+\chapter{What's the Significance of Callers?}
+
+\textsc{In which} we discuss the format.
\chapter{Int. Bar}
+\begin{center}
+ \includegraphics[width=1.5cm]{commissioned}
+\end{center}
+
+\vspace{1cm}
+
\textsc{In which The Threat} and the Anchor discuss the project, it's strengths, it's weaknesses, it's oppertuies and it's threats. Project viability is concidered and the Anchor makes a deal.
This was origionally submitted as part of Snapshot 1 along with accompanying information about the platform, contributors and the current state of play.
--- /dev/null
+\chapter{The Players}
+
+\textsc{In which} we discuss the products of XMDV Teleshopping and how they where made.
+
+\section{The Team}
+
+The ``Set-design'' team, or probably more appropriately, the art team, is made up of 4 2nd year BA Set-Design students. They're required by their course to take on one of the BATARP TV Studio FYPs, but I also happened to be in the meeting at the time and was given an oppertunity to pitch XMDV Teleshopping to them. They where not required to take part in the production as part of their course and I'm very very thankful for the work they put in, esspecially considering we where forced to cut some products last minute.
+
+One of the issues I faced, working with the team, was their tenancy to make things as late as they could, which definately put the pressure on the last few days, eliminating any time that I would have normally used for final checks, paperwork and sleep. I belive this to be one of the major reasons for, what I see as, the faliure of the project overall considering the myriad issues faced on the day. Should I have actually enforced tighter deadlines on them, there may have been more time to breath in the run up to the shoot and would have been an oppertunity to record the backup VTs of each product.
+
+I did have a large amount of oversight on all products and esspcially the graphics, sometimes with their reluctance, and a majority of the work done was done with the whole team present.
+
+The following is the products in order of planned apperance.
+
+\section{Products}
+\subsection{Coffee. we killed the sheep!}
+
+During the initial meeting with the narrative director, we came up with a list of concepts that could be turned into products. This one represents ``sleep'', being a jar of coffee that makes sure you never sleep again. It was designed by Leiah Blanchard. The copy was written by me.
+
+\begin{figure}
+ \centering
+ \fbox{\includegraphics[width=0.7\textwidth]{coffee}}
+ \caption{``XTRA COFFEE WE KILLED THE SHEEP!''}
+\end{figure}
+
+\subsection{Omen-pro augury calendar}
+
+This was initially under the concept of ``death'' and was intended to show you the day that you'd die. The conceit here is that it shows the Anchor the day that he will die (the day of the stream). It was designed by Lydia Wilkinson with copy written by the Narrative Director. It was cut from the show due to running overtime on the start of the stream.
+
+\subsection{Planet 9 nonecumene deluxe holiday park and guided tours}
+
+This was under the concept of ``Planet X'', which we later changed to Planet 9 to avoid sounding too similar to SpaceX. It was designed by Lydia Wilkinson and arranged by me, the copy was written by the Narrative Engineer. It was cut from the show due to overrun.
+
+\subsection{Black and White Blood Chocolate Sauce}
+
+This was the concept of ``blood'' origionally. As a group, we devised the idea that this would look like a regular bottle of chocolate sauce, but would pour what looked like blood. We would tell the Anchor that this is simply chocolate sauce and then, without his prior knowlage, would bring out a bowl of ice cream for him to eat. He would pour the bottle, realise it was blood and would take a bite regardless.
+
+I designed the mechanism, but it was constructed by Leigha with graphics and blood also formulated by her. There was not a small about of pre-planning and logistics that went into keeping some of the props cool, that includes the ice cream for this one.
+
+The copy was written by me.
+
+\begin{figure}
+ \centering
+ \fbox{\includegraphics[width=0.7\textwidth]{blood}}
+ \caption{The Anchor pouring the blood}
+\end{figure}
+
+\subsection{Is that a hairline fracture? A crack?}
+
+This was an idea conceived by the Narrative Engineer, a product to represent ``the idea we know more about the moon than we do the ocean''. This later changed to ``the idea that the moon will hatch like an egg''. It was painted by Tegan, with the copy written by me.
+
+\begin{figure}
+ \centering
+ \fbox{\includegraphics[width=0.7\textwidth]{moon}}
+ \caption{The set-design team and one of the floor managers with the painting of the moon}
+\end{figure}
+
+\subsection{Teethpaste!}
+
+This was orrigionally the idea of ``rot'' and was pitched to me by the set design team. The idea was to have the tube of toothpaste\footnote{Empty paint tubes can be bought off the shelf and are perfect for this!} be full of little painted clay teeth and some kind of goop. The goop, teeth and GFX where designed by Tegan with help from Lydia. This was unfortunately cut, dispite being, in my opinion, one of our better products. The copy was a team effort between me and the Narrative Engineer.
+
+\begin{figure}
+ \centering
+ \fbox{\includegraphics[width=0.7\textwidth]{tooth}}
+ \caption{The teeth submerged in goo}
+\end{figure}
+
+\subsection{Spare parts.}
+
+This was the idea of ``sex'' orrigionally, but this transformed, spearheaded by the Narrative Engineer, into ``sex as it relates to canibalism''. Hence the human meat. The ``belongings'' of the meat really tie the product together, and even though the Anchor struggled a little on this one, it's a good product. It was put together, complete with the tempory tattoos and fish-nets, by Tegan and Lydia.
+
+\subsection{Surprise jack-in-the-box, shock your friends!}
+
+This is an interesting one. Orrigionally under ``dread'', it became the poster-child for XMDV containing: fake blood, tension and a simple trick. The idea was to have a jack in the box with a crank on the side that would play a tune when turned. We owuld tell the Anchor about how it was ``full of blood'' and would ``go off'' after a preset number of turns and that ``we whent going to tell you it was full of blood but we though it would be good just incase it stains''. It was not full of blood. It didnt even open. We would make the Anchor hold it up to his face, after each sale, and turn the handle.
+
+It was painted beautifully and designed by Tegan with the copy written by me.
+
+\begin{figure}
+ \centering
+ \fbox{\includegraphics[width=0.5\textwidth]{jackbox1}}
+ \caption{The Jack-in-the-box before painted}
+\end{figure}
+\begin{figure}
+ \centering
+ \fbox{\includegraphics[width=0.7\textwidth]{jackbox2}}
+ \caption{The Anchor about to turn the handle}
+\end{figure}
+
+\subsection{The replacement mirror}
+
+One of the more elaborate products: the replacement mirror is inteded to show one their replacement. After a short build-up, the Anchor was to look into it, and his replacement would emerge from the flats behind him. He would then smash the mirror (made from sugar glass) on the corner of the desk. The ``replacement Anchor'' was sucessfully kept secret from the Anchor. It was our intention that he would be painted white, but this feature was cut due to less time than we needed.
+
+In a nice thematic way, the actor playing the replacement was also the Anchors actual replacement should he drop out last minute.
+
+The mirror was made by Tegan with the copy written by me.
+
+\begin{figure}
+ \centering
+ \fbox{\includegraphics[width=0.7\textwidth]{mirror}}
+ \caption{The mirror}
+\end{figure}
+\begin{figure}
+ \centering
+ \fbox{\includegraphics[width=0.5\textwidth]{replacement}}
+ \caption{The ``replacent'' Lucas Blackburn}
+\end{figure}
+
+\subsection{My suit}
+
+This was a penultimate moment of the show and orrigionally though up by me in the initial stage of the idea 3 years ago. The Anchor was bought a suit and provided with some sissors. This might be my second favorate product of them all, and it was incredibly effetcively acted. The copy was written by the Narrative Engineer
+
+\subsection{Corkbaby}
+
+If the suit was my second favorate item, this was my favorate. From the delivery, to the copy, to the item itself and the music behind it, this one was our perfect moment. There is nothing I'd do differently.
+
+It was carved by Tegan and the copy was written by the Narrative Engineer.
+
+\begin{figure}
+ \centering
+ \fbox{\includegraphics[width=0.7\textwidth]{corkbaby}}
+ \caption{Corkbaby}
+\end{figure}
+
+\subsection{The number previously known as 7}
+
+I personally spearheaded this one with a custom feature in the graphics system and some large MDF 7s in the XMDV EB Garamond font. It was unfortunately cut to save us the stream.
+
+\begin{figure}
+ \centering
+ \fbox{\includegraphics[width=0.5\textwidth]{seven}}
+ \caption{Cameraman holding the 7s}
+\end{figure}
+
+\subsection{Embraer E190}
+
+This was also a poster-child of the stream and something that I personally put together. It came together as I imagined and im very happy with the result. A custom VT was created and a small 3D printed model of an Ebraer E190 was made and painted silver. One of the set design team brought in a small photo frame and a stock image of a norweigan family was printed.
+
+The copy was written by me.
+
+\begin{figure}
+ \begin{minipage}{0.5\textwidth}
+ \centering
+ \fbox{\includegraphics[width=0.9\textwidth]{plane1}}
+ \end{minipage}
+ \begin{minipage}{0.5\textwidth}
+ \centering
+ \fbox{\includegraphics[width=0.9\textwidth]{plane2}}
+ \end{minipage}
+ \caption{The plane as it flys \& the Anchor coming to take a wing}
+\end{figure}
+
+\subsection{Simulacrum - Agony canned}
+
+This was on the orrigional concept list under ``voodoo doll''. It was created by Daisy Deveo and was sculpted to look like the Anchor. Stylistically it is genius, I had no part in the excact look, but Daisy hit more than the mark and delivered ahead of schedule.
+
+The copy was written by the Narrative Engineer.
+
+\begin{figure}
+ \begin{minipage}{0.5\textwidth}
+ \centering
+ \fbox{\includegraphics[width=0.9\textwidth]{voodoo1}}
+ \end{minipage}
+ \begin{minipage}{0.5\textwidth}
+ \centering
+ \fbox{\includegraphics[width=0.9\textwidth]{voodoo2}}
+ \end{minipage}
+ \caption{The voodoo doll as documented by Daisy}
+\end{figure}
+
+\begin{figure}
+ \centering
+ \fbox{\includegraphics[width=0.8\textwidth]{staging}}
+ \caption{The product staging area}
+\end{figure}
-\def\taskone{Pre-production}
-\def\tasktwo{Production}
-\def\taskthree{Writing}
-\def\taskfour{Programming}
-\def\taskfive{Casting}
-\def\tasksix{Design}
-\def\taskseven{Essay}
-
-\begin{tabularx}{\textwidth}{|cc|cccccccc|X|}
- \hline
- Day & Date & \rot{Other responsibilities} & \rot{\taskone} & \rot{\tasktwo} & \rot{\taskthree} & \rot{\taskfour} & \rot{\taskfive} & \rot{\tasksix} & \rot{\taskseven} & Notes\\
- \hline
- \hline
- \endhead
-
- \hline
- \endfoot
-
- %%%
-
- \multicolumn{11}{|c|}{Week 5}\\
- \hline
- Monday &
- 10/02/25 &
- &\cellcolor{green}&&&&\cellcolor{green}&&&
- \\
-
- Tuesday &
- 11/02/25 &
- &\cellcolor{green}&&&&\cellcolor{green}&&&
- Meeting Sioux Sharp and TVS contributor meeting\footnote{Invited along to the TV Studio final year project set design meeting where Sioux and Annette will be introducing us to some set design students. Hoping to be able to recruit some people to make products.}\\
-
- Wednesday &
- 12/02/25 &
- &\cellcolor{green}&&&\cellcolor{green}&\cellcolor{green}&&&
- Finish off some GFX system tasks\\
-
- Thursday &
- 13/02/25 &
- &\cellcolor{green}&&&\cellcolor{green}&\cellcolor{green}&&&
- Screen test with David Smith, meet with Alex and Alfie RE TVS\\
-
- Friday &
- 14/02/25 &
- &\cellcolor{green}&&&\cellcolor{yellow}&\cellcolor{green}&&&
- \\
-
- Saturday &
- 15/02/25 &
- &\cellcolor{green}&&&&\cellcolor{green}&&&
- \\
-
- Sunday &
- 16/02/25 &
- &\cellcolor{green}&&&&\cellcolor{green}&&&
- \\
- \hline
-
- %%%
-
- \multicolumn{11}{|c|}{Week 6}\\
- \hline
- Monday &
- 17/02/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Tuesday &
- 18/02/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Wednesday &
- 19/02/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Thursday &
- 20/02/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
+\chapter{It's good to take a moment to see the stars}
- Friday &
- 21/02/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Saturday &
- 22/02/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
+\textsc{In which} we're ahead, in which we're behind.
