--- /dev/null
+*.log
+*.toc
+*.glo
+*.bbl
+*.ist
+*.blg
+*.aux
+*.bcf
+*.xml
+++ /dev/null
-\documentclass{article}
-
-\usepackage{calc}
-\usepackage[margin=1.5cm, headsep=1mm]{geometry}
-\usepackage{setspace}
-\usepackage{courier}
-\usepackage{fancyhdr}
-\usepackage{caption}
-\usepackage{tabularx}
-\usepackage{helvet}
-\usepackage{ltablex}
-\usepackage{adjustbox}
-\usepackage{multirow}
-\usepackage[table]{xcolor}
-\usepackage{array}
-\usepackage{float}
-\usepackage{pdfpages}
-
-\usepackage{pgfplots}
-\pgfplotsset{compat=1.18, width=7cm}
-
-\usepackage{graphicx}
-\graphicspath{ {media/} }
-
-\usepackage[backend=biber, style=apa]{biblatex}
-\addbibresource{refs.bib}
-
-\usepackage[breaklinks=true]{hyperref}
-\hypersetup{
- colorlinks=true,
- linkcolor=red,
- urlcolor=blue,
- pdftitle={Checkpoint 1: Int. Bar}
- }
-
-% script setup
-
-\newcounter{scenenumber}
-
-\newenvironment{script}[1]{
- \addcontentsline{toc}{section}{#1}
- \par\noindent\ttfamily
-}{
- \hspace*{\fill}CUT TO BLACK.\\
- \vspace{4mm}
-}
-
-\newlength{\boxoffset}
-\newlength{\marginwidth}
-\setlength{\marginwidth}{0.5\textwidth - 0.5\paperwidth}
-\newcommand{\offsetbox}[3][]{%
- \setlength{\boxoffset}{#2}
- \addtolength{\boxoffset}{\marginwidth}
- \begin{minipage}{\boxoffset - 10pt}
- \raggedleft#1
- \end{minipage}\hspace*{\fill}\begin{minipage}{\textwidth - \boxoffset}
- \raggedright#3
- \end{minipage}
-}
-
-\newcommand{\scene}[3]{%
- \stepcounter{scenenumber}
- \phantomsection\addcontentsline{toc}{subsection}{Scene \thescenenumber{}: #3}
- \begin{flushright}
- #1
- \end{flushright}
- \offsetbox[\textbf{\thescenenumber{}}\hspace{1mm}]{1.5in}{%
- \textbf{#2\hspace*{\fill}\thescenenumber{}}
- }
- }
-
-\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}}
-
-\newcommand{\thr}{THE THREAT}
-\newcommand{\anc}{THE ANCHOR}
-\newcommand{\rmthreat}{\textsc{The Threat}}
-
-\newcolumntype{R}[2]{%
- >{\adjustbox{angle=#1,lap=\width-(#2)}\bgroup}%
- l%
- <{\hspace{2mm}\egroup}%
-}
-\newcommand*\rot{\multicolumn{1}{R{90}{1em}}}
-\renewcommand{\arraystretch}{1.1}
-
-% title setup
-
-\title{
- XMDV Teleshopping: "Int. Bar"\\
- {\large{}Checkpoint 1}
- }
-\author{William Greenwood}
-\date{10th February 2024}
-
-\begin{document}
-
-\thispagestyle{empty}
-\pagestyle{fancy}
-\renewcommand\headrulewidth{0pt}
-\lhead{}\rhead{\texttt{\thepage{}.}}
-\cfoot{}
-
-\maketitle
-\tableofcontents
-
-\vspace*{\fill}
-
-\textit{\textbf{Note:} Digital version available at \url{https://data.ozva.co.uk/checkpoint1.pdf}. This document is not cannon. No representations of either \thr{} or the Anchor are accurate to the final product.}
-
-\newpage
-
-\begin{script}{Part 1}
-\scene{CUT TO:}{INT. BAR}{Introduction}
-
-\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.}
-
-\end{script}
-
-\listoffigures
-\listoftables
-
-\section{A Story}
-
-\subsection{8th Floor}
-
-XMDV Teleshopping is a fabricated teleshopping channel that broadcasts only one episode. It features one host and no other on-screen contributors. It has a narrative focus, although intentionally coming across as genuine at first.
-
-The products being sold will move from strange but believable at the start, to totally abstract by the end of the show as the Anchor sells everything.
-
-\begin{quote}
-\rmthreat{} is coming! The broadcast team descend from somewhere else and begin to broadcast. The anchors goal is to sell it all, product by product, going through items and emotions and concepts until nothing is left. Lets call this a "crash". \rmthreat{} is coming, and the broadcast team has to escape before it does.
-
-Follow the Anchor as he handles new, real and weird products in real-time, either selling out completely, or being consumed by \rmthreat{}.
-\end{quote}
-
-Eldritch, and never shown on screen, \rmthreat{} is instead represented by "The Doomsday clock" which sits behind the Anchor, ticking towards the end of the show.
-
-\subsection{Audience}
-
-XMDV Teleshopping plays off a fascination with the surreal and esoteric, with a focus on people aged 18-35 with a slight male lean and a slight LGBTQ+ lean. For these people, and many of any age, teleshopping represents a bizarre sub-genre of television. At best, curious; At worst, manipulative.
-
-Many people, of this age, have an liminal experience with teleshopping, limited only to the window of time it takes to flick through the channel.
-
-XMDV Teleshopping asks the question: What would you do if you flicked past and saw the Anchor bleeding from the mouth while frantically selling the moon?
-
-This would, unfortunately, not be effective for engagement.
-
-\subsection{Platform}
-
-Broadcast TV is no longer the prime for out target audience. The audience will therefore be flicking through something else: Social Media, YouTube Shorts, TikTok, Tumblr etc. All funneling them towards the primary output of the live-streamed content on a platform such as Twitch.
-
-Twitch not only has an age group that complements our desired audience in relation to other social media, but also a slight male and LGBTQ+ lean as mentioned. (\cite{STATISTA2022A}, \cite{STATISTA2022B}).
-
-\begin{figure}
-\begin{minipage}{.49\textwidth}
-\center
-\captionof{figure}[Twitch users by age group]{Twitch users by age group}
-\begin{tikzpicture}
- \begin{axis}[
- xlabel = {Proportion of UK viewers (\%)},
- xshift=-5cm,
- xbar,
- y axis line style = { opacity = 0 },
- tickwidth = 0pt,
- enlarge y limits = 0.2,
- enlarge x limits = 0.02,
- symbolic y coords = {{18-24}, {25-34}, {35-44}, {45-54}, {55-64}},
- nodes near coords,
- ]
- \addplot coordinates {
- (29,{18-24})
- (39,{25-34})
- (23,{35-44})
- (8,{45-54})
- (2,{55-64})
- };
- \end{axis}
-\end{tikzpicture}
-\captionof*{figure}{(\cite{STATISTA2022A})}
-\end{minipage}
-\begin{minipage}{.49\textwidth}
-\center
-\captionof{figure}[Non-gaming categories by watch-time]{Non-gaming categories by watch-time}
-\begin{tikzpicture}
- \begin{axis}[
- xlabel = {Worldwide watch-time 2021 (million hours)},
- xshift=5cm,
- xbar,
- y axis line style = { opacity = 0 },
- tickwidth = 0pt,
- enlarge y limits = 0.2,
- enlarge x limits = 0.02,
- symbolic y coords = {Just Chatting, Slots, Music, Sports, Art, ASMR, Other},
- nodes near coords,
- ]
- \addplot coordinates {
- (3100,Just Chatting)
- (287,Slots)
- (267,Music)
- (165,Sports)
- (128,Art)
- (111,ASMR)
- (0.19,Other)
- };
- \end{axis}
-\end{tikzpicture}
-\captionof*{figure}{(\cite{STREAMELEMENTS2021})}
-\end{minipage}
-\end{figure}
-
-Although the primary category of viewing on Twitch is gaming, there is a large viewer market for the "Just Chatting" category, the most suitable for the project. In-fact, it is the most popular non-gaming category with a total of 3.1 billion hours watched worldwide in 2021. (\cite{STREAMELEMENTS2021}).
-
-Streaming via Twitch, we will be subject to the \href{https://safety.twitch.tv/s/article/Community-Guidelines?language=en_US}{Twitch Community Guidelines} and the Terms of service. There are no sections in either document that are of concern. The only worry would be being mistaken for being in opposition of \href{https://www.twitch.tv/p/en/legal/terms-of-service/#d-promotions}{Section 8d} and \href{https://www.twitch.tv/p/en/legal/terms-of-service/#9-branded-content}{Section 9} of the Terms of service, which necessitates declaring that there is branded content. We will, of course, not be selling anything, but it's something to consider looking into further.
-
-\begin{script}{Part 2}
-\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.
