After a tour of the controls, it wasn't long before I was moving off along the track towards a level crossing with real cars crossing!

After a couple of runs between the station and the level crossing, through the beautiful countryside, being waved at by the passers by, I was passed to Richard who gave me the full low down on how the machine worked and the intricacies of the role of the fireman.

One thing I do know about is putting fuel on a fire, we have coal stoves at home so I thought this bit would be a piece of cake. Wrong. Out of the nine shovels full that Richard told me to put onto the fire, I only managed to hit the hole cleanly about twice, the aftermath of this effort was all three of us standing on a liberal layer of coal on the footplate (there was probably the odd bit on the line side as well). 
Joking aside, the fire man's job is a very skilful part of this team effort, and I suddenly realised why you must first be a fireman before you can become a driver.

The literature you receive in preparation for the day tells you that you would be driving a light engine and this seemed to be a little disappointing, but when Jan asked me if I would like to shunt some wagons, I was delighted. Those of you who are familiar with my film productions will know that this is my kind of heaven. Pulling four wagons out of the yard onto the head shunt and replacing them back into the yard again was absolutely brilliant.   
The restricted views the driver has comes into sharp focus when you add even four wagons to the locomotive, the length of even this short train seems enormous, and, you can't see the end. You also have to remember not to shake the poor guard at the back off his feet when starting and stopping all this metal. Also at this point, you realise how much the driver has to rely on the judgement and information given by the fireman. A truly intertwined team effort.

The entire day was an absolute pleasure. At the end of it, all my doubts of whether I had achieved a good representation in my films had evaporated.  

My grandson Tommy, who is the same age as me, portrayed in the films, was the official photographer for the day and produced some excellent shots.

My very grateful thanks are extended to both Jan and Richard for their excellent tuition.

Its worth giving a plug to this super Heritage Railway, thoroughly recommend a visit, even if you just want a ride (excellent home made food in the buffet too).

To view Peak Rail website:-
http://www.peakrail.co.uk/

To view my channel follow this link:-
https://www.youtube.com/user/dougattrenholmebar




      

Further notes on filming issues.

Further notes on filming issues.

There are continual questions about the filming of the layout. Any of you who have followed either the YouTube channel or this blog will already have seen some issues addressed in previous Youtube answers or the blogs, and I will try not to go over old ground. For those who have stumbled across this item, it may well be worth reading some of the older blogs shown under 'Archive' on the right hand side of the page.

The aim of the layout was to operate and view it from the inside out. That is to say, rather than look at the layout from the 'helicopter' view position, look at it as it would have been seen from the real life perspective.

There were no books or examples of how to achieve this goal when I started out simply because nobody has ever attempted to do this before, except in the movies where certain model scenes are inserted into a film. 

My project was to apply the principle to the whole thing and many of the things I did were on a trial and error basis. 

My last blog gave information about the cameras and editing software I use, but that is only a fraction of the story. This blog goes into some of the other considerations to be taken into account when filming.

Lighting

When I started out on the project I probably knew about as much about photography as our cat.

My memories of using my Kodak camera to take photos indoors usually resulted in spending an entire weeks paper round money on a set of twenty four photos of which probably two were worth keeping.   

I remembered having my photo taken for an ID badge and noticed the professional taking the photo having several lights. This memory made me think about two things when I was designing the train shed. 

1) Lots of light from large windows for natural daylight.

2) Plenty of lights in order work on the layout during darkness.

The second consideration was also important because as I got older then poorer eyesight would be helped by good lighting.

My background is in the electrical industry and my experiences of lighting large areas effectively was to use fluorescent lights. There are 28 off  6 foot 65 Watt fittings in the filming area. 

At the time of building there was't really any other practical mass lighting devices other than the fluorescent light, but now, there is a myriad of LED lighting systems which I am sure would do an equally good, if not better, job. (I would like to hear from anybody who has experience of LED lighting of their layout)  

Lighting on its own, no matter how good, will not give what is required for good consistent photography. The colour of the background is also a major factor. Reflected light is as important as direct lighting. The ceiling of the train shed is painted brilliant white and the walls are painted light sky blue. (As a side issue, the walls below baseboard level are brilliant white to reflect light to the underside baseboard, handy when you are working underneath).

Its also worth noting that the lights are all place across the baseboard with the starters accessible from steps on the floor area. Nothing worse that having to stand on the layout to service lights.   

If you intend to do as I have done and build you layout for filming, than all the things I have discussed in this section are considerations which must be addressed before commencement of the building of the layout.

One thing I got wrong when I was doing this was the texture of the walls. I wished I'd have had the walls plastered instead of just painting the breeze blocks. I never though the texture would show up on the filming. 
And why wouldn't I have thought about that? 
Simple, HD cameras hadn't been invented then....... 

Filming

One thing that didn't work out as I had planned was the windows and the door. 

Once the track was laid I started to experiment with different cameras and angles, and, as I particularly wanted to film on board the trains I found that there was an unrealistic look every time the train went past the windows. This view destroyed the illusion of riding on a real train.