- Sunday &
- 23/02/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
+\noindent\begin{tabularx}{\textwidth}{|cc|X|}
\hline
-
- %%%
-
- \multicolumn{11}{|c|}{Week 7}\\
+ \textbf{Day} & \textbf{Date} & \textbf{Notes}\\
\hline
- Monday &
- 24/02/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Tuesday &
- 25/02/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Wednesday &
- 26/02/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Thursday &
- 27/02/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Friday &
- 28/02/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Saturday &
- 01/03/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Sunday &
- 02/03/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
\hline
%%%
- \multicolumn{11}{|c|}{Week 8}\\
- \hline
- Monday &
- 03/03/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Tuesday &
- 04/03/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Wednesday &
- 05/03/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Thursday &
- 06/03/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Friday &
- 07/03/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- TVS Practice session\\
-
- Saturday &
- 08/03/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
-
- Sunday &
- 09/03/25 &
- &\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
- \\
- \hline
-
- %%%
-
- \multicolumn{11}{|c|}{Week 9}\\
- \hline
- Monday &
- 10/03/25 &
- &\cellcolor{green}&&\cellcolor{yellow}&&\cellcolor{yellow}&&&
- Online essay meeting this week\\
-
- Tuesday &
- 11/03/25 &
- &\cellcolor{green}&&\cellcolor{yellow}&&\cellcolor{yellow}&&&
- \\
-
- Wednesday &
- 12/03/25 &
- &\cellcolor{green}&&\cellcolor{yellow}&&\cellcolor{yellow}&&&
- \\
-
- Thursday &
- 13/03/25 &
- &\cellcolor{green}&&\cellcolor{yellow}&&\cellcolor{yellow}&&&
- \\
-
- Friday &
- 14/03/25 &
- &\cellcolor{green}&&\cellcolor{yellow}&&\cellcolor{yellow}&&&
- \\
-
- Saturday &
- 15/03/25 &
- &\cellcolor{green}&&\cellcolor{yellow}&&\cellcolor{yellow}&&&
- \\
-
- Sunday &
- 16/03/25 &
- &\cellcolor{green}&&\cellcolor{yellow}&&\cellcolor{yellow}&&&
- \\
- \hline
-
- %%%
-
- \multicolumn{11}{|c|}{Week 10}\\
- \hline
- Monday &
- 17/03/25 &
- &\cellcolor{green}&\cellcolor{yellow}&&&\cellcolor{yellow}&&&
- Snapshot 2\\
-
- Tuesday &
- 18/03/25 &
- &\cellcolor{green}&\cellcolor{yellow}&&&\cellcolor{yellow}&&&
- Possible studio practice next 2wk\\
-
- Wednesday &
- 19/03/25 &
- &\cellcolor{green}&\cellcolor{yellow}&&&\cellcolor{yellow}&&&
- \\
-
- Thursday &
- 20/03/25 &
- \cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&\cellcolor{yellow}&&&
- Alfie/Alex TV studio rehearsal\\
-
- Friday &
- 21/03/25 &
- \cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&\cellcolor{yellow}&&&
- A/A TVS Intro GFX blocking till 26th\\
-
- Saturday &
- 22/03/25 &
- \cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&\cellcolor{yellow}&&&
- \\
-
- Sunday &
- 23/03/25 &
- \cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&\cellcolor{yellow}&&&
- Finish casting latest 1wk before Easter\\
- \hline
-
- %%%
-
- \multicolumn{11}{|c|}{Week 11}\\
- \hline
- Monday &
- 24/03/25 &
- \cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&&&\cellcolor{yellow}&
- \\
-
- Tuesday &
- 25/03/25 &
- \cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&&&\cellcolor{yellow}&
- \\
-
- Wednesday &
- 26/03/25 &
- \cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&&&\cellcolor{yellow}&
- Driving test\\
-
- Thursday &
- 27/03/25 &
- &\cellcolor{green}&\cellcolor{yellow}&&&&&\cellcolor{yellow}&
- \\
-
- Friday &
- 28/03/25 &
- \cellcolor{red}&\cellcolor{green}&\cellcolor{yellow}&&&&&\cellcolor{yellow}&
- Lucy/Leah TV studio assessment\footnote{Will be additional practice date TBC before next week (c.o 17/02/25)}\\
-
- Saturday &
- 29/03/25 &
- &\cellcolor{green}&\cellcolor{yellow}&&&&&\cellcolor{yellow}&
- \\
-
- Sunday &
- 30/03/25 &
- &\cellcolor{green}&\cellcolor{yellow}&&&&&\cellcolor{yellow}&
- \\
- \hline
-
- %%%
-
- \multicolumn{11}{|c|}{Easter (1/3)}\\
+\multicolumn{3}{|c|}{Week 5}\\
+\hline
+Monday &
+10/02/25 &
+\\
+%
+Tuesday &
+11/02/25 &
+Meeting Sioux Sharp and TVS contributor meeting\footnote{Invited along to the TV Studio final year project set design meeting where Sioux and Annette will be introducing us to some set design students. Hoping to be able to recruit some people to make products.}\\
+%
+Wednesday &
+12/02/25 &
+Finish off some GFX system tasks\\
+%
+Thursday &
+13/02/25 &
+Screen test with David Smith, meet with Alex and Alfie RE TVS\\
+%
+Friday &
+14/02/25 &
+\\
+%
+Saturday &
+15/02/25 &
+\\
+%
+Sunday &
+16/02/25 &
+\\
+\hline
+%
+%%%
+%
+\multicolumn{3}{|c|}{Week 6}\\
+\hline
+Monday &
+17/02/25 &
+\\
+%
+Tuesday &
+18/02/25 &
+\\
+%
+Wednesday &
+19/02/25 &
+\\
+%
+Thursday &
+20/02/25 &
+\\
+%
+Friday &
+21/02/25 &
+\\
+%
+Saturday &
+22/02/25 &
+\\
+%
+Sunday &
+23/02/25 &
+\\
+\hline
+%
+%%%
+%
+\multicolumn{3}{|c|}{Week 7}\\
+\hline
+Monday &
+24/02/25 &
+\\
+%
+Tuesday &
+25/02/25 &
+\\
+%
+Wednesday &
+26/02/25 &
+\\
+%
+Thursday &
+27/02/25 &
+\\
+%
+Friday &
+28/02/25 &
+\\
+%
+Saturday &
+01/03/25 &
+\\
+%
+Sunday &
+02/03/25 &
+\\
+\hline
+%
+%%%
+%
+\multicolumn{3}{|c|}{Week 8}\\
+\hline
+Monday &
+03/03/25 &
+\\
+%
+Tuesday &
+04/03/25 &
+\\
+%
+Wednesday &
+05/03/25 &
+\\
+%
+Thursday &
+06/03/25 &
+\\
+%
+Friday &
+07/03/25 &
+TVS Practice session\\
+%
+Saturday &
+08/03/25 &
+\\
+%
+Sunday &
+09/03/25 &
+\\
+\hline
+%
+%%%
+%
+\multicolumn{3}{|c|}{Week 9}\\
+\hline
+Monday &
+10/03/25 &
+Online essay meeting this week\\
+%
+Tuesday &
+11/03/25 &
+\\
+%
+Wednesday &
+12/03/25 &
+\\
+%
+Thursday &
+13/03/25 &
+\\
+%
+Friday &
+14/03/25 &
+\\
+%
+Saturday &
+15/03/25 &
+\\
+%
+Sunday &
+16/03/25 &
+\\
+\hline
+%
+%%%
+%
+\multicolumn{3}{|c|}{Week 10}\\
+\hline
+Monday &
+17/03/25 &
+Snapshot 2\\
+%
+Tuesday &
+18/03/25 &
+Possible studio practice next 2wk\\
+%
+Wednesday &
+19/03/25 &
+\\
+%
+Thursday &
+20/03/25 &
+Alfie/Alex TV studio rehearsal\\
+%
+Friday &
+21/03/25 &
+A/A TVS Intro GFX blocking till 26th\\
+%
+Saturday &
+22/03/25 &
+\\
+%
+Sunday &
+23/03/25 &
+Finish casting latest 1wk before Easter\\
+\hline
+%
+%%%
+%
+\multicolumn{3}{|c|}{Week 11}\\
+\hline
+Monday &
+24/03/25 &
+\\
+%
+Tuesday &
+25/03/25 &
+\\
+%
+Wednesday &
+26/03/25 &
+Driving test\\
+%
+Thursday &
+27/03/25 &
+\\
+%
+Friday &
+28/03/25 &
+Lucy/Leah TV studio assessment\footnote{Will be additional practice date TBC before next week (c.o 17/02/25)}\\
+%
+Saturday &
+29/03/25 &
+\\
+%
+Sunday &
+30/03/25 &
+\\
+\hline
+
+ %%%
+
+ \multicolumn{3}{|c|}{Easter (1/3)}\\
\hline
Monday &
31/03/25 &
- \cellcolor{red}&\cellcolor{green}&&&&&\cellcolor{green}&\cellcolor{yellow}&
Foxes Among Vines Int. Shoot\\
Tuesday &
01/04/25 &
- \cellcolor{red}&\cellcolor{green}&&&&&\cellcolor{green}&\cellcolor{yellow}&
Foxes Among Vines Int. Shoot\\
Wednesday &
02/04/25 &
- \cellcolor{red}&\cellcolor{green}&&&&&\cellcolor{green}&\cellcolor{yellow}&
Foxes Among Vines Int. Shoot\\
Thursday &
03/04/25 &
- &\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{green}&\cellcolor{yellow}&
- Soft goal harden GFX during Easter practice\\
+ \\
Friday &
04/04/25 &
- &\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{green}&\cellcolor{yellow}&
\\
Saturday &
05/04/25 &
- &\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{green}&\cellcolor{yellow}&
\\
Sunday &
06/04/25 &
- &\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{green}&\cellcolor{yellow}&
\\
\hline
%%%
- \multicolumn{11}{|c|}{Easter (2/3)}\\
+ \multicolumn{3}{|c|}{Easter (2/3)}\\
\hline
Monday &
07/04/25 &
- &\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{yellow}&&
\\
Tuesday &
08/04/25 &
- &\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{yellow}&&
\\
Wednesday &
09/04/25 &
- &\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{yellow}&&
\\
Thursday &
10/04/25 &
- &\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{yellow}&&
\\
Friday &
11/04/25 &
- &\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{yellow}&&
- Piano boat interview\\
+ \\
Saturday &
12/04/25 &
- &\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{yellow}&&
\\
Sunday &
13/04/25 &
- &\cellcolor{green}&&&\cellcolor{yellow}&&\cellcolor{yellow}&&
\\
\hline
%%%
- \multicolumn{11}{|c|}{Easter (3/3)}\\
+ \multicolumn{3}{|c|}{Easter (3/3)}\\
\hline
Monday &
14/04/25 &
- &\cellcolor{green}&\cellcolor{yellow}&&\cellcolor{yellow}&&&\cellcolor{yellow}&
- Trivial rehearsal this week\footnote{Possibly will build a full studio setup elsewhere in the building for a full crew rehearsal. Depending on availability and staff hours}\\
+ \\
Tuesday &
15/04/25 &
- &\cellcolor{green}&\cellcolor{yellow}&&\cellcolor{yellow}&&&\cellcolor{yellow}&
\\
Wednesday &
16/04/25 &
- &\cellcolor{green}&\cellcolor{yellow}&&\cellcolor{yellow}&&&\cellcolor{yellow}&
\\
Thursday &
17/04/25 &
- &\cellcolor{green}&\cellcolor{yellow}&&\cellcolor{yellow}&&&\cellcolor{yellow}&
\\
Friday &
18/04/25 &
- &\cellcolor{green}&\cellcolor{yellow}&&\cellcolor{yellow}&&&\cellcolor{yellow}&
\\
Saturday &
19/04/25 &
- &\cellcolor{green}&\cellcolor{yellow}&&\cellcolor{yellow}&&&\cellcolor{yellow}&
\\
Sunday &
20/04/25 &
- &\cellcolor{green}&\cellcolor{yellow}&&\cellcolor{yellow}&&&\cellcolor{yellow}&
\\
\hline
%%%
- \multicolumn{11}{|c|}{Week 12}\\
+ \multicolumn{3}{|c|}{Week 12}\\
\hline
Monday &
21/04/25 &
- &&\cellcolor{green}&&&&&\cellcolor{green}&
Snapshot 3\\
Tuesday &
22/04/25 &
- &&\cellcolor{green}&&&&&\cellcolor{green}&
\\
Wednesday &
23/04/25 &
- &&\cellcolor{green}&&&&&\cellcolor{green}&
\\
Thursday &
24/04/25 &
- &&\cellcolor{green}&&&&&\cellcolor{green}&
\\
Friday &
25/04/25 &
- &&\cellcolor{green}&&&&&\cellcolor{green}&
\\
Saturday &
26/04/25 &
- &&&&&&&\cellcolor{green}&
\\
Sunday &
27/04/25 &
- &&&&&&&\cellcolor{green}&
\\
\hline
%%%
- \multicolumn{11}{|c|}{Week 13}\\
+ \multicolumn{3}{|c|}{Week 13}\\
\hline
Monday &
28/04/25 &
- &&&&&&&\cellcolor{yellow}&
\\
Tuesday &
29/04/25 &
- &&&&&&&\cellcolor{yellow}&
Deadline\\
+ \hline
\end{tabularx}
\input{sections/git}
\input{sections/clock}
+\input{sections/lazy-susan}
+\input{sections/threat}
+\input{sections/overlay}
+\input{sections/twitch}
+\input{sections/streaming}
+\input{sections/docs}
+\input{sections/floorplan}
-\noindent\vspace{5cm}\begin{center}
+\noindent\vspace{4cm}\begin{center}
{\huge{}I'll See You in the Stars}\\
\vspace{4mm}
{\Large{}XMDV Teleshopping}\\
\noindent\copyright{} William Greenwood 2025
+
\textbf{Signature:} \dotfill\\
\textbf{Name:} \dotfill\hspace*{0.5\textwidth}\\
- \textbf{Date signed:} \dotfill\hspace*{0.5\textwidth}
+ \textbf{Date signed:} \dotfill\hspace*{0.5\textwidth}\\
+ \textbf{Little drawing of a cat:} \dotfill\hspace*{0.5\textwidth}
\vspace{4mm}
--- /dev/null
+\documentclass{cd}
+
+\begin{document}
+\covertext{
+ XMDV Teleshopping\\
+ \bfseries The Music
+}
+
+\leftspine{XMDV TELESHOPPING}
+\rightspine{WILLIAM GREENWOOD}
+
+\lefttracklist{
+ \track Friday
+ \track Corporate Motivation
+ \track Electronic Background
+ \track Invitation
+ \track Corporate Inspire
+ \track Corporate Motivational Music
+ \track Corporate Life
+ \track Corporate Technologies
+ \track Digital Abstraction
+ \track Success Every Day
+}
+\righttracklist{
+ \track Eco
+ \track Corporate Inspirational
+ \track Serene
+ \track Vibes of Nature
+ \track Abstract Ambient Beauty
+ \track Chinese Tea
+ \track Romantic Ambient Valentine
+ \track Inspiring Sunrise
+ \track Ocean
+}
+
+\leftinfo{Attribution ``AudioCoffee Band''}
+
+\makecover\par
+\makeback\par
+\end{document}
+
\title{XMDV Teleshopping}
\author{William Greenwood}
-\date{7th March 2025}
+\date{24th April 2025}
\def\hide{1}
\if\hide1
The way secrets should be kept is not to say ``I can't tell you *wink wink*'', but instead to simply stonewall the Anchor. I \textit{not only} do not want them to know anything in this document outside of their own copy, I do not want them to know that this document \textit{even exists}.