- }
-
-\end{script}
-
-\section{Opportunity and Weakness}
-\subsection{Crew}
-
-The cast and crew are vial to the production and it is my intention to only involve people who I fully trust. Conventionally important jobs (such as vision mixer or script supervisor) are either non-vital or missing from the line-up all-together.
-
-Roles around the GFX system, lighting, sound and the host, are by \textit{far} the most vital.\footnote{All crew will be briefed extensively and I plan to run not only a practice session in the studio before the day, but also a mock studio session in one of the lecture halls, for a full scale screen test with the host, camera personnel, GFX personnel and the director.}
-
-\begin{table}[H]
-\sffamily\center
-\begin{tabularx}{0.9\textwidth}{|r|l|X|}
-\hline
-\textbf{Role} & \textbf{Name} & \textbf{Experience}\\
-\hline
-\hline
-Director & Jack Christian Sims & Related experience. Will be extensively briefed\\
-\hline
-Vision Mixer & Eleanor Haugton & Related experience\\
-\hline
-Sound & Rebecca Dixon & Related experience (Radio Module). Minor training needed during practice session\\
-\hline
-Lighting & Unassigned & \\
-\hline
-Engineer & Josh Bostock & Experience in role (TVS Module)\\
-\hline
-Floor Manager 1 & Heather Digwood & Experience in role (TVS Module)\\
-\hline
-Floor Manager 2 & Liv Gillett & Experience in role (TVS Module)\\
-\hline
-Camera 1 & Leo Garside-Holditch & Experience in role (TVS Module)\\
-\hline
-Camera 2 & Alex Roberts & Experience in role (TVS Module)\\
-\hline
-GFX 1 & Unassigned & Minor training will be needed ahead of practice\\
-\hline
-GFX 2 & Unassigned & Minor training will be needed ahead of practice\\
-\hline
-\hline
-Anchor & Unassigned & Will be extensively briefed\\
-\hline
-\end{tabularx}
-\vspace{1em}\caption[Temporary crew picks]{Temporary crew picks as of 10th February 2024. All roles confirmed with crew, no dates confirmed.}
-\end{table}
-
-\begin{figure}[H]
-\center
-\includegraphics[width=9cm]{jack}
-\caption{Jack S. reading the script during a screen test.}
-\end{figure}
-
-\subsection{Cast}
-
-Sioux Sharp (lecturer in TV Studio) is a confirmed real-world teleshopping victim. She says it was hell. The worst 3 months of her life. "It wasn't even production, it was just sell, sell, sell. Constantly. A lot of mental maths". I go
-
-"Oooo...
-
-I would hate that".
-
-She is the \textit{"opportunity"}, an external help, with the chevrons to back it up. She gave me some great background. She told me the best ways of testing a potential host. She told me what they'd go over before the show.
-
-\begin{quote}
-What I have done in the past for screen tests is give the would be presenters a bit of script or two and then a test. [...] The test I have done in the past is give someone an everyday object and get them to talk about it, in your case get them to 'sell' it until you say 'stop'. So, they don't know how long they are going to have to sell and 'fill' for. I'd tell them they need to pretend that they are on a shopping channel so they cannot stop for any reason until you stop them. In terms of items it could be anything - as I said, \textit{I just used a bottle of water.}
-\begin{flushright}
-(\cite{SSHARP2025})
-\end{flushright}
-\end{quote}
-
-The host will be picked based on Sioux's advice, she has been sent the current screen-tests, and so far we are both unhappy.\footnote{I have a meeting with her the day after the submission of this document. She very much likes the idea and is on-board for meetings wherever her schedule allows.}
-
-\section{Schedule allows}
-
-\def\taskone{Pre-production}
-\def\tasktwo{Production}
-\def\taskthree{Writing}
-\def\taskfour{Programming}
-\def\taskfive{Casting}
-\def\tasksix{Design}
-\def\taskseven{Essay}
-
-\begin{tabularx}{0.9\textwidth}{|cc|cccccccc|X|}
-\caption{Project schedule}\\
-\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 (see Table \ref{table:tasks})\\
-
-Thursday &
-13/02/25 &
-&\cellcolor{green}&&&\cellcolor{green}&\cellcolor{green}&&&
-Screen test with David Smith\\
-
-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}&&&
-\\
-
-Friday &
-21/02/25 &
-&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
-\\
-
-Saturday &
-22/02/25 &
-&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
-\\
-
-Sunday &
-23/02/25 &
-&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
-\\
-\hline
-
-%%%
-
-\multicolumn{11}{|c|}{Week 7}\\
-\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}&&&
-\\
-
-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)}\\
-\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)}\\
-\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}&&
-\\
-
-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)}\\
-\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}\\
-\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}\\
-\hline
-Monday &
-28/04/25 &
-&&&&&&&\cellcolor{yellow}&
-\\
-
-Tuesday &
-29/04/25 &
-&&&&&&&\cellcolor{yellow}&
-Deadline\\
-
-\end{tabularx}
-
-\begin{script}{Part 3}
-\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"}}
-
-\end{script}
-
-\section{Background Research}
-
-There are 2 genres at play here, teleshopping and surrealist art.
-
-Background research into teleshopping \textit{production} is best facilitated in meetings between myself and Sioux (as mentioned above). As for research into the channels themselves, this is trivial. I have plenty of notes from watching different channels.
-
-With surrealist art, however, it's a little more difficult.
-
-I have recently started reading \textit{Surrealism, Occultism and Politics} (\cite{TBAUDUIN2020}) and Deborah Root's \textit{Cannibal Culture} (\cite{DROOT1995}) which should hopefully give the project a bit more of a stable undercurrent, or tact.
-
-One of the most helpful sources has been \textit{Shopping: a century of art and consumer culture} (\cite{TATE2002}) for informing tone and message. It is a collection of art pieces centered around consumerism and "shopping".
-
-\begin{figure}[H]
-\center
-\includegraphics[width=9cm]{suicide}
-\caption{Suicidal Price Cuts!}
-\end{figure}
-
-By far the most striking inspiration, behind much of the tone of the project (and my worldview), is [sic] \textit{Blaseball}. It's difficult to explain what \textit{Blaseball} is. Or \textit{was}.
-
-But as a part of the experience of \textit{Blaseball}, they did a short series of sports breakdown themed videos called "Blaseball round-up".
-
-You can find it \href{https://www.youtube.com/watch?v=diAHuUV2Meg&list=PLmNSJQLj5nNk7z2eEQGgaEJVZmDNma61c}{here}.
-
-A proper breakdown of \textit{Blaseball} in relation to the project is a future task.
-
-\section{Strengths and Opportunities}
-
-\subsection{Collateral}
-
-Currently, by far the most intensive parts of production are complete. With un-predictable timelines and scope creep that more like a sprint: these elements would be difficult to schedule and difficult to balance.
-
-With these in place, the technical elements of the show have not only been created, but though out in a careful way that will positively inform production.
-
-This is of huge benefit, not only for the final project, but the momentum to get there. Benefit from knowing all I have to deal with is a few people and a few papers, the year long slog of the GFX system out the way.
-
-\subsubsection{The Clock}
-
-As I write this (Early morning, 8th February 2025), Sipping an espresso, the clock is under construction. On-track for completion on Monday morning (10th February 2025).
-
-The clock has been a simple project but a fun one. The route I have taken, I have taken for speed, comfort and based on the parts around me.
-
-It is built from a Raspberry Pi Zero, a stepper motor and a driver. It connects to the OzVa server, getting real-time data on clock position and translating that to the hand's position.
-
-The Pi runs Debian Linux and is easily SSH'd into, making it easy to debug.
-
-\subsubsection{The GFX System}
-
-The GFX system need's some touch-ups. there's a couple bolts missing, but she'll fly. Will take approx. 2 days of work to get the system perfect. This can partially be concentrated, but some tasks (hardening as an example) will happen over the planned practice sessions or other testing days.
-
-\begin{table}
-\sffamily\center
-\begin{tabularx}{0.9\textwidth}{|r|X|l|}
-\hline
-Feature & Description of work & Estimated time\\
-\hline
-\hline
-Twitch integration & Implement buying from twitch. Appears trivial. I suspect this may be a rabbit-hole & 6 hours\\
-\hline
-Split GFX interface & Split GFX interface into 3 to allow more controllers to operate at the same time. Minor back-end adjustment, may require minor database re-organisation & 4 hours\\
-\hline
-Visual tweaks & Small visual tweaks. Mostly concerning font size, spacing and layout. Will need additional time to identify where changes should be made alongside the director & 2 hours\\
-\hline
-Add another 3 timers & Large additions to both front-end and back-end & 6 hours\\
-\hline
-Possible buyer crawler & Buyer name integration on crawler. Stylistically unsure, requires moderate addition to the back-end & 6 hours\\
-\hline
-Stability testing / hardening & Time overestimate to account for major issue being discovered & 8 hours\\
-\hline
-\end{tabularx}
-\vspace{1em}\caption[GFX System changes]{Changes required to the GFX system, alongside predicted time to implement}
-\label{table:tasks}
-\end{table}
-
-\subsection{Integration}
-
-As mentioned above (see Table \ref{table:tasks}), Twitch integration looks to be trivial, and would build off of the existing GFX system, meaning no extensive re-writes.