I also realised that the pools of light created by the windows (especially on sunny days) gave problems adjusting from light to shade for the cameras on the moving trains. This situation was completely unacceptable. I did notice, however, that a film I made late one night (when it was dark) was really good, and, apart from the reflections in the windows' glass, achieved the desired result. 

The solution was simple, blank out all the windows and make a duck under for the door (which also could be seen in most films). Using only the lights in the building predicable results are achieved by controlling the light at a constant level.

Fortunately this solution could be implemented after the layout was built.

Windows are not the only thing which will destroy the illusion, visually speaking. The human eye filters out what it doesn't want to see and when you look at your railway, you see only the part you want to see, the camera sees everything. Any clutter e.g. the step ladder leaning against the wall, pictures, light switches etc., all conspire to destroy the illusion. 

Sound

On my layout, I wanted the natural sound that the rolling stock makes recorded on my filming. It is quite surprising that when a microphone is situated closely to even a OO piece of rolling stock how realistic the sounds they make actually are. 
I went to great lengths in order to achieve what I wanted and the methods for choosing the baseboards and laying the track is explained in an earlier blog, the link which is below.

http://dougattrenholmebar.blogspot.co.uk/2013/05/north-east-model-railway-matters.html

My focus at present is to produce the films concentrating on the visual side and I intend to add additional sound effects to all of my films at a later date.

The above notes on sound (and those is the blog referenced above) are ways of achieving intentional sounds. 

The other sounds which can appear on films are the unintentional ones. As with visually unintentional things appearing and spoiling the effect, unintentional sounds can also have the same negative effect. The sound of a soap from the television, phones ringing, the sound of a ringtone on a mobile phone (especially if filming a steam railway) will destroy any of the ambience.   

Editors

Apart from inanimate objects, the human kind also destroys that vital ambience. I was recently watching a film on board a train on a fabulous American model, completely lost in its world of stunning scenery only to pass somebody operating the layout. A little bit of editing would have easily improved the whole experience a great deal. 

There are lots of free editors on the internet, a good easy one is on Youtube, upload any video and you can play about with. Its an easy, free way to see what can be done. If you want to do more sophisticated editing then the sky's the limit as to what's available.  

When I make my films I leave the cameras running, even when I intervene, picking up the cameras, changing views, refocussing and dealing with derailments and crashes. I then edit out all the bits I don't want. 

The details of the editor I use are in the first part of this blog on filming.

I've deliberately left all the earlier films on the channel so you can see what the differences are once the finishing touches to the layout make, bear in mind the cameras weren't as good as today's, so don't be too cruel with comments about the quality.....

There is no right or wrong way about how you go about filming your layout. I decided what I wanted to achieve, what quality I wanted and how I was to present my results. People ask me questions like 'Do you think this is OK?' or 'What do you think of this?' or 'Is the quality of this acceptable?' 
The problem I have, these questions can't be answered. You have ask yourself what YOU want and then look at your own work and then you should be able to answer your own questions.  

To view the channel, click the link below:-

https://www.youtube.com/user/dougattrenholmebar
  

Filming Trenholme Junction

This blog is to explain some of the questions asked about the filming of the layout and takes the subjects raised from the YouTube channel comments.

Observations

Before I go into specific issues, there are a few thing worth noting. 

Have you ever watched a film on YouTube where there is a fantastic looking layout which has obviously had many hours of hard work lavished on it, only to find for the next twenty minutes the same couple of trains appear and disappear every twenty seconds or so? 

The same thing can be said of model railway exhibitions, although to a lesser degree. Exhibition layouts usually have the opposite effect of the appearing/disappearing phenomena with large 'realistic' pauses of non-activity. I attended an exhibition recently in the hope that this situation may have changed in the few years since I last attended one but, alas, it hasn't. 
One layout, superb, was an operational disaster. Within a few minutes of my arrival a train held in a loop set off and ended in the scrap yard, an express pulled into the station loop and then inched forward very slowly until it collided with the next main line train. Amazingly, this was going on while a healthy discussion was going on with the cast of thousands operating the layout. 
A second layout of similar high quality, had timetable working - on a quiet branch!!!!!!

You can argue that the exhibitors are amateur but there are a few things to bear in mind here.

First, I paid good money to see these exhibits and I expect to be entertained and inspired.

Second, These exhibitions are showcases for the clubs and should serve to attract new people to the hobby and to the clubs. 

Third, If somebody like me who has a passion for the hobby is bored, then the future is bleak.    

Filming Factors

In the films I produce on the layout, there are a few self imposed rules I follow:-

There is a story.

No train will appear more than once in each film (except the subject matter)

No gaps in operations of more than 3 seconds.

There are no helicopter shots.  

Where practical, continuity between the films is maintained in each of the series. This means for example, film 2 will follow from film 1, many times the films will follow each other so they can be watched like a soap.

Filming Subjects

If you've read the rest of this blog, you'll know that the layout was built to record railway operation. In order to do that, the railway has to go from place to place, the same purpose as the real thing. 

