Please Sir, There's Been a Murder - Revision history

Jb2110: /* Production Week */

2020-04-28T13:56:34Z

Production Week

← Older revision		Revision as of 13:56, 28 April 2020
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	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.		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.		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 Large Rehearsal Room 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.		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==

Jb2110: /* Pre Production */

2020-04-28T13:54:18Z

Pre Production

← Older revision		Revision as of 13:54, 28 April 2020
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	==Pre Production==		==Pre Production==
	During a visit to V bar in mid October 2019, [[Stephanie Shires\|Steph]], [[Jacob Boyle\|Jacob]], [[Thomas Schubert\|Tom]]and [[Andrew Waddle\|Andrew]] attempted to plan out how YSTV could pull off such an idea in 2 months. The V bar plan, several pints later, came down to 3 factors; finding a place to shoot in, finishing the final locked script, and working out how to cover an entire house with only a handful of cameras.		During a visit to V bar in mid October 2019, [[Stephanie Shires\|Steph]], [[Jacob Boyle\|Jacob]], [[Thomas Schubert\|Tom]] and [[Andrew Waddle\|Andrew]] attempted to plan out how YSTV could pull off such an idea in 2 months. The V bar plan, several pints later, came down to 3 factors; finding a place to shoot in, finishing the final locked script, and working out how to cover an entire house with only a handful of cameras.

	Initially, with [[Jacob Boyle\|Jacob]] working on the script the next most practical area to work on, was the location. With a house setting needed for the entire shoot, and a whole week being required between, rehearsal, setup, shooting and pack down; the hunt was on to find somewhere suitable. Several people pitched in ideas for a house setting including [[Stephanie Shires\|Steph's]] parents' house and several student homes around York. After several weeks of negotiation and work by [[Stephanie Shires\|Steph]], her student house was agreed upon to use as the location. With now only 5 weeks left until the live day, the technical and operational planning hurdles began to make their presence felt.		Initially, with [[Jacob Boyle\|Jacob]] working on the script the next most practical area to work on, was the location. With a house setting needed for the entire shoot, and a whole week being required between, rehearsal, setup, shooting and pack down; the hunt was on to find somewhere suitable. Several people pitched in ideas for a house setting including [[Stephanie Shires\|Steph's]] parents' house and several student homes around York. After several weeks of negotiation and work by [[Stephanie Shires\|Steph]], her student house was agreed upon to use as the location. With now only 5 weeks left until the live day, the technical and operational planning hurdles began to make their presence felt.
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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 [[Emma Sahall]] after seeing the rehearsals.		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==		==Production Week==

Jb2110: /* Inception of the idea */

2020-04-28T13:54:06Z

Inception of the idea

← Older revision		Revision as of 13:54, 28 April 2020
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	Somewhere around late January / early February 2019 [[Thomas Schubert]] and [[Stephanie Shires]] had an idea, a daft idea. Some would even say, a tremendously mad idea inspired by the viewing of The Sound of Music Live. That idea would become Please Sir There's Been a Murder.		Somewhere around late January / early February 2019 [[Thomas Schubert]] and [[Stephanie Shires]] had an idea, a daft idea. Some would even say, a tremendously mad idea inspired by the viewing of The Sound of Music Live. That idea would become Please Sir There's Been a Murder.

	The concept was simple; an approximately 30 minute short film, all shot totally live ~~and with on the fly viewer interaction~~. The idea was thought a good challenge, but was put on hiatus for further planning while the mountainous tasks of [[Elections 2019]], [[Roses 2019]] and TFTV second year films were planned and executed. The next known mention of the idea was around may 2019, just post AGM / YSTV elections, where the idea was floated again by new [[Station Directors]] [[Thomas Schubert]] and [[Stephanie Shires]], with the idea that members interested in writing the short could pitch ideas. Most present thought it a great idea, while also being totally mad. [[Edwin Barnes]] remarked at the time, "Oh for fucks sake". While this process was ongoing, the technical team (newly elected [[Technical Director]] [[Andrew Waddle]] and [[Computing Directors]] [[Adam Birtles]]) put their heads in their hands and tried to figure out how to make the shoot work.		The concept was simple; an approximately 30 minute short film, all shot totally live. The idea was thought a good challenge, but was put on hiatus for further planning while the mountainous tasks of [[Elections 2019]], [[Roses 2019]] and TFTV second year films were planned and executed. The next known mention of the idea was around may 2019, just post AGM / YSTV elections, where the idea was floated again by new [[Station Directors]] [[Thomas Schubert]] and [[Stephanie Shires]], with the idea that members interested in writing the short could pitch ideas. Most present thought it a great idea, while also being totally mad. [[Edwin Barnes]] remarked at the time, "Oh for fucks sake". While this process was ongoing, the technical team (newly elected [[Technical Director]] [[Andrew Waddle]] and [[Computing Directors]] [[Adam Birtles]]) put their heads in their hands and tried to figure out how to make the shoot work.