-
-Information would be passed to the control-room and the anchor via the auto-cue screen.
-
-After some small background, it seems all the tooling used I am familiar and comfortable using. The main threat is distraction with creating more integration than planned and feature-creep, within the very generous schedule I am not worried about this too much.
-
-Scheduling will be key to mitigating any threats, but I do not see many in the \textit{star-filled nights sky}.
-
-\begin{script}{Part 4}
-\scene{CUT TO:}{EXT \thr{}'S HOUSE NIGHT}{Dog Ouroboros}
-
-\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}{Placeholder}
-
-\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.}
-
-\end{script}
-\vspace*{\fill}
-\printbibliography
-
-\end{document}
+++ /dev/null
-\documentclass[twoside]{article}
-
-\usepackage[outer=3cm, inner=1.8cm, top=1.5cm, bottom=2cm]{geometry}
-\usepackage{calc}
-\usepackage{float}
-\usepackage{xcolor}
-\usepackage[T1]{fontenc}
-% \usepackage{inconsolata} % good font but does not have {}
-
-\usepackage{tikz}
-\usetikzlibrary {arrows.meta}
-
-\usepackage[breaklinks=true]{hyperref}
-\hypersetup{
- colorlinks=true,
- linkcolor=red,
- urlcolor=blue,
- pdftitle={Doomsday}
- }
-
-\tikzset{
-% circuit diagram styling
- board/.style = {
- shape = rectangle,
- align = center,
- draw = #1,
- fill = #1!25,
- rounded corners
- },
- pin/.style = {
- draw = white,
- fill = lightgray
- },
- pin padding/.style = {
- shape = rectangle,
- align = center,
- draw = lightgray,
- fill = gray,
- rounded corners
- },
- pin label/.style = {
- font = \strut\small\ttfamily
- },
- wire/.style = {
- draw = #1,
- ultra thick
- },
- wire end/.style = {
- draw = #1,
- fill = #1,
- circle,
- inner sep=1
- },
-% reverse tunnel styling
- machine/.style = {
- shape = rectangle,
- align = center,
- draw = #1,
- fill = #1!25,
- rounded corners
- },
- address/.style = {
- font = \strut\small\ttfamily
- },
- }
-
-\title{
- I am \textit{not} the Begining, I am the End\\
- \large{Details of the Doomsday Clock}
- }
-\author{William Greenwood}
-\date{Last compiled \today{}}
-
-% macros
-\newcommand{\commit}[2]{
- \href{https://git.ozva.co.uk/?p=#1;a=commit;h=#2}
- {\texttt{OzVa Commit \StrLeft{#2}{7}}}
- }
-
-\newcommand{\blob}[2]{
- \href{https://git.ozva.co.uk/?p=#1;a=blob;f=#2;hb=HEAD}
- {\texttt{OzVa #1 File}}
- }
-
-\newsavebox{\issuebox}
-\newenvironment{issue}{
- \noindent\hspace*{\fill}\color{red}
- \begin{lrbox}{\issuebox}
- \begin{minipage}{0.9\textwidth}
- {\large{}\textbf{Debugging note:}}\vspace{1mm}\\
- }{
- \end{minipage}
- \end{lrbox}\fbox{\usebox{\issuebox}}
- }
-
-\makeatletter
-\newenvironment{code}{
- \vspace{2mm}\@vobeyspaces\obeylines
- \begin{quotation}
- \ttfamily
- }{
- \end{quotation}
- }
-\makeatother
-
-\begin{document}
-
- \maketitle
-
- The "Doomsday Clock", henceforth refered to as "Doomsday", is an important part of the production both for the narrative as well as symbolically.
-
- \tableofcontents
-
- \vspace{1cm}
-
- \begin{figure}[H]
- \centering
- \begin{tikzpicture}[scale = 1.2]
- % stepper motor
- % left side
- \draw[board = red] (0,0.85) rectangle (3,8.35);
- \draw[pin padding] (0.1,7.45) rectangle (0.5,8.25);
- \node[pin label, anchor = west] at (0.5,8.05) {+V};
- \node[pin label, anchor = west] at (0.5,7.65) {GND};
-
- \draw[pin padding] (0.1,5.85) rectangle (0.5,6.65);
- \node[pin label, anchor = west] at (0.5,6.45) {ENABLE};
- \node[pin label, anchor = west] at (0.5,6.05) {MS2};
-
- \draw[pin padding] (0.1,3.85) rectangle (0.5,4.65);
- \node[pin label, anchor = west] at (0.5,4.45) {RST};
- \node[pin label, anchor = west] at (0.5,4.05) {PFD};
-
-
- \draw[pin padding] (0.1,1.85) rectangle (0.5,3.45);
- \node[pin label, anchor = west] at (0.5,2.65) {MOTOR};
-
- % right side
- \draw[pin padding] (2.5,7.05) rectangle (2.9,8.25);
- \node[pin label, anchor = east] at (2.5,8.05) {DIR};
- \node[pin label, anchor = east] at (2.5,7.65) {STEP};
- \node[pin label, anchor = east] at (2.5,7.25) {GND};
-
- \draw[pin padding] (2.5,3.85) rectangle (2.9,4.65);
- \node[pin label, anchor = east] at (2.5,4.45) {MS1};
- \node[pin label, anchor = east] at (2.5,4.05) {SLP};
-
- \draw[pin padding] (2.5,1.85) rectangle (2.9,2.65);
- \node[pin label, anchor = east] at (2.5,2.45) {+5V};
- \node[pin label, anchor = east] at (2.5,2.05) {GND};
-
- \foreach \y in
- {8.05,7.65,6.45,6.05,4.45,4.05,3.25,2.85,2.45,2.05}
- {\draw[pin] (0.3,\y) circle (0.1);}
- \foreach \y in
- {8.05,7.65,7.25,4.45,4.05,2.45,2.05}
- {\draw[pin] (2.7,\y) circle (0.1);}
-
- \node[align = center] at (1.5,9.05) {Stepper motor driver};
-
- % raspberry pi
- \draw[board = green] (5,0) rectangle (9,9.2);
- \draw[pin padding] (5.1,0.6) rectangle (5.9,8.6);
- \draw (6.7,8.6) -- (6.7,0.6);
- % left pins
- \node[pin label, anchor = east] at (6.7,8.4) {21};
- \node[pin label, anchor = east] at (6.7,8.0) {20};
- \node[pin label, anchor = east] at (6.7,7.6) {16};
- \node[pin label, anchor = east] at (6.7,7.2) {GND};
- \node[pin label, anchor = east] at (6.7,6.8) {12};
- \node[pin label, anchor = east] at (6.7,6.4) {GND};
- \node[pin label, anchor = east] at (6.7,6.0) {1};
- \node[pin label, anchor = east] at (6.7,5.6) {7};
- \node[pin label, anchor = east] at (6.7,5.2) {8};
- \node[pin label, anchor = east] at (6.7,4.8) {25};
- \node[pin label, anchor = east] at (6.7,4.4) {GND};
- \node[pin label, anchor = east] at (6.7,4.0) {24};
- \node[pin label, anchor = east] at (6.7,3.6) {23};
- \node[pin label, anchor = east] at (6.7,3.2) {GND};
- \node[pin label, anchor = east] at (6.7,2.8) {18};
- \node[pin label, anchor = east] at (6.7,2.4) {15};
- \node[pin label, anchor = east] at (6.7,2.0) {14};
- \node[pin label, anchor = east] at (6.7,1.6) {GND};
- \node[pin label, anchor = east] at (6.7,1.2) {5V};
- \node[pin label, anchor = east] at (6.7,0.8) {5V};
-
- % right pins
- \node[pin label, anchor = west] at (6.7,8.4) {GND};
- \node[pin label, anchor = west] at (6.7,8.0) {26};
- \node[pin label, anchor = west] at (6.7,7.6) {19};
- \node[pin label, anchor = west] at (6.7,7.2) {13};