There are five stations on the layout and passenger trains can pass through all of them in a continuous run. As in real life, most of the passenger stock is in assembled rakes and in my films they quite often take a background role in passing trains.

Many people ask why don't you have lots of expresses all running together?

There is a very good reason why I don't this.   

I refer you to my opening paragraph, although on this layout it takes more than twenty seconds to appear/disappear the effect would be just the same, but with boring long gaps.

When trains are running fast, its difficult for the camera to make a good image and you simply end up with a blurry image where you can't see anything at all. It's an easy experiment to replicate, try it with your phone camera and see the result. You could argue a better camera would do the job, probably, but where would you get one small enough to film in the places I do? 

Another point to consider is this. There are eight continuous ovals on the junction all capable of express operation simultaneously. If you run these in one film with say a ten coach train on each then that's eighty coaches required. You would probably get a one minute blurred film and use up about 70% of the coaching stock in one go. What do you put in the next film?  

The junction has many parcels vans which are spread all over the layout and these are popular in films giving some variety and interest to what are some pretty boring and monotonous passenger stock movements.

Most people from my age group would have been introduced to railways by travelling in DMU's (Diesel Multiple Units) and the best way to see the railway was to be standing up behind the driver. The series depicting this position is very popular and is my favourite of all the films I've made. At the risk of boring a few, I intend to do some more journeys from this position, I'm sure there are some unexplored routes left.

By far and away the greatest amount of handling on the railways at the time portrayed was the goods traffic. When the layout was designed I was careful to make sure there was enough rail served industry in order to have vibrant and busy goods traffic, hence the leaning towards this subject. Most of the industry around where I grew up was rail served, shunting went on day and night. This part of the re-creation of this time was to show the complicated movements required to achieve relatively simple tasks. There are dozens of films in existence of all the crack expresses, but very little in the detail of the goods operations which after all were the reason why the railways existed at all.

Comments

I am never more amused with any of the comments than the pre-occupation there is for questions about filming in the tunnels. It is amazing how many times I'm asked about this subject. 
A tunnel is a black hole, probably the most boring monotonous piece of film you can imagine. 
The tunnels on Trenholme Junction are very long, taking some time to traverse. If you film them, all you can see is the bracing for the layout board above. Nothing makes me switch of a film more quickly than a view of the underside of someone's baseboard and therefore I don't want the same thing on my films. 

Speed is another subject which comes up frequently. Going back to the Exhibition comments earlier in this article, this is another area where the image of a brilliantly visual layout can be destroyed in seconds. There's nothing worse than seeing an 0-4-0 shunter taking off at the speed of a Ferrari and smashing into a line of wagons and then taking again faster than the express next to it. I can't understand why this area is the most neglected of the presentation package. On saying this, I not saying that, I'm not perfect, I have to have a cringe when I see some of my earlier attempts. The point here is this detail is as important as any other part the model. On filming operations, its easy to film it again and edit out any mistakes, but a little practice in this area does make a big difference.

Another area which attracts a lot of questions, is about how the films are made. The aim of this channel is to produce a record of a working railway viewed from the same perspective I viewed it from as a child.
I watched all the Harry Potter films and was very impressed by all the special effects and how well the thing was put together, but then I watched the film of how it was made and although it was fascinating, I'm not sure  knowing what went on in the background enhanced my enjoyment of the films 'seen as is'. After many requests, I have toyed with the idea of produced a film about the making of the films, but I'm torn between destroying the images I set out to achieve.    

Equipment

Since December 2012 :-

Track side shots:- Samsung HMX-M20P 1080p Camcorder

On board shots:- Sony HDR-AS10 1080p Camcorder

Editing Suite:- Sony Movie Studio HD Production Suite

Prior to December 2012

On board shots:- Dogcam 720p camcorder 

For more details of the above - Google them. 

Facts

Generally, it takes around an hour to make each minute of film and the channel gets around 25,000 to 30,000 hits per month. 

One of the things I wanted to do when I set out on this project was to inspire and engage the younger generation in this hobby and when I started out the YouTube channel, almost all the views were from the generation which grew up in the time frame the layout was set (55-65+).
As time has gone on age of the viewers has started to even out, 4.5% in 13 -17 age range, 9.4 % 18-24 age range, 25% 24 -34 age range, 23 % 35-44 age range. 
The 55-65+ now form only 29% of the total views. 
This is a massive shift in a couple of years and hopefully this is indicating younger people are interested and will join the hobby. 
Another fact which fascinates me, is that around 16% of all viewers are females in the 25-44 age range.

Conclusion

I realise that when you put something on public display then you should be prepared for criticism and I'm always receptive to constructive criticism, (there's some been some rude ones as well). In highlighting some of the things here, I'm not been rude to anybody, but I'm making an observation of what I see wrong elsewhere and how I've tried to address these issues in my efforts and highlighting these issues is for the common good.    

The building of the layout and the films I produce are a very personal re-creation of the world I grew up in. I know what the gaps in books/films are, because in searching for the information during the building of the layout, I couldn't find any........ 

To view the channel, click the link below:-

https://www.youtube.com/user/dougattrenholmebar