\end{hidden}
-\section{Roles}
-
-The studio roles are as follows:
-
-\begin{center}
- \begin{minipage}{0.7\textwidth}
- \begin{center}
- \textbf{Gallery}
- \end{center}
- William Greenwood\dotfill{}Producer\\
- Jack Christian Sims\dotfill{}Director\\
- Finn Downton\dotfill{}Narrative Engineer\\
- Eleanor Haughton\dotfill{}Vision Mixer\\
- Rebecca Dixon\dotfill{}Sound operator\\
- Brynn Yates\dotfill{}GFX operator
-
- \vspace{2mm}
-
- Set design team will be setup roles, but will take on roles as either assistant FMs or GFX controllers. Also in attendance in the gallery will be Sioux Sharp.
-
- \begin{center}
- \textbf{Floor}
- \end{center}
- David Smith\dotfill{}The Anchor\\
- Heather Digwood\dotfill{}Floor manager 1\\
- Olivia Gillett\dotfill{}Floor manager 2\\
- Alex Roberts\dotfill{}Lighting operator\\
- Leo Garside-Holdich\dotfill{}Camera\\
- Tegan Blake-Barnard\dotfill{}Set design lead\\
- Rory Taylor\dotfill{}Set design\\
- Lydia Wilkinson\dotfill{}Set design\\
- Leigha Blanchard\dotfill{}Set design\\
- Daisy Devoe\dotfill{}Set design
-
- \vspace{2mm}
- \end{minipage}
-\end{center}
-
-Additional roles to fully confirm are photographer and the engineer. One of the set design team may become the photographer.
+\section{Behind the Scenes}
+
+Both the Photographer and any other personelle (as instructed) are to record behind the scenes clips and take photos.
+
+When going onto the floor, do so quietly, making sure that there in no noise coming from the studio entrance.
+
+Non-essencial crew are not to be on the floor for the beginning and the end of the stream or during any ``Dramatic'' moments.
+
+\section{Contingency}
+
+\subsection{GFX System failiure}
+
+Note that in all cases the Anchor is to recognise any technical difficulties but is not to elaborate on any issues.
+
+\begin{enumerate}
+ \item Faliure is flagged with the producer
+ \item Vision mixer fades to black
+ \item A runner is given the producers ID card to release all prints on the account and distribute these as necicarry
+ \item The producer heads to the floor to configure the Doomsday clock
+ \item Engineer gets the ``We'll be right back'' VT ready and tells the Vision Mixer when it is
+ \item Sound raises the music to full volume
+ \item All GFX operators switch from \url{https://shopping.ozva.co.uk} to the mirror at \url{https://caroline.ozva.co.uk}
+ \item Tthe operators set up the product as it was before the issue (with ``All showing`` turned off)
+ \item All GFX are configured and the stream resumes
+ \item GFX are faded back in by the GFX operators
+\end{enumerate}
+
+\subsection{Doomsday faliure}
+
+Anchor to call safeword at the instruction of the gallery. See below.
+
+\subsection{Lazy Susan faliure}
+
+Lazy susan should be unplugged immediately as soon as the shot is safe (as instructed by gallery). Should be inspected for anything that might have jammed the top plate. Depending on the issuse, the Anchor may be instructed to call the safe word while the lazy-susan is fixed. See below.
+
+\subsection{Safeword}
+
+Becase of the nature of the show, the Anchor has been briefed with a safeword with which they can call to halt the show.
+
+\begin{enumerate}
+ \item The Anchor calls the safeword
+ \item The producer or some other member of gallery staff makes everyone aware of this
+ \item Vision Mixer fades to black as soon as possible
+ \item Engineer gets the ``We'll be right back'' VT ready and tells the Vision Mixer when it is
+ \item Sound raises the music to full volume
+ \item Floor managers talk to the Anchor about the issue.
+\end{enumerate}
+
+If neccicary, the Anchor may go to the green room for a breather, they are not to go to 3.08, as there may be forbidden information.
+
+\textbf{The safeword is a particular callers name: ``Will is holding'', ``We've got Will on the line'' or some similar phrase}
+
+We will also have a fake ``safeword'' incident as a narrative device. This safeword will be different for obvious reasons. In this case the safeword will be \textbf{``STOP''}. We will still follow the same actons in the gallery.
+
+\section{Product switchover}
+
+It should be assumed that both shots are unsafe at all times! the Anchor may suddenly throw to the Lazy-susan or the Director may, for some reason, decide to cut up the shot
+
+\begin{enumerate}
+ \item The Anchor sells out
+ \item The FM gets ready to switch out the product
+ \item The engineer gets ready for the next safty VT if neccicary
+ \item The Vision mixer switches to the safty shot
+ \item The producer calls ``shot safe'' and the FMs move in to switch the product
+ \item During this time the Anchor does not have to fill and the music may be brough up and the discression of the sound operator
+ \item As soon as the product is switched, the FM comunicates this to the gallery
+ \item Director brings the Anchor back on-cam and the next product begins to sell
+ \item The Producer calls safe-shot on the lazy susan and this is switched by the FMs
+\end{enumerate}
\begin{hidden}
- There is also the role of the Anchors ``replacement''. This is an minor acting role with less than a minute or so of screen time. It cannot be practiced so I am happy to leave the finalized casting till closer to the time, although I do have a few candidates. If you'd be interested in this, let me know.
+ \section{Replacement}
+
+ There is also the role of the Anchors ``replacement''. This is an minor acting role with less than a minute or so of screen time.
+
+ The product that this relates to is called ``The Replacement Mirror''. The idea is that the mirror shows you the person who will replace you, near the end of the sale the Anchor will look into the mirror, at this point ``The Replacement'' will emerge from the flats behind the Anchor, this will be cued from the gallery and FM 1 is to give the Replacement Achor the cue.
+
+ When the replacement leaves the set, the Anchor will be cued to smash the mirror (made from sugar glass) on the corner of the desk.
+
+ Before the stream begins, The set design lead is to brief and prepare the replacement in room 3.08. Call time for the replacement is 1200.
\end{hidden}
+\section{The Plane}
+
+The plane is the flight that the Anchor will be selling as it flies. It has a specific order of opperations because a screen will have the be moved in.
+
+\begin{enumerate}
+ \item Vision mixer cuts to and sticks on Lazy Susan safety shot
+ \item When shot is safe, FM moves in screen the the left of the Anchor (reference studio entrance)
+ \item Engineer prepares plane VT on Svr 2 and gets ready for cue VT.
+ \item 2 minutes into the VT, the Anchor sells the pilot and co-pilot
+ \item The Anchor is to progressively sell the crew, the passengers and the structure of the plane.
+ \item As parts of the plane are sold, the team should be ready for the Anchor to come over to the Lazy-susan to rip parts off the plane
+ \item 5:30 into the VT, the plane sells out (crashes)
+\end{enumerate}
+
+
\section{Set-up}
\begin{description}
As soon as The Anchor arrives (1100) the set design lead is to be dispatched to bring them a copy of the item manifest (get from producer) and talk through with them what each item is.
-\section{Production}
+\section{Responsibilities}
\begin{description}
\item[Narrative engineer] is to be responsible for the gallery as a whole should the producer be busy, but is primarily responsible for:
\item A cut to a different camera.
\item Any information on the product they feel they are missing.
\end{itemize}
- All of these should be complied with to help the flow of the show unless absolutely necessary.
+ All of these requests should not be fought unless absolutely necessary.
\end{description}
--- /dev/null
+\documentclass{article}
+
+\usepackage{calc}
+\usepackage{courier}
+\usepackage[
+ top=1in,
+ bottom=1in,
+ left=1in,
+ right=1in
+ ]{geometry}
+
+\newcounter{scenenumber}
+
+\newlength{\boxoffset}
+\newlength{\marginwidth}
+\setlength{\marginwidth}{0.5\textwidth - 0.5\paperwidth}
+\newcommand{\offsetbox}[2]{%
+ \setlength{\boxoffset}{#1}
+ \addtolength{\boxoffset}{\marginwidth}
+ \hspace*{\fill}\begin{minipage}{\textwidth - \boxoffset}
+ \raggedright#2
+ \end{minipage}
+}
+
+\newcommand{\transition}[1]{\hspace*{\fill}#1\\\vspace{4mm}}
+
+\newcommand{\scene}[3]{%
+ \stepcounter{scenenumber}
+ \begin{flushright}
+ #1
+ \end{flushright}
+ \offsetbox{1.5in}{%
+ \textbf{\thescenenumber{} #2\hspace*{\fill}\thescenenumber{}}
+ }\\\vspace{4mm}
+ }
+
+\newcommand{\actor}[1]{\offsetbox{3.7in}{#1\\\vspace{2mm}}}
+
+\newcommand{\parenthical}[1]{\offsetbox{3.1in}{(#1)\\\vspace{2mm}}}
+
+\newcommand{\dial}[1]{\offsetbox{2.5in}{#1\\\vspace{4mm}}}
+
+\newcommand{\intercut}[1]{\offsetbox{1.5in}{\textbf{#1}\\\vspace{4mm}}}
+
+\newcommand{\action}[1]{\offsetbox{1.5in}{#1\\\vspace{4mm}}}
+
+\newcommand{\fullline}[2]{%
+ \actor{#1}\\
+ \dial{#2}
+}
+
+\newcommand{\fulllinepar}[3]{%
+ \actor{#1}\\
+ \parenthical{#2}\\
+ \dial{#3}
+}
+
+\newcommand{\beat}{\vspace{2mm}(beat)\vspace{2mm}}
+
+\begin{document}
+
+\vspace*{5cm}
+
+\begin{center}
+ {\ttfamily
+ \underline{I'LL SEE YOU IN THE STARS}
+
+ \vspace{5mm}
+
+ Written by
+
+ \vspace{5mm}
+
+ T. KOTWICA
+
+ \vspace{5mm}
+
+ 24/04/2025
+ }
+\end{center}
+
+\newpage
+
+\newcommand{\thr}{THE THREAT}
+\newcommand{\anc}{THE ANCHOR}
+
+{\ttfamily
+\par\noindent\scene{CUT TO:}{INT. BAR}{The Beginning}
+
+\action{WE OPEN in a sleazy and smoke-filled bar. There are no patrons other than \anc{}. Slightly disheveled, dark green tie on loose with undone top button. He sits in front of the bar with an glass of whisky.}
+
+\fullline{\anc{} (v.o)}{It was late, but where else did I have to run? Maybe deep down I knew he'd find me here.}
+
+\action{\anc{} gets a cigarette out of his suit jacket pocket and searches for his lighter. \thr{} walks in, silhouetted behind \anc{} in the dim bar. \anc{} doesn't react.}
+
+\dial{This damn thing, even my lighters given up--}
+
+\fullline{\thr{}}{Need a light?}
+
+\action{\anc{} nods and takes the lighter. \thr{} sits down next to him.}
+
+\fullline{\anc{}}{Much appreciated.}
+
+\fullline{\thr{}}{%
+ So...
