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Please Sir, There's Been a Murder: Difference between revisions
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On the technical side, the process in each room was to have a number of 'jacking in' points where the camera operators would connect and disconnect their cameras from the gallery as needed for the current live room. This meant a total of 14 individual feeds entering the gallery, plus another 2 from the graphics system within the gallery. Because of the ATEM used on the show (ATEM production studio 4K) only having 10 inputs, some feed management was required. Of those 10 inputs, 2 were blocked off for the graphics feed. The 14 incoming feeds were passed through YSTV's Micro-videohub, (gen-locked to the ATEM) which allows for a 14 x 14 matrix of inputs / outputs to be managed. Thus allowing the gallery to change between the 14 inputs and feed only the current live camera feeds and those for the next scene. ('''Editors note:''' The corresponding excel document took a solid 4 or 5 hours for [[Stephanie Shires|Steph]], [[Thomas Schubert|Tom]] and [[Andrew Waddle|Andrew]] to make during the course of a very long evening). With 11 routing changes to be made on the fly, live during the show, another layer of complexity was added to the process. | On the technical side, the process in each room was to have a number of 'jacking in' points where the camera operators would connect and disconnect their cameras from the gallery as needed for the current live room. This meant a total of 14 individual feeds entering the gallery, plus another 2 from the graphics system within the gallery. Because of the ATEM used on the show (ATEM production studio 4K) only having 10 inputs, some feed management was required. Of those 10 inputs, 2 were blocked off for the graphics feed. The 14 incoming feeds were passed through YSTV's Micro-videohub, (gen-locked to the ATEM) which allows for a 14 x 14 matrix of inputs / outputs to be managed. Thus allowing the gallery to change between the 14 inputs and feed only the current live camera feeds and those for the next scene. ('''Editors note:''' The corresponding excel document took a solid 4 or 5 hours for [[Stephanie Shires|Steph]], [[Thomas Schubert|Tom]] and [[Andrew Waddle|Andrew]] to make during the course of a very long evening). With 11 routing changes to be made on the fly, live during the show, another layer of complexity was added to the process. | ||
The running of the video cables around the house actually cause a rather unforeseen (and for the 2 electronic engineers present; embarrassing) problem | The running of the video cables around the house actually cause a rather unforeseen (and for the 2 electronic engineers present; embarrassing) problem; the rigging of cables around the perimeter, and especially above the gate of the back garden, effectively formed a Faraday cage around the house. This didn't exactly help with the gipping comms. | ||
As for sound, each location had a setup of roomtone microphones for the sake of general pickup and filling of sound, with all the actors being miced with wireless lav sets borrowed from Pick Me Up Theatre in York. The sound cables around the house and the receivers from the wireless packs were all terminated under the stairs at an X32 operating as a stagebox, then the output of that box went to the gallery sound desk for final mixing and transmission. | |||
As for the rest of the rigging and lighting, it was mainly made up during the production week by [[Andrew Waddle]] and [[ | |||
==End of show transcript== | ==End of show transcript== | ||