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Please Sir, There's Been a Murder: Difference between revisions
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* 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). | * 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. | * 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. | 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. | ||
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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 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 [[ | As for the rest of the rigging and lighting, it was mainly made up during the production week by [[Andrew Waddle]] and [[Emma Sahall]] after seeing the rehearsals. | ||
==Production Week== | |||
With all the planning now in place, the technical decisions made and the cast learning their lines, soon the end of term was upon us and with it: the shooting week. | |||
We got access to the house on the 7th of December for the first technical recce in the space with the actors doing the scenes. This also acted as the first on blocking and walk through of the space for the actors. We had run practice run through sessions in the TFTV blackbox studio ahead of this week, but never on location. With these rehearsals, a lot of the final decisions and changes made to the points and procedures above were made. | |||
The same was done on the following 2 days, with incrementally more and more runs done by cast, and several runs with the camera operators and cast allowing for the full 'dance' to be practised without any tech in the way. | |||
==End of show transcript== | ==End of show transcript== | ||