+
+ \beat
+
+ Whats a guy like you doing in a place like this?
+ }
+
+\fullline{\anc{}}{Wouldn't you like to know}
+
+\action{\anc{} takes a draw of his cigarette and takes the last sip of his whisky. \thr{} moves closer to \anc{}.}
+
+\fullline{\thr{}}{%
+ Maybe I would.
+
+ \beat
+
+ It's not every day you see someone so --
+ }
+
+\fulllinepar{\anc{}}{playfully}{So... So what?}
+
+\action{\anc{} blows the cigarette smoke into \thr{}'S face and lifts glass to show that its empty.}
+
+\dial{Parched? Buy me a drink first, handsome.}
+
+\fullline{\anc (v.o)}{There he was, right in front me, like I could reach out and touch him. Paying for my drink. Looking at me like he could see into my head.}
+
+\fullline{\thr{}}{You know, I was thinking the exact same thing.}
+
+\action{\thr{} smiles and takes the cigarette from \anc{}, taking a draw.}
+
+\dial{%
+ Question is
+
+ \beat
+
+ What're you drinking?
+}
+
+\fullline{\anc (v.o)}{I've got to admit, even if he \textit{does} smell blood, he sure does know how to pick up a guy at the bar.}
+
+\fullline{\anc{}}{Something strong}
+
+\fullline{\thr{}}{That kind of night, huh}
+
+\fullline{\anc{}}{The same kinda night I meet a mysterious stranger like you.}
+
+\fullline{\thr{}}{Mysterious?}
+
+\action{\thr{} slides \anc{} their drink.}
+
+\dial{I'm an open book.}
+
+\fullline{\anc{}}{I'd say you're a little more than a book.}
+
+\fullline{\thr{}}{%
+ Observant. I'm more like
+
+ \beat
+
+ a chain.
+ }
+
+\fulllinepar{\anc{}}{smirking}{Anchor joke.}
+
+\scene{FADE TO:}{EXT. BAR NIGHT}{A Secret}
+
+\action{\anc{} and \thr{} stumble out of the bar into a dimly lit, empty, alleyway. The bars neon sign flickers slightly, reading "Checkpoint One".}
+
+\fullline{\anc{} (v.o)}{For an open book, he sure did know how to kiss. Or maybe I'm a better salesman than I give myself credit.}
+
+\fullline{\thr{}}{So... how about we continue this at mine?}
+
+\fullline{\anc{}}{Tell me a secret and I will}
+
+\fullline{\thr{}}{%
+ How about
+
+ \beat
+ }
+
+\action{\thr{} reaches down a taps a briefcase.}
+
+\dial{I read you a story?}
+
+\fulllinepar{\anc{}}{flirtily}{That'd do nicely.}
+
+\action{\anc{} winks at \thr{}. \thr{} takes \anc{}'S hand and kisses it with a laugh.}
+
+\dial{You have such a...}
+
+\action{\thr{} smiles}
+
+\dial{charming voice.}
+
+\scene{CUT TO:}{INT \thr{}'S CAR NIGHT}{Night Drive}
+
+\action{\thr{}'S car is a sleek black 1960's Cadillac. The number-plate reads "SWOT". The radio is on, playing jazz, but so faint it can hardly be heard. \thr{} has an unlit cigarette in his mouth.}
+
+\fullline{\anc{} (v.o)}{It was crazy. Even with \textit{his} charm, how could he pull it off? I was in above my head, in the passenger seat with the dark star, a car length from a job I couldn't handle.}
+
+\fullline{\anc{}}{%
+ It can't be done
+
+ \beat
+
+ surely.
+ }
+
+\fulllinepar{\thr{}}{smiling}{I believe we can.}
+
+\fullline{\anc{}}{We? Who said there was a we?}
+
+\fullline{\thr{}}{Fine, what do you want to know?}
+
+\fullline{\anc{}}{Well any number of things might go wrong --}
+
+\fullline{\thr{}}{We do have some weaknesses}
+
+\action{\thr{} leans down and presses the cigarette lighter.}
+
+\dial{%
+ There's the crew that we'll need, currently we have a few, but we're missing some big names: two graphics controllers, a vision mixer, lighting and floor staff.
+
+ And then there's the most crucial thing...
+
+ \beat
+
+ the choice of host. We need someone dynamic. Someone who can fill as long as needed. Someone who can handle the \textit{heat} of the moment.
+ }
+
+\action{\thr{} puts his hand on \anc{}'S knee}
+
+\fullline{\anc{}}{Shouldn't you have both hands on the steering wheel?}
+
+\fulllinepar{\thr{}}{smirking}{Fine}
+
+\fullline{\anc{} (v.o)}{He was trying to flatter me, warm me up before he sold off my heart to pay for his soul. I needed to cast the fly and reel him right into my net.}
+
+\fullline{\anc{}}{%
+ With the crew, I know a couple people who might fit the bill, if not, I'll put the word out.
+
+ \beat
+
+ When it comes to the host, though, I know... one guy... who might work
+ }
+
+\fullline{\thr{}}{Oh yeah?}
+
+\fullline{\anc{}}{There's a reason they call me... "the Anchor" after all.}
+
+\fullline{\thr{}}{I think you'd be perfect.}
+
+\action{The cigarette lighter pops and \thr{} lights his cigarette, taking a drag.}
+
+\dial{Maybe we'll do a screener when we're back at mine.}
+
+\fullline{\anc{}}{What else is there that I should know?}
+
+\fullline{\thr{}}{Plenty of sliver linings too.}
+
+\action{\thr{} takes a drag of his cigarette.}
+
+\dial{%
+ I do have something up my sleeve
+
+ \beat
+
+ Or someone, who might be able to help us.
+ }
+
+\fullline{\anc{}}{And who might that be? Let me see your picks, I want to see who I'll be working with...}
+
+\fullline{\thr{}}{In the suitcase. Don't look too hard, there's hidden information in there.}
+
+\fullline{\anc{}}{%
+ I'll squint
+
+ \beat
+
+ promise.
+ }
+
+\scene{CUT TO:}{EXT. BONNET OF CAR NIGHT}{Dark Star}
+
+\action{\thr{} and \anc{} lay on the bonnet of the car, \anc{} is looking up towards the night sky, \thr{} is looking at \anc{}. \thr{} has one arm around \anc{} and the other at his head.}
+
+\fulllinepar{\anc{}}{with wonder}{%
+ You where right
+
+ \beat
+
+ there are so many stars.
+ }
+
+\fullline{\thr{}}{If anyone knows, I do}
+
+\action{\thr{} lifts \anc{}'S hand and mimes closing it around the brightest star.}
+
+\dial{I've held them all.}
+
+\fullline{\anc{}}{Pretty good detour.}
+
+\fullline{\thr{}}{Sure is.}
+
+\action{\thr{} turns to look at the stars.}
+
+\fullline{\anc{}}{%
+ I like the idea.
+
+ \beat
+
+ I think we can do it.
+ }
+
+\fullline{\thr{}}{With your help we can.}
+
+\fullline{\anc{}}{Even without we have strengths. There's the GFX system built, the clock built, the studio more accessible than ever, as far as we know there's no big technical issues that would take us down, all is running smoothly and we're on schedule too.}
+
+\fullline{\thr{}}{Even had time for this little detour.}
+
+\fullline{\anc{}}{Its good to take a moment to see the stars, isn't it}
+
+\fullline{\thr{}}{Only thing is--}
+
+\fullline{\anc{}}{--is platform integration. But come on, that'll be done in a day.}
+
+\fullline{\thr{}}{I'll get my guy on it. And what about threats, technical problems, scheduling issues, a bad host, running out of time--}
+
+\fullline{\anc{}}{Those are all things solved by good project management, and proper preparation... I think we can do it.}
+
+\action{\thr{} looks back at \anc{}, and laughs}
+
+\fulllinepar{\thr{}}{smiling}{"Project management"? Bit character inaccurate don't you think...}
+
+\fulllinepar{\anc{}}{playfully}{%
+ I know your game
+
+ \beat
+
+ Maybe I just happened to see something in your briefcase...
+ }
+
+\fulllinepar{\thr{}}{playfully}{Come on... what was it?}
+
+\action{\thr{} props himself up on his arm to look at \anc{}}
+
+\dial{You know how I feel about hidden information.}
+
+\action{\anc{} reveals a piece of paper in his hand. \anc{} props himself up so he's face to face with \thr{}. Their lips are close to touching for a moment, but then move away.}
+
+\fulllinepar{\anc{}}{flirtily}{Lets get back to yours. We've got a story to finish.}
+
+\action{Piece of paper flutters to the ground. It reads: \textit{"INT. BAR"}}
+
+\scene{CUT TO:}{EXT \thr{}'S HOUSE NIGHT}{Oroboros}
+
+\action{\thr{}'S house is large and solidly built, built onto a cliff with a hill leading up to it on a small road through a pine forest, with a garage bellow the house set into the hill. The lower floor has flagstone walls giving way into tastefully painted tongue-in-grove walls for the upper floor. The car drives up and pulls in.}
+
+\fullline{\anc{}}{Nice house.}
+
+\fullline{\thr{}}{%
+ I may be the end, but I still like to live well.
+
+ \beat
+
+ Wait till you see the bar
+
+ \beat
+
+ or the bedroom.}
+
+\fullline{\anc{} (v.o)}{%
+ If I didn't play my cards right, the only thing I'd be seeing was the wrong end of a narrative arc. It's a dog eat dog world out there. He was the dog.
+
+ \beat
+
+ And he was eating his own tail, like an ouroboros.
+
+ \beat
+
+ I was just a flea on his back.
+ }
+
+\scene{FADE TO:}{INT HOUSE BAR}{The End}
+
+\action{%
+ \thr{} and \anc{} stand either side of the freestanding home bar. The bar is in the corner of a large living room. Near the bar is a balcony reaching out over the edge of the cliff, the doors to the balcony are ajar. They're both drinking whisky.
+
+ \beat
+
+ On the rocks.
+ }
+
+\fullline{\anc{}}{I'll do it.}
+
+\fulllinepar{\thr{}}{grinning}{That's what I like to hear}
+
+\action{\thr{} blows \anc{} kisses from across the bar. \anc{} laughs.}
+
+\dial{Another drink? The Anchor to my chain?}
+
+\action{They both move around the bar, swapping sides.}
+
+\fulllinepar{\anc{}}{blushing}{I will if you do.}
+
+\fullline{\thr{}}{Wheres the harm in that, maybe I will.}
+
+\action{They move back around the bar.}
+
+\fullline{\anc{}}{Mind if I play bartender?}
+
+\fullline{\thr{}}{Be my guest.}
+
+\action{\thr{} turns his back to lean against the bar while \anc{} pours him a drink}
+
+\dial{You know, we have the kit, we have the people, we have the audience--}
+
+\fullline{\anc{}}{Couple of kinks to iron out...}
+
+\fullline{\thr{}}{%
+ Yes, I mean of course, there always will be. Nothing that can't be solved with a bit of hard work. Plus, there's plenty of time.