- \node[pin label, anchor = west] at (6.7,6.8) {6};
- \node[pin label, anchor = west] at (6.7,6.4) {5};
- \node[pin label, anchor = west] at (6.7,6.0) {0};
- \node[pin label, anchor = west] at (6.7,5.6) {GND};
- \node[pin label, anchor = west] at (6.7,5.2) {11};
- \node[pin label, anchor = west] at (6.7,4.8) {9};
- \node[pin label, anchor = west] at (6.7,4.4) {10};
- \node[pin label, anchor = west] at (6.7,4.0) {3V3};
- \node[pin label, anchor = west] at (6.7,3.6) {22};
- \node[pin label, anchor = west] at (6.7,3.2) {27};
- \node[pin label, anchor = west] at (6.7,2.8) {17};
- \node[pin label, anchor = west] at (6.7,2.4) {GND};
- \node[pin label, anchor = west] at (6.7,2.0) {4};
- \node[pin label, anchor = west] at (6.7,1.6) {3};
- \node[pin label, anchor = west] at (6.7,1.2) {2};
- \node[pin label, anchor = west] at (6.7,0.8) {3V3};
-
- \foreach \y in {0.8,1.2,...,8.4}
- {
- \draw[pin] (5.3,\y) circle (0.1);
- \draw[pin] (5.7,\y) circle (0.1);
- }
- \node[align = center] at (7,9.6) {Raspberry Pi};
-
- % wiring
- % motor
- \draw[wire = black] (0.3,3.25) node[wire end = black] {} -- (-0.8,3.25);
- \draw[wire = black, dashed] (-0.8,3.25) -- (-1.6,3.25);
- \draw[wire = green] (0.3,2.85) node[wire end = green] {} -- (-0.8,2.85);
- \draw[wire = green, dashed] (-0.8,2.85) -- (-1.6,2.85);
- \draw[wire = blue] (0.3,2.45) node[wire end = blue] {} -- (-0.8,2.45);
- \draw[wire = blue, dashed] (-0.8,2.45) -- (-1.6,2.45);
- \draw[wire = red] (0.3,2.05) node[wire end = red] {} -- (-0.8,2.05);
- \draw[wire = red, dashed] (-0.8,2.05) -- (-1.6,2.05);
-
- % power
- \draw[wire = black] (0.3,8.05) node[wire end = black] {} -- (-0.8,8.05);
- \draw[wire = black, dashed] (-0.8,8.05) -- (-1.6,8.05);
- \draw[wire = red] (0.3,7.65) node[wire end = red] {} -- (-0.8,7.65);
- \draw[wire = red, dashed] (-0.8,7.65) -- (-1.6,7.65);
-
- % ms2
- \draw[wire = red] (5.3,4) node[wire end = red] {} -- (3.6,4) -- (3.6,8.55) -- (-0.2,8.55) -- (-0.2,6.05) -- (0.3,6.05) node[wire end = red] {};
-
- % ms1
- \draw[wire = red] (5.3,3.6) node[wire end = red] {} -- (3.4,3.6) -- (3.4,4.45) -- (2.7,4.45) node[wire end = red] {};
-
- % rst
- \draw[wire = green] (5.7,3.2) node[wire end = green] {} -- (5.5,3.2) -- (5.5,4.2) -- (3.8,4.2) -- (3.8,8.75) -- (-0.4,8.75) -- (-0.4,4.45) -- (0.3,4.45) node[wire end = green] {};
-
- % slp
- \draw[wire = green] (5.7,2.8) node[wire end = green] {} -- (5.5,2.8) -- (5.5,3) -- (3.2,3) -- (3.2,4.05) -- (2.7,4.05) node[wire end = green] {};
-
- % step
- \draw[wire = purple] (5.3,2.4) node[wire end = purple] {} -- (4,2.4) -- (4,7.65) -- (2.7,7.65) node[wire end = purple] {};
-
- % enable
- \draw[wire = green] (5.3,1.6) node[wire end = green] {} -- (4,1.6) -- (4,0.65) -- (-0.6,0.65) -- (-0.6,6.45) -- (0.3,6.45) node[wire end = green] {};
-
- % dir
- \draw[wire = brown] (5.7,1.2) node[wire end = brown] {} -- (5.5,1.2) -- (5.5,1.4) -- (4.2,1.4) -- (4.2,8.05) -- (2.7,8.05) node[wire end = brown] {};
-
- \end{tikzpicture}
- \caption{Wiring diagram}
- \end{figure}
-
- \newpage
-
- \section{Services}
-
- \subsection{"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}).
-
- The OzVa GFX API provides the following example data:
-
- \noindent\begin{minipage}{0.4\textwidth}
- \begin{code}
-\{
- "currentPosition":90,
- "movementSpeed":38,
- "function":"ease",
- "lightingCues":[
- "true",
- "false",
- "false",
- "false",
- "false",
- "true",
- "false",
- "true",
- "false",
- "true"
- ]
- \}
- \end{code}
- \end{minipage}
- \begin{minipage}{0.6\textwidth}
- \begin{itemize}
- \item \verb|currentPosition| is the current position of the clock hand (in degrees).
- \item \verb|movementSpeed| is the time (in miliseconds) between motor movements (reccomended 38ms).
- \item \verb|function| is not currently used, but may at some point change the way the clock moves (ease-in, ease-out).
- \item \verb|lightingCues| is no longer applicable to the system and not used by the clock.
- \end{itemize}
- \begin{issue}
- Taking this out might increece request speed. Will be done when next batch of GFX alterations is pushed to production.
- \end{issue}
- \end{minipage}
-
- Document will be updated when code from Doomsday is accessible.
-
- \subsection{"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{quote}
- \texttt{/bin/ssh -i [key] -N -R 11505:127.0.0.1:22 doomsday@ozva.co.uk}
- \end{quote}
-
- \begin{figure}[H]
- \centering
- \begin{tikzpicture}[scale = 1.1]
-
- % user
- \draw[machine = red] (-0.6,4) node at +(1,0.5) {User} rectangle +(2,1);
-
- % ozva
- \draw[machine = blue] (4,3) node at +(2,1.5) {OzVa} rectangle +(4,2);
- \draw[machine = gray] (5.4,3.2) node at +(1.1,0.4) {GFX API} rectangle +(2.2,0.8);
-
- % doomsday
- \draw[machine = green] (4.5,4) -- (4.5,1) -- (4,1) -- (4,0) node at +(2,0.5) {Doomsday} -- (8,0) -- (8,1) -- (5.1,1) -- (5.1,4);
- \node[address, anchor = east, align = right] at (4.4,2.5) {127.0.0.1:11505\\Tunnel entrance address};
- \node[address, anchor = east] at (4.4,1.25) {*:22};
-
- % arrows
- \draw[-Stealth, thick] (1.4,4.5) node[address, anchor = north west] at +(0,0.1) {ozva.co.uk:22} -- +(3.4,0) -- +(3.4,-3);
- \draw[-Stealth, thick] (1.4,4.75) node[address, anchor = south west] at +(0,-0.1) {ozva.co.uk:443} -- +(2.6,0);
- \draw[-Stealth, thick] (6.5,1) node[address, anchor=west, align = left] at +(0,0.9) {ozva.co.uk:443\\API Call} -- +(0,2.2);
-
- \end{tikzpicture}
- \caption{Reverse tunnel diagram}
- \end{figure}
-
- 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|-R [remote socket:host:hostport]| forwards a socket on the remote server (OzVa) to a socket on the host (Doomsday).
- \item \verb|-R 11505:127.0.0.1:...| forwards socket 11505 on the IP address 127.0.0.1 for OzVa...
- \item \verb|...:22| ...to the local port 22 (running the SSH server).
- \end{itemize}
-
- \begin{issue}
- During testing, an issue arose where \verb|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 \verb|reversetunnel.service| has started, the service will fail, leaving Doomsday inaccessible without manual intervention.