	Several weeks later, or it could have been less nobody is quite sure, the pitch session was done during the weekly production meeting. Three people pitched. Tom Maynard. Jacob Boyle. And [[Stephanie Shires\|Steph]] on behalf of [[Stephanie Shires\|Steph]], [[Thomas Schubert\|Tom]], [[Olivia Gibbs\|Olivia]] and [[Andrew Waddle\|Andrew]]. With all three ideas using unique themes ~~and implementing viewer interaction to different ends~~, eventually the winner was decided and [[Jacob Boyle\|Jacob]] would write it.		Several weeks later, or it could have been less nobody is quite sure, the pitch session was done during the weekly production meeting. Three people pitched. Tom Maynard. Jacob Boyle. And [[Stephanie Shires\|Steph]] on behalf of [[Stephanie Shires\|Steph]], [[Thomas Schubert\|Tom]], [[Olivia Gibbs\|Olivia]] and [[Andrew Waddle\|Andrew]]. With all three ideas using unique themes, eventually the winner was decided and [[Jacob Boyle\|Jacob]] would write it, but with a catch- it was to have on the fly viewer interaction.

	The idea progressed mainly behind closed doors in the wonderfully creative mind of [[Jacob Boyle\|Jacob]] for the next few months. A draft was completed by September 2019 when the idea was again put on hiatus for the sake of shooting [[Jacob Boyle\|Jacob's]] short film B.U.M.F.A.C.E which took place directly before [[Freshers 2019]]. The project was again revived some time during October 2019, with the locked script to be written imminently and production work to begin alongside. The catch. Only 7 weeks until the agreed upon filming day, December the 11th 2019.		The idea progressed mainly behind closed doors in the wonderfully creative mind of [[Jacob Boyle\|Jacob]] for the next few months. A draft was completed by September 2019 when the idea was again put on hiatus for the sake of shooting [[Jacob Boyle\|Jacob's]] short film B.U.M.F.A.C.E which took place directly before [[Freshers 2019]]. The project was again revived some time during October 2019, with the locked script to be written imminently and production work to begin alongside. The catch. Only 7 weeks until the agreed upon filming day, December the 11th 2019.

	==Pre Production==		==Pre Production==

Andrew.Waddle at 21:59, 21 April 2020

2020-04-21T21:59:40Z

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	[[Live Drama Logo.png\|thumb\|right\|]]		[[Image:Live Drama Logo.png\|thumb\|right]]
	{{Production Info		{{Production Info
	\| name = Please Sir, There's Been a Murder!		\| name = Please Sir, There's Been a Murder!

Andrew.Waddle at 21:58, 21 April 2020

2020-04-21T21:58:39Z

← Older revision		Revision as of 21:58, 21 April 2020
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			[[Live Drama Logo.png\|thumb\|right\|]]
	{{Production Info		{{Production Info
	\| name = Please Sir, There's Been a Murder!		\| name = Please Sir, There's Been a Murder!
	~~\| picturefile = Live Drama Logo.png~~
	\| genre = Live, Interactive, Drama, Comedy, Murder Mystery		\| genre = Live, Interactive, Drama, Comedy, Murder Mystery
	\| broadcast = 11/12/2019		\| broadcast = 11/12/2019

Andrew.Waddle at 20:15, 21 April 2020

2020-04-21T20:15:02Z

← Older revision		Revision as of 20:15, 21 April 2020
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	Stephanie and Klára – Everyone’s amazing.		Stephanie and Klára – Everyone’s amazing.


			{{YSTV Productions}}
			[[Category:Productions]]

Andrew.Waddle at 14:36, 18 April 2020

2020-04-18T14:36:54Z

← Older revision		Revision as of 14:36, 18 April 2020
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	{{Production Info		{{Production Info
	\| name = Please Sir, There's Been a Murder!		\| name = Please Sir, There's Been a Murder!
	\| picturefile = ~~Live_Drama_Logo~~.png		\| picturefile = Live Drama Logo.png
	\| genre = Live, Interactive, Drama, Comedy, Murder Mystery		\| genre = Live, Interactive, Drama, Comedy, Murder Mystery
	\| broadcast = 11/12/2019		\| broadcast = 11/12/2019

Andrew.Waddle at 14:27, 18 April 2020

2020-04-18T14:27:24Z

← Older revision		Revision as of 14:27, 18 April 2020
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	{{Production Info		{{Production Info
	\| name = Please Sir, There's Been a Murder!		\| name = Please Sir, There's Been a Murder!
			\| picturefile = Live_Drama_Logo.png
	\| genre = Live, Interactive, Drama, Comedy, Murder Mystery		\| genre = Live, Interactive, Drama, Comedy, Murder Mystery
	\| broadcast = 11/12/2019		\| broadcast = 11/12/2019

Andrew.Waddle: /* History */

2020-04-17T22:24:39Z

History

← Older revision		Revision as of 22:24, 17 April 2020
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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==

Andrew.Waddle: /* History */

2020-04-17T22:12:05Z

History

← Older revision		Revision as of 22:12, 17 April 2020
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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==