+
+ \beat
+
+ But right now...It's getting late
+ }
+
+\action{\thr{} circles the bar to stand facing \anc{}, \thr{} puts his hand on \anc{}'S waist.}
+
+\dial{\textit{You} might have to stay.}
+
+\fullline{\anc{}}{Maybe I will.}
+
+\fulllinepar{\thr{}}{flirtily}{Follow me then.}
+
+\action{\thr{} takes \anc{} under his arm, leading him towards a staircase in the corner of the room that leads to the second floor.}
+
+\dial{Lets get comfortable.}
+
+\action{The door to the bedroom is at the top of the stairs, the door is solid and varnished wood. Fixed to it is a large brass omega symbol. \anc{} hesitates.}
+
+\fullline{\anc{}}{You know this isn't how stories end.}
+
+\action{\thr{} frowns for a second, but seems to recover.}
+
+\fullline{\thr{}}{Right you are. Our story is just beginning.}
+
+\action{\thr{} continues to move \anc{} towards the stairs but \anc{} resists.}
+
+\fullline{\anc{}}{I said I'll do it. But I'll make my own way there.}
+
+\fulllinepar{\thr{}}{panicked}{No no no. Think! You're my Anchor! Star of the show!}
+
+\action{\thr{} takes \anc{} under his arm again, facing them both towards the door, he waves his hand in front of them as if drawing out an imaginary horizon.}
+
+\dial{Your \textit{the} Anchor! Talented salesman--}
+
+\action{\thr{} begins to cough.}
+
+\fullline{\anc{}}{Talented salesman. Maybe.}
+
+\action{\thr{} continues to cough violently, a drop of blood runs down his chin.}
+
+\dial{\textit{Not such a talented bartender.}}
+
+\action{\anc{} shakes his sleeve and a small empty vial drops out, smashing on the floor. \thr{} falls to his knees.}
+
+\fulllinepar{\thr{}}{raspily}{%
+ I'll--
+
+ \beat
+
+ see you--
+
+ \beat
+
+ at the End
+ }
+
+\fulllinepar{\anc{}}{smiling}{If you can catch me.}
+
+\action{\thr{} smiles through bloody teeth as \anc{} turns and sprints across the room towards the balcony. The door swing open slightly in the night breeze, the view out of the door is pitch black apart from the stars, giving the impression there is nothing out there but sky.}
+
+\action{\anc{} reaches the edge of the balcony and jumps.}
+
+\transition{CUT TO BLACK.}
+}
+
+\end{document}
\end{tikzpicture}
\caption{Reverse tunnel diagram}
+ \label{fig:reversetunnel}
\end{figure}
--- /dev/null
+\begin{figure}
+ \center
+ \begin{tikzpicture}[node distance=2cm,
+ every node/.style={fill=white, font=\ttfamily}, align=flush center]
+ % Specification of nodes (position, etc.)
+ \node (timer2)[source]{timer2};
+ \node (timer1)[source, left of=timer2, xshift=-2cm]{timer1};
+ \node (timer3)[source, right of=timer2, xshift=2cm]{timer3};
+
+ \node (shout)[source, below of=timer3]{shout};
+ \node (clock)[source, below of=shout]{clock};
+
+ \node (GainNode)[process, below of=timer2]{GainNode};
+ \node (BiquadFilterNode)[process, below of=GainNode]{BiquadFilterNode};
+ \node (ReverbNode)[process, below of=BiquadFilterNode]{ReverbNode};
+
+ \node (impulse)[source, left of=ReverbNode, xshift=-2cm]{impulse};
+
+ \node (clockQuestion)[question, below of=ReverbNode]{Is clock playing?};
+
+ \node (WGainNote)[process, below of=clockQuestion, xshift=-2cm, yshift=-2cm]{GainNote (wet)};
+ \node (DGainNote)[process, below of=clockQuestion, xshift=2cm, yshift=-2cm]{GainNote (dry)};
+
+ \node (DynamicsCompressorNode)[process, below of=DGainNote, xshift=-2cm]{DynamicsCompressorNode};
+ \node (output)[output, below of=DynamicsCompressorNode]{output};
+
+ % Specification of lines between nodes specified above
+
+ \draw[-] (timer1.south) -- ++(0,-0.5) -- ++(4,0) -- (GainNode.north);
+ \draw[->] (timer2.south) -- (GainNode.north);
+ \draw[-] (timer3.south) -- ++(0,-0.5) -- ++(-4,0) -- (GainNode.north);
+ \draw[->] (shout.west) -- (GainNode.east);
+
+ \draw[->] (impulse.east) -- (ReverbNode.west);
+
+ \draw[->] (GainNode.south) -- ++(0,-0.5) -- ++(2,0) -- (DGainNote.north);
+
+ \draw[->] (GainNode.south) -- (BiquadFilterNode.north);
+ \draw[->] (BiquadFilterNode.south) -- (ReverbNode.north);
+ \draw[->] (ReverbNode.south) -- (clockQuestion.north);
+
+ \draw[->] (clock.south) -- ++(0,-9) -- (DynamicsCompressorNode.east);
+
+ \draw[->] (clockQuestion.south) -- ++(0,-2.5) -- ++(-2,0) -- (WGainNote.north);
+ \draw[->] (clockQuestion.south) -- ++(0,-2.5) -- ++(2,0) -- (DGainNote.north);
+
+ \node(text)[below of=clockQuestion, text width=3cm]{If clock is playing fade to wet GainNode};
+
+ \draw[->] (WGainNote.south) -- ++(0,-0.5) -- ++(2,0) -- (DynamicsCompressorNode.north);
+ \draw[->] (DGainNote.south) -- ++(0,-0.5) -- ++(-2,0) -- (DynamicsCompressorNode.north);
+
+ \draw[->] (DynamicsCompressorNode.south) -- (output.north);
+ \end{tikzpicture}
+ \caption{Signal chain of the sound system}
+ \label{fig:sounds}
+\end{figure}
\end{tikzpicture}
\caption{Wiring diagram}
+ \label{fig:wiring}
\end{figure}
{\texttt{OzVa #1 File}}
}
+\newcommand{\threat}{\textsc{The Threat}}
+
\makeatletter
\newenvironment{code}{
\vspace{2mm}\@vobeyspaces\obeylines
address/.style = {
font = \strut\small\ttfamily
},
+% flowchart styling
+ base/.style = {
+ rectangle,
+ rounded corners,
+ draw = black,
+ minimum width = 3cm,
+ minimum height = 1cm,
+ text centered,
+ font = \ttfamily
+ },
+ source/.style = {
+ base,
+ fill = blue!30
+ },
+ question/.style = {
+ base,
+ fill = red!30
+ },
+ output/.style = {
+ base,
+ fill = green!30
+ },
+ process/.style = {
+ base,
+ minimum width=2.5cm,
+ fill=orange!15
+ }
}
+
+% SETTING LENGTHS
+
+\setlength{\fboxsep}{0pt}
\include{chapters/intbar}
\include{chapters/tech}
\include{chapters/teleshopping}
-%\include{chapters/schedule}
+\include{chapters/products}
+\include{chapters/format}
+\include{chapters/schedule}
\backmatter
\printbibliography
--- /dev/null
+main.tex
+chapters
+ - format.tex
+ - intbar.tex
+ - introduction.tex
+ - schedule.tex
+ - symbolism.tex
+ - tech.tex
+ - teleshopping.tex
+ - title.tex
+figures
+ - clock
+ - hierarchy.tex
+ - reversetunnel.tex
+ - sounds.tex
+ - wiring.tex
+sections
+ - clock.tex
+ - gfx.tex
+ - git.tex
+ - sioux.tex
+ - teleshopping-notes.tex
+ - lazy-susan.tex
+ - threat.tex
+ - overlay.tex
+ - twitch.tex
+ - streaming.tex
+ - docs.tex
--- /dev/null
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author = {Deborah Root},
year = {1995},
publisher = {Westview Press}
-
}
@collection{TBAUDUIN2020,
title = {Surrealism, Occultism and Politics},
volume = {14},
year = {2023},
}
+@book{CLOUDYNIGHTS,
+ title = {Cant afford vantablack?},
+ author = {calypsob and {Cloudy Nights}},
+ year = {2017},
+ url = {https://www.cloudynights.com/topic/573011-cant-afford-vantablack/}
+}
The "Doomsday Clock", henceforth refered to as "Doomsday", is an important part of the production both for the narrative as well as symbolically.
-\subsection{Construction}
+The body of the clock is made from fairly thin wood, cut to shape with a router. This was a simple task, and was done neatly with a peice of string to maintain a constant radius. The corners have been kept as sharp and crisp as possible. This will be pained matte off-white. The hand of the clock will be made from lazer cut plastic with a 2 mm MDF backbone for strength. At 10 and 2 on the clock sit 2 greek letters. An inverted captital Alpha (\raisebox{\depth}{\rotatebox{180}{A}}) and a captital Omega ($\Omega$). Symbolism!
-The body of the clock is made from fairly thin wood, cut to shape with a router. This was a simple task, and was done neatly with a peice of string to maintain a constant radius. The corners have been kept as sharp and crisp as possible. This will be pained matte off-white.
-
-The hand of the clock will be made from lazer cut plastic with a 2 mm MDF backbone for strength.
-
-At 10 and 2 on the clock sit 2 greek letters. An inverted captital Alpha (\raisebox{\depth}{\rotatebox{180}{A}}) and a captital Omega ($\Omega$). Symbolism!
-
-The phrase "I am the Alpha and the Omega" appears in Revelation 1:8, 21:6, and 22:13. The phrase is then further clarified with the additional phrase "the beginning and the end" in Revelation 21:6, 22:13. For the new testement, which would have been origionally written in Greek, Alpha and Omega represent the "beginning" and the "end" of the alphabet.
-
-"A$\Omega$" can be found througout Christian art and literature.
-
-Symbolically, flipping something is usually taken to mean it's inverse, with our clock then, we can take it to mean:
+The phrase "I am the Alpha and the Omega" appears in Revelation 1:8, 21:6, and 22:13. The phrase is then further clarified with the additional phrase "the beginning and the end" in Revelation 21:6, 22:13. For the new testement, which would have been origionally written in Greek, Alpha and Omega represent the "beginning" and the "end" of the alphabet. "A$\Omega$" can be found througout Christian art and literature. Symbolically, flipping something is usually taken to mean it's inverse, with our clock then, we can take it to mean:
"I am not the beginning, I am the end"
-These letters\footnote{The typeface chosen is EB Garamond, the typeface that many bibles would have used during the advent of the printing press.} will be lazer cut out of thin MDF and pained the same stage-white as the face of the clock.
-
-\subsubsection{Electronics}
+These letters\footnote{The typeface chosen is EB Garamond, the typeface that many bibles would have used during the advent of the printing press.} will be lazer cut out of thin MDF and pained the same stage-white as the face of the clock. The clock is powered by a Raspberry Pi Zero W and a stepper motor driver.
-The clock is powered by a Raspberry Pi Zero W and a stepper motor driver.
+Origionally, Doomsday was going to control the lighting cues. This would have been done via the sAcn protocol for sending DMX over the network. It was shot-down (and rightly so) by Ash who told me it would be simpler and easier to just have a lighting opperator. This feature was fully implemented in \commit{doomsday-clock}{9c890575924825b258d586f3bf223125008945f2} / \commit{shopping-channel}{90c811749a119af9c1ac7c656e1aa84ee2c13b9d}, and removed in \commit{doomsday-clock}{85c4380bb756ccfa11fb0070dbcde490d80cbd4f} / \commit{shopping-channel}{6ee6fb2cb1367b799ec004ecad6eb3c56465ccb2}.
\input{figures/wiring.tex}
-\subsection{Services}
-
-\subsubsection{"doomsday.service"}
-
-A service running on start-up. Takes ownership of the pins and activates the motor control. Runs the \verb|clock.py| script (\blob{doomsday-clock}{clock.py}).
-
-\subsubsection{"reversetunnel.service"}
-
-A service running on start-up. Starts an SSH connection to a \verb|doomsday@ozva.co.uk|, an unprivelaged user on the OzVa server.