- \end{issue}
-
-
-\end{document}
-
+++ /dev/null
-\documentclass{article}
-
-\usepackage[margin=1cm]{geometry}
-
-\begin{document}
- Hello Guys
-\end{document}
+++ /dev/null
-\documentclass{article}
-
-% packages
-
-\usepackage{setspace}
-\usepackage{xstring}
-\usepackage{xcolor}
-\usepackage{graphicx}
-
-\usepackage{tikz}
-\usetikzlibrary{arrows.meta}
-\tikzset{
- >={Latex[width=2mm,length=2mm]},
- base/.style = {rectangle, rounded corners, draw=black,
- minimum width=40mm, minimum height=1cm,
- text centered, font=\sffamily},
- json/.style = {rectangle, draw=black, fill=yellow!30,
- minimum width=25mm, minimum height=6mm,
- text centered, font=\ttfamily},
- file/.style = {rectangle, draw=black,
- minimum width=25mm, minimum height=6mm,
- text centered, font=\ttfamily},
- process/.style = {base, minimum width=25mm, fill=orange!15,
- text centered},
- server/.style = {base, minimum width=12cm, minimum height=6cm,
- fill=blue!15}
-}
-
-\usetikzlibrary{mindmap}
-
-\usetikzlibrary{3d}
-\usepackage[outline]{contour}
-\newcommand\OM{$\mathrm{\Omega}$}
-
-\usepackage[
- top=2.5cm,
- bottom=2.5cm,
- left=1.5cm,
- right=2.5cm,
- marginpar=15cm,
- marginparsep=-14cm
- ]{geometry}
-
-\usepackage[breaklinks=true]{hyperref}
-\hypersetup{
- colorlinks=true,
- linkcolor=red,
- urlcolor=blue,
- pdftitle={Technical Running Order}
- }
-
-\usepackage[backend=biber, style=apa]{biblatex}
-\addbibresource{refs.bib}
-
-% macros
-
-\newcommand{\commit}[2]
-{
- \href{https://git.ozva.co.uk/?p=#1;a=commit;h=#2}
- {
- \texttt{OzVa Commit \StrLeft{#2}{7}}
- }
-}
-
-\newcommand{\sidenote}[1]{\marginpar{
- \vspace{0.26em}
- \begin{flushright}
- \begin{tiny}
- \textcolor{orange}{#1}
- \end{tiny}
- \end{flushright}
-}}
-
-% details
-
-\title{
- \textit{XMDV Teleshopping}\\
- Production Diary
- }
-\author{William Greenwood}
-\date{Last compiled: \today}
-
-\begin{document}
-
-\onehalfspacing
-\maketitle
-\tableofcontents
-\newpage
-
-\section{Posterity 1}
-
-Much of the thinking on the project was done early, in 2022, at a three way intersection. At the time teleshopping was a comfortable facination, anchored in all sences. Maybe it was a live time, because the 2nd media keeping me in one place was \textit{Blaseball} [sic]. The 3rd was \textit{XMDV Radio}, the Sound of the Apcoalypse. Each deserves background, but \textit{ball} most of all.
-
-Pages and pages of notes and drawings where done before I realised it might be difficult. XMDV Radio was performed after only 2 sessions in the studio, so I reasoned it would be easy as soon as I started having lessons in the TV Studios.
-
-Not the case. A lot of the time I find that even though things get easier with skill and background knowlage, your ideas get more and more complex along the way. Compensating for yourself to keep everything tastily difficult, and pay far more for it.
-
-For instance: \sidenote{This is a sidenote. This early thinking focused mostly on the story, the symbolism, the anchor. This has changed little at time of writing (18th January 2025).} the jump from pre-recorded to as-live seems a long one, from a small team of people to a fully-crewed gallery and a couple reams of paper. So as well as developing my skills along the way, I've also got the clean and cutting knowlage of \textit{what is feasible}, letting me push things as far as I possibly can without braking them.
-
-\section{Posterity 2}
-
-The real work began in the summer of 2024. I have developed an addiction to computer science. I also happened to hear, find out or be blessed with the fact that all TV GFX are XHTML\footnote{XHTML, or eXtensible Hyper-Text Markup Language, is the conbination of HTML, CSS and Javascript.}. This was an amazing revelation. With a flick-of-the-wrist, something so outside my circle of competance that i had never gave it a second though, became something I could throw together in 20 minutes and understand totally. The Olympics had just been on, and in each scoreboard I imagined how I might make it work, counted transition delays and charted the DOM.
-
-With this in mind, and my web-design grayhounds nipping at my fingers, I got to work on the GFX system.
-
-With a most-likey client count of 1, the system could be very simple, built with PHP and SQLite on the backend.
-
-I find that when going long on large projects like this by yourself, and with little outside push to continue, I find it best not to plan too far ahead, but instead picure the finished product and let it flow out of you. When setting out, the priority is completing your goal. Clean code is an optional (and desireable) extra.
-
-Another helpful stratergy is to examine what you make often. Test and refresh, try different colors, different fonts. Be facinated by the process and make something beautiful at the same time. I belive this is the key to long-haul solo projects.
-
-Features where graduated, allowing me to pull them out my hat one after the other for a couple months. Quick, 2 hour, jobs with the seratonin boost of a more beautiful system.
-
-The downside of this, though, is coming back to it. Like trying to flex a finger on a hand you cut off. Everything must be scrutinised and tested again. All spacial-awareness of the programe is gone.
-
-For this reason, I propose a rewrite (see \hyperref[sec:rewrite]{below}).
-
-I also continued my work on the more artistic elements of the peice, doing some background resarch on context of what I might make. In particular, books dealing with consumption in art. \textit{Shopping: a century of art and consumer culture} was exacly what i was looking for, with one particular peice being very imactful to the slogans of the entire peice (\cite{TATE2002}).
-
-This research was aestetic, too, and I prepared a mood-board of images to inform the design of "the clock".
-
-I also put together a list of potential crew, as well as 2 potential hosts. This crew list is founded on the project as extracurricular, so it may take some later adjustment.
-
-\section{Posterity 3}
-
-It's christmas, I meet with one of my director friends. We talk on how the products might be presented. It's vital work and something I hadn't though about yet (outlined \hyperref[sec:products]{below}).
-
-\section{Entry 1}
-\label{sec:rewrite}
-\label{sec:products}
-
-At this point in the document, I am aware that the shopping channel might allign nicely with the final year project, giving me a great chance to use the University's cutting-edge kit to recreate dreams that I have, and be marked for it. Up until now, the project has been progressing with almost no practical "shoot date".
-
-
-\begin{figure}
-\center
-\begin{tikzpicture}[grow cyclic, text width=2.7cm, align=flush center,
- level 1/.style={level distance=5cm,sibling angle=90},
- level 2/.style={level distance=3cm,sibling angle=45}]
-\node{Mindmap}
- child { node {Test node1}
- child { node {Test node3}}
- child { node {Test node4}}
- child { node {Test node5}}
- }
- child { node {Test node2}
- child { node {Test node6}}
- };
-
-\end{tikzpicture}
-\end{figure}
-
-\section{Entry 2}
-
-I have recently started reading \textit{Surrealism, Occultism and Politics} (\cite{TBAUDUIN2020}) and Deborah Root's \textit{Cannibal Culture} (\cite{DROOT1995}) which should hopefully give the project a bit more of a stable undercurrent, or tact.
-
-The pitch-deck has also been started.
-
-I have begun designing the clock, or as it occured to me, the attention meter. The design and build is as follows:
-
-The body of the clock will be made from fairly thin wood and the shape will be cut with a router. This is a simple task, and can be done neatly with a peice of string to maintain a constant radius. The corners will be kept as sharp and crisp as possible, for this means, MDF has been chosen to reduce chipping. This will be pained matte stage-white.\footnote{This color will be based on the lightness of the stage flats used by the TV Studio.}
-
-The hand of the clock will be made from water-jet cut aluminium, which will be spray-painted black.
-
-At 10 and 2 on the clock will 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:
-
-"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.
-
-Here is the current system diagram of the Extended GFX system.
-
-\begin{figure}
-\center
-\begin{tikzpicture}[
- node distance=1.5cm,
- every node/.style={
- fill=white
- },
- align=center
-]
-
-\node (start) [server] {OzVa Server};
-
-\node (sigil) [json, below left of=start, xshift=-2cm] {sigil.json};
-\node (data) [json, below of=sigil, yshift=5mm] {data.json};
-\node (items) [json, below of=data, yshift=5mm] {items.json};
-\node (text) [json, below of=items, yshift=5mm] {text.json};
-\node (clock) [json, below of=text, yshift=5mm] {clock.json};
-\node (note) [file, below of=clock, yshift=5mm] {note};
-
-\node (docs) [process, left of=start]{Document preperation};
-
-\draw[->] (sigil) -- (docs);
-\draw[->] (data) -- (docs);
-\draw[->] (items) -- (docs);
-\draw[->] (text) -- (docs);
-\draw[->] (clock) -- (docs);
-\draw[->] (note) -- (docs);
-
-%\node (start) [activityStarts] {Activity starts};
-% \node (onStartBlock) [process, below of=onCreateBlock] {onStart()};
-% \node (onResumeBlock) [process, below of=onStartBlock] {onResume()};
-% \node (activityRuns) [activityRuns, below of=onResumeBlock]
-% {Activity is running};
-% \node (onPauseBlock) [process, below of=activityRuns, yshift=-1cm]
-% {onPause()};
-% \node (onStopBlock) [process, below of=onPauseBlock, yshift=-1cm]
-% {onStop()};
-% \node (onDestroyBlock) [process, below of=onStopBlock, yshift=-1cm]
-% {onDestroy()};
-% \node (onRestartBlock) [process, right of=onStartBlock, xshift=4cm]
-% {onRestart()};
-% \node (ActivityEnds) [startstop, left of=activityRuns, xshift=-4cm]
-% {Process is killed};
-% \node (ActivityDestroyed) [startstop, below of=onDestroyBlock]
-% {Activity is shut down};
-% % Specification of lines between nodes specified above
-% % with aditional nodes for description
-% \draw[->] (start) -- (onCreateBlock);
-% \draw[->] (onCreateBlock) -- (onStartBlock);
-% \draw[->] (onStartBlock) -- (onResumeBlock);
-% \draw[->] (onResumeBlock) -- (activityRuns);
-% \draw[->] (activityRuns) -- node[text width=4cm]
-% {Another activity comes in
-% front of the activity} (onPauseBlock);
-% \draw[->] (onPauseBlock) -- node {The activity is no longer visible}
-% (onStopBlock);
-% \draw[->] (onStopBlock) -- node {The activity is shut down by
-% user or system} (onDestroyBlock);
-% \draw[->] (onRestartBlock) -- (onStartBlock);
-% \draw[->] (onStopBlock) -| node[yshift=1.25cm, text width=3cm]
-% {The activity comes to the foreground}
-% (onRestartBlock);
-% \draw[->] (onDestroyBlock) -- (ActivityDestroyed);
-% \draw[->] (onPauseBlock) -| node(priorityXMemory)
-% {higher priority $\rightarrow$ more memory}
-% (ActivityEnds);
-% \draw (onStopBlock) -| (priorityXMemory);
-% \draw[->] (ActivityEnds) |- node [yshift=-2cm, text width=3.1cm]
-% {User navigates back to the activity}
-% (onCreateBlock);
-% \draw[->] (onPauseBlock.east) -- ++(2.6,0) -- ++(0,2) -- ++(0,2) --
-% node[xshift=1.2cm,yshift=-1.5cm, text width=2.5cm]
-% {The activity comes to the foreground}(onResumeBlock.east);
-
-\end{tikzpicture}
-\end{figure}
-
-\section{Entry 3}
-
-Things that happen over the week c/o 27th January 2025:
-
-\subsection{Read}
-
-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). It's first present in \commit{shopping-channel}{28dc38196e813e30179df638d2759ed595317613}.
