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Please Sir, There's Been a Murder: Difference between revisions
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The first issue that appeared, was that the house selected is fairly small inside with compact rooms and common space. As per the script, 6 spaces were needing (5 internal and 1 ext) which was every usable room in the house and the garage / front lawn. Covering all 6 spaces with multiple cameras simultaneously was impossible with the equipment that we had and the script called for the actors to be moving around from room to room without being seen, all without any stoppage and full live. Oh and there were multiple possible paths and endings for both the cast and the crew to memorise. | The first issue that appeared, was that the house selected is fairly small inside with compact rooms and common space. As per the script, 6 spaces were needing (5 internal and 1 ext) which was every usable room in the house and the garage / front lawn. Covering all 6 spaces with multiple cameras simultaneously was impossible with the equipment that we had and the script called for the actors to be moving around from room to room without being seen, all without any stoppage and full live. Oh and there were multiple possible paths and endings for both the cast and the crew to memorise. | ||
After several late nights, pints and about 10 spreadsheets; the plan was finished. [[Stephanie Shires|Steph]] would take charge of the directing of the camera's and the show running during the production week, [[Thomas Schubert|Tom]] would take charge of directing the actors and [[Andrew Waddle|Andrew]] would take charge of the technical running of the show, along with [[Ben Allen]], and the rigging of the location. | After several late nights, pints and about 10 spreadsheets; the plan was finished. [[Stephanie Shires|Steph]] would take charge of the directing of the camera's and the show running during the production week, [[Thomas Schubert|Tom]] would take charge of directing the actors and [[Andrew Waddle|Andrew]] would take charge of the technical running of the show, along with [[Ben Allen]], and the rigging of the location. With the location now nailed down and the roles agreed upon, technical and producing could now take place. | ||
The show plan was as follows; | |||
* The script was divided into the locations around the house used per scene (having been written to minimise location jumping mid scene), so that the current live location and the next location coming up to be live were all known and tabled. | |||
* No location was found to need more than 3 camera to obtain adequate coverage and so, the camera team would consist of 6 operators with only 3 live at any one time. The 6 would be separated into 2 teams who would piggyback over each-other around the house following routes either through or around the building in order to avoid cast and crew in the live locations. | |||
* Each location would have a floor manager who would direct the camera operators as to the scene, coverage, framing and their live status. ('''Editors Note:''' We effectively had no comms for the camera operators at certain points due to the wireless system we had being fairly crap. The only people really able to communicate to the gallery were the floor managers). | |||
* The cast and crew would be fed the viewer decisions at the interactive points via the floor managers with the decision made by the audience during a live scene but affecting the next scene. In the final show some scenes required the decisions to be fed by the floor managers to cast and crew during a live scene via a sign with the character to be investigated written on. | |||
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 | |||
==End of show transcript== | ==End of show transcript== | ||