+\begin{description}
+ \item["doomsday.service"] A service running on start-up. Takes ownership of the pins and activates the motor control. Runs the \verb|clock.py| script (\blob{doomsday-clock}{clock.py}).
+ \item["reversetunnel.service"] A service running on start-up. Starts an SSH connection to a \verb|doomsday@ozva.co.uk|, an unprivelaged user on the OzVa server.
+\end{description}
\begin{quote}
\texttt{/bin/ssh -i [key] -N -R 11505:127.0.0.1:22 doomsday@ozva.co.uk}
\input{figures/reversetunnel}
-The above command connects to the OzVa server, creating a tunnel through which OzVa SSH traffic can flow\footnote{During testing, an issue arose where \texttt{reversetunnel.service} would attempt to start before its dependancies where properly loaded, causing it to restart too quickly and fail. The user would then be forced to manually connect to Doomsday and restart the process. Multiple attempts to fix this where attempted, following the recomendations of the documentation, but none worked. I then set the time between tries to be 10 seconds. This should work. \textit{However}, if Doomsday takes more than ~50 seconds to fully boot after \texttt{reversetunnel.service} has started, the service will fail, leaving Doomsday inaccessible without manual intervention.}. This allows easy access to Doomsday as soon as the system has fully booted without having Doomsday connected to the WAN (a potential vunerability).
+The above command connects to the OzVa server, creating a tunnel through which OzVa SSH traffic can flow. This allows easy access to Doomsday as soon as the system has fully booted without having Doomsday connected to the WAN (a potential vunerability).
\begin{itemize}
\item \verb|-N| prevents commands from being issued, acting only as a dedicated tunnel
\item \verb|...:22| ...to the local port 22 (running the SSH server).
\end{itemize}
-Introduced in \commit{shopping-channel}{28dc38196e813e30179df638d2759ed595317613}, a docment preperation system was included into the GFX system, automatically compiling the item configuration to an item manifest (in the flavors: PDF and MOBI).\todo{Introduce this section more smoothly}
+\subsection{Issues}
+
+During testing, an issue arose where \texttt{reversetunnel.service} would attempt to start before its dependancies where properly loaded, causing it to restart too quickly and fail. The user would then be forced to manually connect to Doomsday and restart the process. Multiple attempts to fix this where attempted, following the recomendations of the documentation, but none worked. I then set the time between tries to be 10 seconds. This should work. \textit{However}, if Doomsday takes more than ~50 seconds to fully boot after \texttt{reversetunnel.service} has started, the service will fail, leaving Doomsday inaccessible without manual intervention. This happened rarely in testing.
+
+During the initial set-design meeting the clock failed to function until I cycled the power, this was suspissious, but there was no monitor conncted so I assumed it to be my own imatience in the boot process (which is fairly long on such an underpowered computer). During the initial studio practice and all testing outside of practice the clock worked perfectly. The day before the final shoot the clock worked perfectly.
-\subsection{sAcn}
+However, on the day, the clock failed totally.
-RE: sAcn. He took a practical, and now clearly obvious, stance which i hadnt before considered. Although technically possible, the time neccicary for me to debug and test the whole thing, as well as setup relevant lighting trigger comands on the desk, would be far greater than just getting someone in to do lighting. He is definately correct.\todo{Fix this section}
+\begin{figure}
+ \begin{minipage}{0.5\textwidth}
+ \centering
+ \fbox{\includegraphics[width=0.9\textwidth]{debug1}}
+ \end{minipage}
+ \begin{minipage}{0.5\textwidth}
+ \centering
+ \fbox{\includegraphics[width=0.9\textwidth]{debug2}}
+ \end{minipage}
+ \caption{Debuging the clock}
+\end{figure}
-Ideally, it would be done on the GFX machine, something which is may be possible. As a backup, it could styled with a green background and keyed on the desk. As a backup-backup, the TV studio could be routed into my laptop, which adds the browser source via OBS and then streams. With the GFX overlay, it seemed a tricky problem, but one with many solutions and a hierarchy of desireability.
+It distresses me that I still, even after significant thought and upon reviewing my own code, have no idea why this was the case. Muliple restarts of the clock left the system stuck in a boot loop stopping and starting \texttt{NetworkManager}. Eventually I was able to get it booted and get into the system properly, upon restarting \texttt{NetworkManager} I was able to access the OzVa server and the gallery clarified that the clock was now responding to clock ticks. By the time we went live, and ticked the clock for the first time, around 15 minutes later, the clock had stopped working again and stayed that way. This is behavior that i had never seen in testing. During the shutdown after the ``suit'' product, I confimed that the clock was still connected to the WAN even though it seemed to be unable to get the required data to function. It is possible that the previously mentioned \texttt{doomsday.service} simply needed to be restarted, but this was not done.
-He gave the general peice of advice that the camera monitors can be blanked off with tape in the area where the GFX Overlay goes to allow the camera crew to center the host without constant comment from the gallery.
+There was a contingency for this already planned, and we simply comunicated with the FMs to move the hand of the clock when it was off screen.
--- /dev/null
+\section{Documentation}
+
+During first trimester of L6, While looking through one of the storage cupboards in the TV studio 007 office, I spotted a colletion of what looked to me at the time like a set of Kindles. On asking Joe, one of the tecnicians, I was told it was an attempt to go paperless, but that the lecturers where slow to pick it up.
+
+I decided we where going to go paperless for Teleshopping.
+
+\subsection{Results}
+
+Its difficult to tell exactly how sucessful this was during the production, partly because the structure of the show meant that there was little paperwork for most anyway. On the surface, the only frustrating part of the whole thing is that there was nowhere to write when notes where taken. For instance, on discovering that the clock was no longer functional, I asked the Narrative engineer to produce a reduced list of products should we have to go for a shortened run through, who then made this list on their phone and shared it with one of the GFX operators (as there was no paper to hand). In the middle of plate spinning our various issues as well as feeding the Anchor names, prices and pointers, I had no time to aquire this list which slowed our communication with the FMs on the upcoming product.
+
+But I think most of all, the ``paperless'' idea and execution speaks to a production culture of centalized information at the top in some kind of monolythic system that I alone understand and I alone can debug. There where backups of the paperwork, backup item manifests and schedules, as well as the production document, and these where all queued up and ready to be released on my print card. Unfortunately, no one had the authority or agency to see the problem and take action to rectify, this is no the fault of my crew, most of whom may not even know where these backup documents where. There where only 6 tablets, one was not charged, and these 6 constantly rotated owner and location, moving between the floor and the gallery. Of course, my reasoning on the day and after the fact could be that I was ``too distracted'' by other issues to address this or the many other simple fixes that could have been done on the day to make a notably better product, this is true the solutions to the problem is futher down the line and one that must be solved when structuring a team.
+
+\subsection{Implementation}
+
+The actual technology behind the documentation is sound, stable and well made.
+
+The information about the products is in a static file called \texttt{static.json}. The information about the crew and the schedule is in a file called \texttt{info.json}. When the server gets a request for the docs page, a jinja2 template is rendered with all the appropriate information in an extensible and staisfying way. This file, \texttt{docs.html}, was first properly implemented in \commit{shopping-channel}{8f1a901e337945b3ad3e14ee5d3230cb28c36d25}.
+
+\begin{verbatim}
+<h2>Schedule</h2>
+<table>
+ <colspan>
+ <col width="50em">
+ </colspan>
+ <tr>
+ <th>Time</th>
+ <th>Action</th>
+ </tr>
+ {% for action in info.schedule %}
+ <tr>
+ <th>{{action.time}}</th>
+ <td>
+ {{action.title}}
+ {% if action.extra|length > 0 %}
+ {% for line in action.extra %}
+ <br>
+ <em>{{line}}</em>
+ {% endfor %}
+ {% endif %}
+ </td>
+ </tr>
+ {% endfor %}
+</table>
+\end{verbatim}
+
+The above generates a html table of the schedule, with the action time and action title as well as some optional information about that action. Here is an example of the static data being used:
+
+\begin{verbatim}
+{
+ "time": "1330",
+ "title": "Stream ends",
+ "extra": [
+ "All crew to the floor for strike",
+ "When set is de-rigged, all available cast and crew to 3.08 for final words."
+ ]
+}
+\end{verbatim}
+
+This rendered html file is also saved to a file in the untracked working directory \texttt{docs/}.
+
+When a request is made for the documentation to be updated (done from the authenticated endpoint \url{https://shopping.ozva.co.uk/api/generate}), custom jinja2 enviroment templates are rendered to LaTeX source files, the typesetting system used for this document and all other documents relating to XMDV Teleshopping. These LaTeX files are then compiled to PDFs conventionally. The html form of the documentation saved to a static file is then also converted to EPUB and MOBI format with the \href{https://calibre-ebook.com/}{Calibre} implementation of \texttt{\href{https://manual.calibre-ebook.com/generated/en/ebook-convert.html}{convert-ebook}}. This is a leftover feature from when I was under the impression the devices used by the studio where epaper readers such as kindles. It is also an entertaining feature.
+
+The docs html page also serves to point crew towards other documents that might be useful, the floorplan and the production document (as well as the automatically generated PDF versions of the html docs) are linked at the bottom.
--- /dev/null
+\section{Floorplan}
+
+Wanting to have a sophisticated floorplan, properly dimentioned and easy to follow, I decided to use Sketchup and Layout to propery document how we'd set up the show in the practice studio session.
+
+Using the floorplan provided by the studios, which was not to scale but did contain some distance markings, I was able to make a 3D version of the studios, the flats, the clock, the stage peices, the lazy susan as well as the tables that would be used to stage the items for the screen. An animation of this render is available here: \url{https://youtu.be/vO9ORonWyX0}. A PDF version of the floorplan and camera layout, as well as some example views of the render, can be found here: \url{https://shopping.ozva.co.uk/static/floorplan.pdf}.
+
+\begin{figure}
+ \centering
+ \includegraphics[width=0.8\textwidth]{floorplan}
+ \caption{The floorplan designed in Sketchup and generated in Layout}
+\end{figure}
+
+\begin{figure}
+ \centering
+ \includegraphics[width=0.8\textwidth]{cameras}
+ \caption{The camera layout based on the practice studio session on the 7th}
+\end{figure}
\section{``Git'' and version control}
-\subsection{Background}
-
``Git'' is a version control system designed for the development of the linux kernel in 2005. It is \textit{extreamly} widly used. So much so that knowlage of it is considered pre-requisite in the computer science sector. It is not to be confused with GitHub\footnote{GitHub is a web front end but it is so commonly used that some forget that ``Git'' is actually just a command line utility.}. Naturally, I have been tracking everything with it for the last year, inluding running my own Git server.
-Tracked folders are called ``repositaries'' or ``repos'' and contain not just the current state of the program, but the entire history back to when tracking began.
-
-When you make a change you ``commit'' it, along with a message describing what you did. This is then ``pushed'' to some central repo if this exists. Occasionally throughout this document I'll be mentioning certain commits or repos, these are all to do with the version control.
-
-\subsection{Tracking}
-
-You can take a look at the \textit{entire} history of this document right back to the first word (\repo{shopping-docs}), the code that makes the clock tick (\repo{doomsday-clock}) and the hundreds of commits that make up the GFX overlay (\repo{shopping-channel}). Everything can be accessed on \url{https://git.ozva.co.uk}. For example, this document was pushed to (\repo{shopping-docs}\footnote{This was corrected to say ``shopping-docs'' instead of ``shopping-channel'' in \commit{shopping-docs}{}}) in \commit{shopping-docs}{fe359e2214286945e4a0cc2ff2bd8d17fcd483ca}, take a look at the message attached.
+Tracked folders are called ``repositaries'' or ``repos'' and contain not just the current state of the program, but the entire history back to when tracking began. When you make a change you ``commit'' it, along with a message describing what you did. This is then ``pushed'' to some central repo if this exists. Occasionally throughout this document I'll be mentioning certain commits or repos, these are all to do with the version control. You can take a look at the \textit{entire} history of this document right back to the first word (\repo{shopping-docs}), the code that makes the clock tick (\repo{doomsday-clock}) and the hundreds of commits that make up the GFX overlay (\repo{shopping-channel}). Everything can be accessed on \url{https://git.ozva.co.uk}. For example, this document was pushed to (\repo{shopping-docs}\footnote{This was corrected to say ``shopping-docs'' instead of ``shopping-channel'' in \commit{shopping-docs}{85fada93a3975c02d08ff6307dbccebab7c921a9}}) in \commit{shopping-docs}{fe359e2214286945e4a0cc2ff2bd8d17fcd483ca}, take a look at the message attached.