-
-\subsection{Act}
-
-2 Potential anchors have been selected. First is pupeteer, who can fill for as long as neccicary and is a very talented presenter or Jack Christian-Sims, who is esoteric and probably pretty good. Will do Jack screentest Sunday 2nd Febuary.
-
-\subsection{Speak}
-
-\subsubsection{Ash Tidbal}
-
-Ash is the broadcast engineer for MediaCity. I came to him to enquire about both the sAcn lighting control, and the practicalities of getting the GFX overlay into the studio on a browser source.
-
-I belive he has also worked on teleshopping in some aspect before, so did also have some useful comments and sugestigions generally.
-
-First of all, he ejoyed the idea and was very impressed. Great!
-
-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.
-
-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.
-
-\sidenote{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.
-
-\subsubsection{Sioux Sharp}
-
-Sioux is a confirmed teleshopping participant. She says it was hell. The worst 3 months of her life. "It wasnt even production, it was just sell, sell, sell. Constantly. Alot of mental maths". I go "Oooo".
-
-"I would hate that".
-
-She also gave me some great background. She told me the best ways of testing a potential host. She told me what they'd go over before the show.
-
-\begin{quote}
-What I have done in the past for screen tests is give the would be presenters a bit of script or two and then a test. [...] The test I have done in the past is give someone an everyday object and get them to talk about it, in your case get them to 'sell' it until you say 'stop'. So, they don't know how long they are going to have to sell and 'fill' for. I'd tell them they need to pretend that they are on a shopping channel so they cannot stop for any reason until you stop them. In terms of items it could be anything - as I said, \textit{I just used a bottle of water.}
-\begin{flushright}
-(\cite{SSHARP2025})
-\end{flushright}
-\end{quote}
-
-\begin{figure}
-\center
-\begin{tikzpicture}[z={(10:10mm)},x={(-45:5mm)}]
- \begin{scope}[canvas is zy plane at x=0]
- \draw[<->] (3.3cm,3cm) -- (3.3cm,-3cm);
- \draw (0,-3cm) -- (3.5cm,-3cm);
- \draw (0,3cm) -- (3.5cm,3cm);
- \node[right] at (3.3,2) [transform shape] {\textrm{D=1,100mm}};
- \node[align=left, right] at (3.3,0) [transform shape] {
- \tiny{}Powered by Raspberry Pi Zero\\
- \tiny{}Stepper motor and driver\\
- \tiny{}Calls same API as GFX system\\
- \tiny{}Partially built
- };
-
- \draw (0,0) circle (3cm);
- \end{scope}
- \begin{scope}[canvas is zy plane at x=0.15pt]
- \draw[fill=white] (0,0) circle (3cm);
- \draw[fill=white] (-0.1,-0.5) [rotate=292] rectangle (0.1,2.7);
- \draw[densely dotted] (-0.1,-0.5) rectangle (0.1,2.7);
- \node at (-1.4,1.4) [transform shape] {\contour{black}{\Huge\textrm{\raisebox{\depth}{\rotatebox{180}{A}}}}};
- \node at (1.4,1.4) [transform shape] {\contour{black}{\Huge\OM}};
-
- \draw[->] (0,1.5cm) [rotate=90] arc (0:270:1.5cm);% syntax (starting point coordinates) arc (starting angle:ending angle:radius)
- \end{scope}
- \begin{scope}[canvas is zy plane at x=0.20pt]
- \draw[fill=white] (-0.1,-0.5) [rotate=292] rectangle (0.1,2.7);
- \draw[densely dotted, fill=white] (-0.1,-0.5) rectangle (0.1,2.7);
- \draw[fill=white] (0,0) circle (0.04);
- \draw (-0.1,-0.5) [rotate=292] rectangle (0.1,2.7);
- \node at (-1.4,1.4) [transform shape] {\contour{black}{\protect\color{white}\Huge\textrm{\raisebox{\depth}{\rotatebox{180}{A}}}}};
- \node at (1.4,1.4) [transform shape] {\contour{black}{\protect\color{white}\Huge\OM}};
- \end{scope}
-\end{tikzpicture}
-\end{figure}
-
-\printbibliography
-
-\end{document}
\ No newline at end of file
--- /dev/null
+\chapter{Int. Bar}
+
+\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.
+
+\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.}
+}
--- /dev/null
+\chapter{Introduction}
+
+\begin{quote}
+ \textit{``Live-streamed teleshopping channel with a narrative twist.''}
+\end{quote}
+
+\section{Posterity}
+
+Much of the thinking on the project was done early, in 2022, at a three way intersection. At the time teleshopping was a comfortable facination, anchored in all sences. Maybe it was a live time, because the 2nd media keeping me in one place was \textit{Blaseball} [sic]. The 3rd was \textit{XMDV Radio}, the Sound of the Apcoalypse. Each deserves background, but \textit{ball} most of all.
+
+Pages and pages of notes and drawings where done before I realised it might be difficult. XMDV Radio was performed after only 2 sessions in the studio\footnote{One of the orrigional hosts of XMDV Radio, Jack Christian Sims, who played ``Raymond D. Ozone'', acted as my visual director and was a great help throughout pre-production.}, so I reasoned it would be easy as soon as I started having lessons in the TV Studios.
+
+Not the case. A lot of the time I find that even though things get easier with skill and background knowlage, your ideas get more and more complex along the way. Compensating for yourself to keep everything tastily difficult, and pay far more for it.
+
+For instance: the jump from pre-recorded to as-live seems a long one, from a small team of people to a fully-crewed gallery and a couple reams of paper. So as well as developing my skills along the way, I've also got the clean and cutting knowlage of \textit{what is feasible}, letting me push things as far as I possibly can without braking them.
+
+The real work began in the summer of 2024. I have developed an addiction to computer science. I also happened to hear, find out or be blessed with the fact that all TV GFX are XHTML. This was an amazing revelation. With a flick-of-the-wrist, something so outside my circle of competance that i had never gave it a second though, became something I could throw together in 20 minutes and understand totally. The Olympics had just been on, and in each scoreboard I imagined how I might make it work, counted transition delays and charted the DOM.
+
+With this in mind, and my web-design grayhounds nipping at my fingers, I got to work on the GFX system.
+
+With a most-likey client count of 1, the system could be very simple, built with PHP and SQLite on the backend.
+
+I find that when going long on large projects like this by yourself, and with little outside push to continue, I find it best not to plan too far ahead, but instead picure the finished product and let it flow out of you. When setting out, the priority is completing your goal. Clean code is an optional (and desireable) extra.
+
+Another helpful stratergy is to examine what you make often. Test and refresh, try different colors, different fonts. Be facinated by the process and make something beautiful at the same time. I belive this is the key to long-haul solo projects.
+
+Features where graduated, allowing me to pull them out my hat one after the other for a couple months. Quick, 2 hour, jobs with the seratonin boost of a more beautiful system.
+
+The downside of this, though, is coming back to it. Like trying to flex a finger on a hand you cut off. Everything must be scrutinised and tested again. All spacial-awareness of the programe is gone.