Admittedly, the tracking on the docs is poor, they tell their own story. But the tracking on the GFX overlay is robust and has proven useful for development.
+
+I cannot stress how useful this is for me, as the developer, and you, the marker, to be able to see each of my actions over regarding the GFX system over the last few months. It contains a wealth of information that I would not be able to show here it full: how I solved problems, how I tried different solutions, how my ideas about what the system should be evolved over time.
--- /dev/null
+\section{The Lazy-Susan}
+
+\begin{figure}
+ \centering
+ \fbox{\includegraphics[width=0.7\textwidth]{susan1}}
+ \caption{The lazy-susan with a bannana for scale}
+\end{figure}
+
+The lazy-susan was a big part of the idea from the beginning and is very present in conventional teleshopping, usually in the cutaway VTs. Playing on the screen behind the host, usually on one of the jewlery shows, some intenselly shiny product is faded in and out on various different angles as it spins.
+
+Of course i wanted it to be motorized, an important part of getting a smooth and professional looking movement without having to depend on of the floor managers to spin some kind of mechanism. A quick search revealed that, off-the-shelf, a small motorised one, suited mostly for something such as jewlery, would cost around £30. This was ``too much'' for me, so I instead set out to make my own from scratch, including a 4ft tall podium, which would set me back almost £70.
+
+I chose a 4x8' sheet of 12mm plywood with it being lighter than MDF, easier to paint and still thick enough (just about) to build without complicated supports. By piloting, countersinking and then screwing with small 3x24mm cutting screws I managed to get nice clean edges that where reasonable easy to sand down flat. One issue I did face was the screw tending to go between the layers of the ply which, since the number of layers was odd, gave a slight overhang on one side of the joint. I realised that by aiming the screw towards the outer layer of ply, I could pick the side the screw would tend towards, making my life far easier.
+
+Instead of picking dimentions arbitrarily, I decided to scale the pedastal around the sheet of material itself. Making more effective use of what was an increecingly expensive material, even with trade discount. It ended up being just under 4' tall (half the long edge of the 8' sheet) and 620mm wide. It was all made with tressels outside my home with a jigsaw, a roofing square and a drill.
+
+How the mechanism would work was actually a suprisingly difficult problem to solve optimally. There are many different choices for types of motor and many different choices for linkages. With little time to get a flanged shaft-coupler shipped to my house, I used a plumbing fitting I had around, attaching it to the ``plate'' of the lazy-susan. I drilled a hole in the motor shaft and used the drill bit as a bar, peening over the edges of the aluminium shaft to keep it in place, before angle-griding the drill-bit to size. This then fitted into a slit in the fitting on the plate, this gave an easily removeable plate that slotted simply into place. The plate was held up not by upwards-force from the motor, which could result in stress or breakage, but by a set of 4 small wheels inset into the top surface of the lazy-susan. With each rated for 10kg of force liniearly, in theory the lazy susan would be able to hold and turn an object up to 40kg in weight, provided it was in the middle of the plate.
+
+My pick for motor was an orbital-geared motor, which is an integrated motor and gear box usually available off-the-shelf at speeds from 1 rpm to 10 rpm or higher. After timing some lazy susans on real teleshopping, I settled on a speed of 2.5 rpm. The orrigional motor was 4W, which i assumed to be enough. I was under the impression that as soon as the object was up to speed, the motor would have to put in very little work to keep the object moving, the amount of which would be dependant wholly on the friction of the wheels (very little) and the air resistance of the object (negligable) rather than the weight of the object. I did not account for poor construction of the motor which produced an uneven wobble as the plate travelled round. This was not acceptable. I decided to replace the motor with a 28W one, this produced no wobble and was very smooth. A fused plug and junction box was fitted so that the device would be PAT testable.
+
+The first motor was fitted to the top of the box with a hastily cut peice of ply, but when fitting the second motor, I designed and lazer-cut some standoffs out of 6mm MDF in the University workshop which allowed a far more solid and proffesional looking construction.
+
+The whole construction was painted with a under-coat and then a further 3 coats of widely-available matte white emulsion.
+
+
--- /dev/null
+\section{The GFX System}
+
+The GFX System (\repo{shopping-channel}) is not one of my most complicated projects, but is certainly the most monolythic in scale and scope. It it made from around 3963 lines of HTML, CSS, JS, LaTeX and Python with some additional shell scripting. It was all written by hand, by me. All assets, SVGs, images, fonts etc where either designed by me or are used with the appropriate licence.
+
+\subsection{Version 1}
+
+The first version of the GFX system was built on a strage foundation of what I knew at the time. With what I thought would be simply one client (the GFX frontend) and one admin (the GFX controller) I chose to use json files to store the data powering the system. I did look into propper database solutions, but this seemed like overkill.
+
+The choice for the method of altering these files was PHP, I had recently written a handful of small tools in it and it seemed simple and intunitive.
+
+There were 4 json files and a plaintext file:
+
+\begin{description}
+ \item[data.json] contained the majority of the data, including the current text for all elements, the product id, the pricing alterations
+ \item[clock.json] contained the clock's movement speed, movement function and current position (as well as the left overs of the now-scrapped lighting control system)
+ \item[sigil.json] contained static information to do with the phrases encoded within the sigils and the magic square used to generate them
+ \item[items.json] contained static information about the different items being sold. This would also later be used to generate the item manifests.
+ \item[note] (plaintext) was the producers note, passed onto the anchor via the autocue system.
+\end{description}
+
+With one client writing to the files and one reading from the files all at the same time, this was not safe at all. This was ``fine'' and i did not come across any issues in testing. However, on paper it is not only very much not ``best practice'' but also blantly unsafe.
+
+This was rectified using lock files, where before either reading or writing the client would check for a lock file then pause until it was removed. This, I imagined, might cause even more issues if one client was unable to finish the write and disconnected before removing the lock file. But this was all accepted with the intention of a rewrite.
+
+The PHP happened to, very predictably, get out of control fast. Each of the features that I added felt more and more like I was patching in lazy code, fixing all the obvious mistakes and then doing it all again. It was pointed out to me that the control pannel would have to be cut up between multiple opperators for ease of use. At this point, coming back to the system after around 5 months, i knew i'd need a better solution.
+
+\subsection{Version 2}
+
+I had recently learned to use the Flask package with python to build both a blog and radio station for an indie lable. I had also, for the same radio station, been forced to tackle sqlite due to the strangeness of WSGI web apps. This is exactly the tooling I needed.
+
+The current setup is far safer. The calls to static files have been consolidated to two API calls, one static and one dynamic, where the static one is cached. This streamlined the PHP, from handling each datapoint as an edge case, to simply passing on data from the sqlite database and doing some post processing for some server-side neccecities. Not only is this more efficient and readable, but also allows me to add features with flexibility.
+
+For example, if the client-side sends a key thats not recognised, it is simply filtered out without raising an exeption, and on request, the server simply processes and serves each key in the database. This database is sanity checked on server start, and regenerated from the schema should any error be detected. Each post processing opperation, if needed, is cued by the key of the datapoint. For example with the \verb|end_timer_...| keys, if the client sends a key that starts with \verb|end_...|, then the value sent is added to the current unix time before being commited to the database. In this way, a control-panel element can be added with some arbitrary ``value'' attribute which is the amount of time in seconds till that timer should stop.
+
+The HTML pages have been reorganised and the JS refactored and streamlined for speed. Across the board, the footprint of the code has been massively reduced.
+
+\subsection{The Main Display}
+
+This is the jewel in the crown and almost 1,000 lines of code alone. It continuously updates based of the \href{https://shopping.ozva.co.uk/api}{API} as well as the static cached product information. Far too much problem solving has gone into this file to appropriately do it justice. If you have knowlage of web design, I would recommend taking a look: \blob{shopping-channel}{templates/gfx.html}.
+
+\subsubsection{Sigils}
+
+In previous versions of the GFX system (before \commit{shopping-channel}{059089ffc10b7455a678e94d349064d9909e10c4}) the sigils where magic squares which made up a collection of phrases present in \texttt{static.json} (these are still in this file as of \today). In \commit{shopping-channel}{93a3cf374978e69d36bd5a0f664093f8b2f0c7e6} this was switched for the system present in the final stream, a collection of sigils in the center of the screen that changes constantly every 200ms. This looked effective on the stream and I am very happy with this part of the system.
+
+The \href{https://git.ozva.co.uk/?p=shopping-channel;a=blob;f=static/assets/sigil5.svg;h=97092e8fa982ce423ff8e9a5bd53d37c72df7f4b;hb=HEAD}{symbols} are taken from my personal collection of 10,000 digitized symbols from symbol books.
+
+\subsubsection{Discounts}
+
+In the database, there are 5 keys regarding the current discount. One is a single number that describes the current discount, such as ``50\% off''. This is the number used in the pricing system to generate the current price. The other 4 are generated by the control panel upon submiting a change to the discount. These are used by the graphics overlay to produce the 4, purely aestetic, discount ``badges''.
+
+Previously, there where 4 different discount inputs which would be applied squentially, this proved confusing for the Anchor and the GFX operators. Therefore, I decided to ``simplify'' it down to the current system.
+
+\begin{verbatim}
+const u = 1 - Math.random();
+const v = Math.random();
+const z = Math.sqrt( -2.0 * Math.log( u ) ) * Math.cos( 2.0 * Math.PI * v );
+discountLeft = z * deviation + targetLeftValue;
+
+discount.value = Math.round((1 - discountLeft) * 100);
+discountRemaining /= discountLeft;
+\end{verbatim}
+
+The above code sample, introduced in \commit{shopping-channel}{}, itterates through the total discount, itteratively splitting it up into 4 chunks. This happens randomly in a normal distribution with the deviation tuned appropriately ($\sigma = 0.05$). For example, here is the result of requesting an 80\% discount:
+
+\begin{gather*}
+ D_T = 80\% (0.2)\\
+ D_1 = 31\% (0.69), D_2 = 38\% (0.62), D_3 = 25\% (0.75), D_4 = 38\% (0.62)\\
+ D_1 D_2 D_3 D_4 = 80.1072\% (0.1989...) \approx D_T
+\end{gather*}
+
+As you can see, the system supplies 4 discounts which, when applied, reduce the cost to approximately the target price as specified with the discount key.
+
+Note that, as an example of the attention to detail of the system, when you interupt the form submission to do the above action with JS, it detaches the form from the enter button. This is counter-intuitive to the way the rest of the GFX button works (enter submits the form when a form feild is focused) and I was worried that crucial moments might be missed due to this sudden lack of expected behavior. There is therefore a section at the end of the \texttt{price.html} file that re-links this action to the enter key.
+
+\subsubsection{Number 7}
+
+All strings in the GFX system, before showing on screen, where scanned for a number 7. There was a switch on the ``Text'' control panel that would allow all of these number 7s to be redacted all at once. This would happen on the sale of the product ``The number previously known as 7''. We where forced to cut this product and unfortunately did not use this feature.
+
+\begin{verbatim}
+document.getElementById("description").innerHTML =
+ item.description.replaceAll(rep, "█");
+\end{verbatim}
+
+Line 80 of \texttt{gfx.html}, where \texttt{rep} is the string to replace (either ``7'' or ``\verb|###|'', a string which i imagined would never come up accidentally) and \verb|█| is the ``full block'' html entity.
+
+\subsection{Autocue}
+
+The autocue previously contained 6 timers, a display of the doomsday clock, pricing information, stocking information, the producer note and item copy. This was far too much information for one screen but at the same time more was required for the ease of the Anchor. This was cut down to just the item notes and the producer note, as was displayed through the conventional autocue system. It updates using the same method as the main GFX page and shows the current product.
+
+\subsection{Display}
+
+The extra information taken from the autocue was placed here, along with some more relevant information for the anchor. It was displayed on a monitor connected to a crew-members laptop on the floor to allow him to view the current item stats while behind the desk. It updated in a similar way to the main GFX system.
+
+There was unfortunately an issue with the maths here, and for some reason I have not yet looked into, the ``current price'' was listed wrong. This was easy to fix as the Anchor would clearly signpost that he was about to say the price giving me the opertunity to relay him the current price as displayed on the main GFX system.
+
+\subsection{Sounds}
+
+The sound system was created in response to a more and more complex GFX system with 6 timers (this would later be reduced back to 3 timers).
+
+It watches the main API endpoint looking for certain changes and triggers sounds based on this (See Figure \ref{fig:sounds}). It uses the HTML5 WebAudio API to add effects upon certain actions. For example, when the doomsday clock ticks: reverb\footnote{This is a convolution reverb with the following impulse: \url{http://shopping.ozva.co.uk/static/sounds/impulse.wav}} and filtering (1000Hz, low pass). This signal chain, as well as the clock, is then fed into a \texttt{DynamicsComressorNode} (ratio of 4) which levels the signal. It plays a sound for each of the \href{https://shopping.ozva.co.uk/static/sounds/timer1.wav}{timers}, \href{https://shopping.ozva.co.uk/static/sounds/shout.wav}{shouts}, or \href{https://shopping.ozva.co.uk/static/sounds/clock.wav}{Doomsday clock ticks}.
+
+The TV Studio audio desk has 2 faders for cartwall sounds, which is not enough to dynamically control the volume of up to 9 sounds \& music at once. One of the advantages of the sound system is that it reduces the volume of the timer sounds the more that are playing, leveling the mix for you.
+
+This system as a solution is very ``teleshopping'' and it does not take into account the care I would have for an ``audio peice''. It suffers from many small issues that leave it feeling a little unstable. Note, though, that this is a decision that i made balencing time, quality and the many ways to the same outcome rather than a direct critisim of the system. There are some situations when building the GFX system that I have deliberately taken a suboptimal path or introduced a bug for effect. For example, the prices in the GFX system can sometimes round to 1 decimal point, this was introduced as purposefull jank.
+
+\input{figures/sounds.tex}
+
+\subsection{Control panel}
+
+The distribution of the controls across the control pannel was of some note. Initially, I split up the controls based on purpose into the following categories for the practice session, It was my intention that things would need to be changed but it immediately became clear that only one of the opperators had almost all of the responsibility. This was ``pricing'', which lncluded current item, all 4 discounts, the amount of product sold, the currency and all the notes to the anchor.
+
+This is what practice sessions are for though and it was good for the opperators to get a chance to sudgest alterations to the system. Something that the narrative engiree sudgested based off the practice sessions was an additional arbitrary text display, which could be typed in at the whim of the narrative team.
+``Something loud, like it flashes on screen''. This was implemented easily and quickly, similar to the autocue note, thanks to the new back-end design. The Anchor also had some pointers about what features would be good in the autocue system. The current price (with discount applied), the current discount and potentially an indicator of the next product.
+
+\subsubsection{Timer}
+
+The ``Timer'' pannel controls the 3 timers, in increments of 1 minute up to 10 minutes as well as 30 seconds, and the ``shout''. It updates from the API to constantly display the current time left for each timer, along with color flashing when the timer is within a minute of its end.
+
+\subsubsection{Doomsday}
+
+The ``Doomsday'' panel controls the doomsday clock, along with a guide on when each clock tick should ideally happen. There is a time-left on each tick which shows how ahead or behind schedule we are.
+
+\subsubsection{Pricing}
+
+The ``Pricing'' panel controls the item, the discount, the stock left and what is showing on screen. It previously controled the item currency but this is now baked into the item itself via the \texttt{static.json} file.
+
+\subsubsection{Text}
+
+The ``Text'' panel controls the banner text, the crawler (top and bottom) text, the producer note to the Anchor, the sigils and the redaction of the number 7.
--- /dev/null
+\section{The Stream}
+
+Using a KVM, the stream setup was contained to just one ``station'' in the gallery. The source for the GFX was catured by OBS and sent to the desk with an output device using an alpha key, this allowed the GFX to show up over the camera feeds without using a chroma key. The GFX system could be turned off on the GFX side so it was not neccicary for the vision mixer or studio director to concern themselves with the management of this.
+
+The PGM output of the whole studio, inlcuding audio and the vision mixed stream was then sent to the second OBS instance in the station. This contained the stream key and streamed to the \textit{XMDVTeleshopping} Twitch account.
+
+On the orrigional stream, there is a very noticeable dynamic desync as the video seems to slow down and speed up. This was flagged by the output monitor after we began streaming and I quickly brought the issue up with the building broadcast enginner, who was on standby. We where told by him that it was a Twitch issue, however, on reevaluation, myself and my supervisor belive that it was an issue with the bitrate. The stream was being sent to twitch at 1080p50, which is already very high, and the delay may have been Twitch reencoding the stream on-the-fly.
+
+This is frustrating as it could have been a fairly simple thing to fix, but I was at this point spread fairly thin, and took the engineers word for it that there was nothing we could do. We still had the full recording after all.
--- /dev/null
+\section{\threat}
+
+\threat{} is a hugely pivotal part of the project and is incredibly large, thematically and physically.
+
+I was orrigionally under the impression it would be a very simple pure-black shape that would show up more as a shadow than anything else. As is a ruuning theme throught the production, I then decided to make everything far more complicated.
+
+Instead of a simple shape being tilted out into view, I devised a way that a further joint could be added to the ``creature'', allowing it to articlate out from behind the set wall. This was acheved with a large cirular wheel on a loose top joint coupled to the base with a peice of metal wire. This ment that when the ``body'' was tilted forward, the length from the top wheel to the base would become longer, turning the wheel and extending the ``arm'' outwards.
+
+Working out the diameter of this wheel and the position on the base where the metal wire would be attached turned out to be a farely difficult but satisfying maths problem to solve, reminicant of mechanics problems which seemed to so often be called ``useless'' in the ``ouside world''.
+
+The front facing peices where made from 6mm thick MDF from a 8x4' sheet. The mechanical parts where all wooden and made from materials I was able to scavenge, or already had on-hand. Lengths of 2x1" and peices of 12mm thick plywood where used as the structure of the form and the wheel at the top axel. The hinges where large screws each with a wooden block on the end acting as a nut. All moving parts where greesed up to ensure nothing would seesze up.
+
+All front facing peices and edges where painted with around 10 coats of a mix of chalkboard paint and course sawdust, as reccomended by many hobby-astronomers for painting the insides of telescopes to prevent light spillage (\ref{CLOUDYNIGHTS}). This was, in my opinion, not successfull at all. And I would be better off having just used conventional black paint along with spending more time on producing the desired effect with lighting. This can be fixed in the edit, but it would have been far more satisfying to have no, in heinsight, obvious mistakes made.
+
+Other than this the mechanism worked perfect in testing and in practice. You can see an isolated video of its action here: \url{https://youtu.be/_7AUzQt0ewQ}.
--- /dev/null
+\section{Twitch Extensions}
+
+In the process of building the extended GFX and Documentation systems, I have been free to use my own standards and open, free\footnote{Not \textit{free} as in gratis, even though much of it is, but \textit{free} as in \textit{freedom}.}, technology. Until now.
+
+Using Twitch's platform and tools was slow, repetative, tedious and overencumbered with slow loading times and confusing documentation that changed at least twice during the development of the extensions. The actual function and look of the extensions was simple and quick, fun, even. Getting the extensions functional with Twitch's system was not. The reason for this is the totally practical sandboxing and review process that one has to go through that enusures that the platform can stay safe. This means that inline JS will not function (to prevent XSS), all external domains must be approved and no iframes can be used. All of this is included in the docs, but most is unclear or without practical advice. On top of this, the extension review team seemed to be under the impression that the ``products'' I was selling where real, purchasable, products and not enigmattic one-offs. There was a multi-week back-and-forth ending in an email (the third in a row) that told me I could not sell real products. That was on the morning of the production. Furthermore, the orrigional plan was to have mobile extensions for each of these (exactly the same as the generic extensions but available on mobile). Unfortunately this would have had to comply with Apples app store policies as well as Twitch's, meaning I would have had to add a privacy policy. At this point I was looking to simplify the review process so completely removed the mobile extension.
+
+The actual construction of the extensions was simple. Because of limitations in the size and shape of the extensions, I decided to create 2 different ones, one to display a photo of the products as well as its name, and one to display the price of the product along with a ``buy'' button (a constant source of worry for the extension review team who did not seem to even notice that it is almost completely non-functional).
+
+The ``buy'' button would send a GET request to one of the GFX system API endpoints (\url{https://shopping.ozva.co.uk/api/buy}) which would register only the timestamp of the purchase and display it on a graph for the gallery team (\textit{Purchases over last 10 minutes} \url{https://shopping.ozva.co.uk/chart}). There was also an addition endpoint for getting all the purchase data from the entire uptime of the server, allowing better data-processing after-the-fact. This request is little more than a poke and does not take the user anywhere or do anything on the front-end of the extension.
+
+Ideally this purchase system would be built better, with more data passed over, the names of the buyers potentially fed back into the system to be displayed on screen. This is possible, but requires far more hoops to jump through on the Twich review side of things. I may save it for future development.
--- /dev/null
+\documentclass{article}
+
+\usepackage{tikz}
+\usepackage{graphicx}
+\graphicspath{{../media/}}
+\usepackage{fancyhdr}
+\usepackage{tabularx}
+\usepackage[table]{xcolor}
+\usepackage[
+ top=3cm,
+ bottom=3cm,
+ left=2cm,
+ right=2cm
+ ]{geometry}
+\usepackage{helvet}
+\renewcommand{\familydefault}{\sfdefault}
+
+\begin{document}
+ \vspace*{-4cm}
+ \begingroup
+ \offinterlineskip
+ \hbox to 0pt{%
+ \kern-\paperwidth
+ \vtop to 0pt{%
+ \color{yellow}%
+ \hrule width 2\paperwidth height 8.8cm
+ \vss
+ }%
+ \hss
+ }%
+ \endgroup
+ \vspace*{1.3cm}
+
+ \tikz[remember picture,overlay]
+ \node[inner sep=0pt]
+ at (12cm, -1.3cm){\includegraphics[height=2.5cm]{AAIB}};
+
+ \noindent
+ Farnborough House\\
+ Berkshire Copse Road\\
+ Aldershot, Hants GU11 2HH
+
+ \vspace{2mm}
+
+ \noindent
+ Tel: 01252 510300\\
+ www.aaib.gov.uk
+
+ \vspace{4mm}
+ \noindent\rule{\textwidth}{2pt}
+
+ \vspace{5mm}
+
+ {
+ \fontsize{45}{20}\selectfont
+
+ \noindent\textbf{AAIB Bulletin S1/2025}
+
+ \vspace{6mm}
+
+ \noindent\textbf{\textit{SPECIAL}}
+ }
+
+ \vspace{1cm}
+
+ \section{Acident}
+
+ \renewcommand{\arraystretch}{1.5}
+
+ \begin{tabularx}{\textwidth}{X>{\hsize=.5\hsize}X>{\hsize=.5\hsize}X}
+
+ \textbf{Aircraft Type and Registration:} & \multicolumn{2}{l}{Rockwell Commander 112 TCA, N4698W} \\
+ \textbf{No \& Type of Engines:} & \multicolumn{2}{l}{1 Lycoming TO-360-C1A6D piston engine} \\
+ \textbf{Year of Manufacture:} & \multicolumn{2}{l}{1978 (Serial no: 13724)} \\
+ \textbf{Date \& Time (UTC):} & \multicolumn{2}{l}{23 December 2024 at 1135 hrs} \\
+ \textbf{Location:} & \multicolumn{2}{l}{Kinglassie, Fife} \\
+ \textbf{Type of Flight:} & \multicolumn{2}{l}{Private} \\
+ \textbf{Persons on Board:} & Crew - 1 & Passengers - None \\
+ \textbf{Injuries:} & Crew - 1 (Fatal) & Passengers - N/A \\
+ \textbf{Nature of Damage:} & \multicolumn{2}{l}{Aircraft destroyed} \\
+ \textbf{Commander’s Licence:} & \multicolumn{2}{l}{Private Pilot’s Licence} \\
+ \textbf{Commander’s Age:} & \multicolumn{2}{l}{50 years} \\
+ \textbf{Commander’s Flying Experience:} & \multicolumn{2}{l}{187 hours (of which 92 were on type)} \\
+ \textbf{Information Source:} & \multicolumn{2}{l}{AAIB Field Investigation}
+
+ \end{tabularx}
+
+ \section{Introduction}
+
+ This is the introduction
+
+ \newpage
+
+ \renewcommand{\footrulewidth}{0.4pt}
+ \pagestyle{fancy}
+ \fancyhead{}
+ \fancyhead[L]{AAIB Special Bulletin: S1/2025}
+ \fancyhead[C]{N4698W}
+ \fancyhead[R]{AAIB-30571}
+ \fancyfoot{}
+ \fancyfoot[C]{\thepage}
+
+ \section{History of the flight}
+
+\end{document}
projects / shopping-docs / commitdiff