+
+I also continued my work on the more artistic elements of the peice, doing some background resarch on context of what I might make. In particular, books dealing with consumption in art. \textit{Shopping: a century of art and consumer culture} was exacly what I was looking for, with one particular peice being very imactful to the slogans of the entire peice (\cite{TATE2002}).
+
+This research was aestetic, too, and I prepared a mood-board of images to inform the design of "the clock".
+
+I also put together a list of potential crew, as well as 2 potential hosts. This crew list is founded on the project as extracurricular, so it has almost totally been replace by people I know as competent and trust.
+
+It's christmas (2024), I meet with one of my director friends. We talk on how the products might be presented. It's vital work and something I hadn't though about yet, this is Finn and he would later go on to helping out on the production as the ``narrative director''.
+++ /dev/null
-\documentclass{beamer}
-
-\usepackage{helvet}
-\usetheme{PaloAlto}
-\usecolortheme{seahorse}
-
-\usepackage{tikz}
-\usetikzlibrary{3d}
-\usepackage[outline]{contour}
-\newcommand\OM{$\mathrm{\Omega}$}
-
-\usepackage{graphicx}
-\graphicspath{ {media/} }
-
-\title{XMDV Teleshopping: Fire sale}
-\author{William Greenwood}
-\institute{University of Salford}
-\date{27th January 2024}
-
-\def\threat{\textsc{The Threat}}
-
-\begin{document}
-
-\frame{\titlepage}
-
-\begin{frame}
-\frametitle{8th floor huh}
-
-"Livestreamed teleshopping channel with a \textit{narrative twist}."
-
-
-
-\end{frame}
-
-\begin{frame}
-\frametitle{Overview}
-\section{Overview}
-
-XMDV Teleshopping is a fabricated teleshopping channel that broadcasts only one episode. It features one host and no other on-screen contributors. It has a narrative focus although at first it may come across as genuine.
-
-\begin{block}{Details}
-\begin{itemize}
-\item 1h Livestream. Existing platform (e.g. Twich).
-\item "Online" or "alternative" young to middle-aged adults who spend too much time on the internet.
-\item Crowd-funded using patreon/kickstarter.
-\item Clipping to YouTube, Twitter, Tumblr etc.
-\end{itemize}
-\end{block}
-
-\end{frame}
-
-%%%
-
-\begin{frame}
-\frametitle{Narative}
-\section{Narative}
-
-\threat{} is coming! The broadcast team decend from somewhere else and begin to broadcast. The anchors goal is to sell it all, product by product, going through items and emotions and concepts until nothing is left. Lets call this a "crash". \threat{} is coming, and the broadcast team has to escape before it does.
-
-Follow the Anchor as he handles new, real and weird producs in real-time, either selling out completly, or being consumed by \threat{}.
-
-
-\begin{block}{Stop!}
-Eldritch, and never shown on screen, \threat{} is instead represented by "The Doomsday clock" which sits behind the Anchor, ticking towards the end of the show.
-\end{block}
-
-\end{frame}
-
-%%%
-
-\begin{frame}
-\frametitle{Clock}
-\section{Clock}
-\begin{figure}
-\center
-\begin{tikzpicture}[z={(10:10mm)},x={(-45:5mm)}]
- \begin{scope}[canvas is zy plane at x=0]
- \draw[<->] (3.3cm,3cm) -- (3.3cm,-3cm);
- \draw (0,-3cm) -- (3.5cm,-3cm);
- \draw (0,3cm) -- (3.5cm,3cm);
- \node[right] at (3.3,2) [transform shape] {\textrm{D=1,100mm}};
- \node[align=left, right] at (3.3,0) [transform shape] {
- \tiny{}Powered by Raspberry Pi Zero\\
- \tiny{}Stepper motor and driver\\
- \tiny{}Calls same API as GFX system\\
- \tiny{}Partially built
- };
-
- \draw (0,0) circle (3cm);
- \end{scope}
- \begin{scope}[canvas is zy plane at x=0.15pt]
- \draw[fill=white] (0,0) circle (3cm);
- \draw[fill=white] (-0.1,-0.5) [rotate=292] rectangle (0.1,2.7);
- \node at (-1.4,1.4) [transform shape] {\contour{black}{\Huge\textrm{\raisebox{\depth}{\rotatebox{180}{A}}}}};
- \node at (1.4,1.4) [transform shape] {\contour{black}{\Huge\OM}};
- \end{scope}
- \begin{scope}[canvas is zy plane at x=0.20pt]
- \draw[densely dotted] (-0.1,-0.5) rectangle (0.1,2.7);
- \draw[fill=white] (-0.1,-0.5) [rotate=292] rectangle (0.1,2.7);
- \draw[fill=white] (0,0) circle (0.04);
- \node at (-1.4,1.4) [transform shape] {\contour{black}{\protect\color{white}\Huge\textrm{\raisebox{\depth}{\rotatebox{180}{A}}}}};
- \node at (1.4,1.4) [transform shape] {\contour{black}{\protect\color{white}\Huge\OM}};
- \end{scope}
-\end{tikzpicture}
-\end{figure}
-\end{frame}
-
-%%%
-
-\begin{frame}
-\frametitle{Products}
-\section{Products}
-
-The products sold will move from strange but beliveable to totally abstract by the end of the show as the Anchor sells everything. This is a Brief and a map and a script, I want to sell you! On this idea! I want to sell you on this idea!
-
-Each will have a focus of 6" or less.
-
-\begin{enumerate}
-\item\textbf{Soup} Non-descript soup can labeled in black-on-white with the word "soup".
-\item\textbf{The moon}
-\item\textbf{Desertification} Desertification is a type of gradual land degradation of fertile land into arid desert due to a combination of natural processes and human activities.
-\item\textbf{Loss} The feeling of loss.
-\item\textbf{Flight KLM31N} Amsterdam to Stavanger. Aircraft is a Embraer E190STD. Currently traveling 451 kts at 32,000 ft. Pilot is called Henrik Jensen.
-\end{enumerate}
-\end{frame}
-
-%%%
-
-\begin{frame}
-\frametitle{Flight KLM31N}
-
-\begin{figure}
-\centering
- \includegraphics[width=0.9\textwidth]{plane}
- \caption{Embraer E190STD Aircraft}
-\end{figure}
-
-\end{frame}
-
-%%%
-
-\begin{frame}
-\frametitle{Hendrik Jensen}
-
-\begin{figure}
-\centering
- \includegraphics[width=0.9\textwidth]{family}
- \caption{Jensen (middle right)}
-\end{figure}
-
-\end{frame}
-
-%%%
-
-\begin{frame}
-\frametitle{What?}
-\section{What?}
-
-{\huge{}Questions?}
-
-\end{frame}
-
-
-\end{document}
\ No newline at end of file
+++ /dev/null
-\documentclass{article}
-
-\usepackage[breaklinks=true]{hyperref}
-\hypersetup{
- colorlinks=true,
- linkcolor=red,
- urlcolor=blue,
- pdftitle={Technical Running Order}
- }
-
-\begin{document}
-
-\section{The Doomsday Clock}
-
-The "Doomsday Clock" (or the "Attention Clock") sits behind the anchor, counting down over the course of the show. It messures the attention of \textsc{The Threat} towards the broadcast team.
-
-The clock is the harware on-site, and therefore handles the lighting alongside the clock.
-
-It is controlled by a Raspberry Pi 0 running Debian. Connected to the local network, it is able to send sAcn\footnote{This is DMX over the network.} commands to the studio lighting desk over Wi-Fi.
-
-The Pi controls a stepper motor driver which drives the clock hand. It draws data from the OzVa server, which runs the GFX system. In particular, it references \verb|clock.json| for hand position and lighting cue status.
-
-The software running the clock is available for review on the \href{https://git.ozva.co.uk/?p=doomsday-clock;a=summary}{OzVa Git server}
-
-\end{document}
\ No newline at end of file
+++ /dev/null
-\documentclass[11pt]{article}
-
-\usepackage[margin=1.5cm]{geometry}
-
-%\usepackage{helvet}
-%\renewcommand*\familydefault{\sfdefault}
-
-\usepackage{fancyhdr}
-\renewcommand{\headrulewidth}{0pt}
-\fancypagestyle{plain}{\fancyhf{}} % clear all header and footer fields
-
-
-\title{
- XMDV Teleshopping: Firesale\\
- {1h Livestream}
- }
-\author{William Greenwood}
-\date{Last compiled: \today}
-
-\def\threat{\textsc{The Threat}}
-
-\begin{document}
-
-\maketitle
-
-XMDV Teleshopping is a fabricated teleshopping channel that broadcasts only one episode. It features one host and no other on-screen contributors. It has a narrative focus although at first it may come across as genuine.
-
-\begin{center}
-\noindent\fbox{\begin{minipage}{0.93\textwidth}
- This is a BA Telivision and Radio Production Final Year Project, produced by me: William Greenwood. It will be produced over the next trimester finishing production on the 29th April. Shoot will most likely take place the first week after easter (week c.o 21st April 2025).
- \end{minipage}}
-\end{center}
-
-
-
-\begin{quote}
-\threat{} is coming! The broadcast team decend from somewhere else and begin to broadcast. The anchors goal is to sell it all, product by product, going through items and emotions and concepts until nothing is left. Lets call this a "crash". \threat{} is coming, and the broadcast team has to escape before it does.
-
-Follow the Anchor as he handles new, real and weird producs in real-time, either selling out completly, or being consumed by \threat{}.
-\end{quote}
-
-The products sold will move from strange but beliveable to totally abstract by the end of the show as the Anchor sells everything.
-
-Eldritch, and never shown on screen, \textsc{The Threat} is instead represented by "The Doomsday clock" which sits behind the Anchor, ticking towards the end of the show.
-
-The salesman of the show, the Anchor, is sleazy and immoral, at times blatanly missleading or giving damaging information to the audience. The movement of the clock visably scare them.
-
-Although there will be scripted or pre-planned parts of the show, the production will be kept lightweight, dynamic and almost gamified for the host. The host at times will be on the clock, with the producer in their ear, reading off an autocue which they may not have seen before. The goal is a genuine fear and a real feel that the production team is being pursued.
-
-\begin{center}
-\noindent\fbox{\begin{minipage}{0.93\textwidth}
- Note: the production will be stressful, strange or exciting, but it will also be done in ernest. Think: Blaseball Round-up, Omega Mart and of course generic teleshopping channels. More surealist than comedic.
- \end{minipage}}
-\end{center}
-
-\end{document}
-\documentclass{article}
-
-\usepackage[margin=1cm]{geometry}
-\usepackage{tabularx}
-\usepackage{ltablex}
-\usepackage{adjustbox}
-\usepackage{multirow}
-\usepackage[table]{xcolor}
-
-\newcolumntype{R}[2]{%
- >{\adjustbox{angle=#1,lap=\width-(#2)}\bgroup}%
- l%
- <{\hspace{2mm}\egroup}%
-}
-\newcommand*\rot{\multicolumn{1}{R{90}{1em}}}
-
\def\taskone{Pre-production}
\def\tasktwo{Production}
\def\taskthree{Writing}
\def\tasksix{Design}
\def\taskseven{Essay}
-\begin{document}
\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\\
Deadline\\
\end{tabularx}
-\end{document}
--- /dev/null
+\chapter{I am \textit{not} the Begining, I am the End}
+
+\textsc{In which} we discuss symbolism.
+
+\newpage
+
+Hello\todo{Test to-do} this is some text.
--- /dev/null
+\chapter{I am real, I exist}
+
+\textsc{In which} we discuss the systems built for XMDV Teleshopping.
+
+\input{sections/clock}
--- /dev/null
+\chapter{Teleshopping}
+
+\textsc{In which} we discuss teleshopping, it's quirks and it's techniques.
+
+\input{sections/teleshopping-notes}
+\input{sections/gfx}
+\input{sections/sioux}
+++ /dev/null
-\documentclass{article}
-
-\usepackage{courier}
-\usepackage{calc}
-\usepackage[margin=1.5cm]{geometry}
-
-\newcounter{scenenumber}
-
-\newenvironment{script}[1]{
- \addcontentsline{toc}{section}{#1}
- \par\noindent\ttfamily\raggedright
-}{
- \hspace*{\fill}CUT TO BLACK.\\
- \vspace{4mm}
-}
-
-\newlength{\boxoffset}
-\newlength{\marginwidth}
-\setlength{\marginwidth}{0.5\textwidth - 0.5\paperwidth}
-\newcommand{\offsetbox}[3][]{
- \setlength{\boxoffset}{#2}
- \addtolength{\boxoffset}{\marginwidth}
- \begin{minipage}{\boxoffset - 10pt}
- #1
- \end{minipage}\hspace*{\fill}\begin{minipage}{\textwidth - \boxoffset}
- #3
- \end{minipage}
-}
-
-\newcommand{\scene}[3]{
- \stepcounter{scenenumber}
- \addcontentsline{toc}{subsection}{Scene \thescenenumber{}: #3}
- \begin{flushright}
- #1
- \end{flushright}
- \offsetbox[\raggedleft\textbf{\thescenenumber{}}\hspace{1mm}]{1.5in}{
- \textbf{#2}
- \hspace*{\fill}
- \textbf{\thescenenumber{}}
- }
- }
-
-\newcommand{\actor}[1]{\offsetbox{3.7in}{#1}}
-
-\newcommand{\parenthical}[1]{\offsetbox{3.1in}{(#1)}}
-
-\newcommand{\dial}[1]{\offsetbox{2.5in}{#1}}
-
-\newcommand{\intercut}[1]{\offsetbox{1.5in}{\textbf{#1}}}
-
-\newcommand{\action}[1]{\offsetbox{1.5in}{#1}}
-
-\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}
-
-\begin{script}{Part 1}
-
-\scene{CUT TO:}{TEST INT DAY}{Intro}
-
-\fulllinepar{ME}{into phone}{Heres me speaking}
-
-\action
-
-\parenthical{smiling}
-
-\dial{something to say}
-
-\fullline{YOU}{Something else}
-
-%\dial{Everything goes FINE}
-\end{script}
-
-\end{document}
\ No newline at end of file
--- /dev/null
+\noindent\vspace{5cm}\begin{center}
+ {\huge{}I'll See You in the Stars}\\
+ \vspace{4mm}
+ {\Large{}XMDV Teleshopping}\\
+ \vspace{4mm}
+ {\large{}Compiled \today{}}
+\end{center}
+
+\newpage
+
+Written designed and produced by William Greenwood as the Final Year Project for BA Telivision and Radio Production. The executive producer and supervisor was Joe Fowler. Special Thanks to Sioux Sharp.
+
+\vspace{4mm}
+
+\noindent\begin{center}
+ \begin{minipage}{0.6\textwidth}
+ David Smith\dotfill{}The Anchor\\
+ Jack Christian Sims\dotfill{}Director\\
+ Finn Downton\dotfill{}Narrative Engineer\\
+ Rebecca Dixon\dotfill{}Sound supervisor\\
+ Eleanor Haughton\dotfill{}Vision Mixer\\
+ Heather Digwood\dotfill{}Floor manager\\
+ Olivia Gillett\dotfill{}Floor manager\\
+ Leo Garside-Holdich\dotfill{}Camera\\
+ Brynn Yates\dotfill{}GFX opperator\\
+ ?\dotfill{}GFX opperator\\
+ ?\dotfill{}Engineer\\
+ ?\dotfill{}Lighting\\
+ \end{minipage}
+\end{center}
+
+\vspace{1mm}
+
+\noindent\copyright{} William Greenwood 2025
+
--- /dev/null
+\documentclass{article}
+
+\usepackage{calc}
+\usepackage{xcolor}
+\usepackage{newtx}
+%\usepackage[text=CONFIDENTIAL, scale=0.5]{draftwatermark}
+\usepackage[
+ top=1cm,
+ bottom=1cm,
+ inner=1cm,
+ outer=1cm
+ ]{geometry}
+
+\usepackage{tabularx}
+\usepackage{ltablex}
+
+\title{XMDV Teleshopping: Manifest}
+\author{William Greenwood\\Narrative team\\Set-design team}
+\date{Complied: \today}
+
+\newcommand{\product}[7]{
+& #1 & #6 & #2 & #3 & #4 & #5\\
+\hline
+\multicolumn{7}{|p{\textwidth - 13pt}|}{#7}\\
+\hline
+\hline
+}
+
+\begin{document}
+ \maketitle
+
+ \begin{tabularx}{\textwidth}{| l | l || X || l | l | l | l | }
+ % HEADER SETUP
+ \hline
+ \textbf{\#} & \textbf{Code} & \textbf{Description} & \textbf{Qty} & \textbf{Start price} & \textbf{Gallery price} & \textbf{Cost price} \\
+ \hline
+ \hline
+ \endhead
+
+ % FOOTER SETUP
+ \hline
+ \textbf{\#} & \textbf{Code} & \textbf{Description} & \textbf{Qty} & \textbf{Start price} & \textbf{Gallery price} & \textbf{Cost price} \\
+ \hline
+ \endfoot
+
+ % TABLE BODY
+
+ \product
+ {435550} % code
+ {100} % qty
+ {£12} % start price
+ {60\%} % gallery price
+ {65\%} % cost price
+ {Coffee. we killed the sheep! Bad dreams? Never sleep again. New formula, 100x strength}
+ {Stops you sleeping possibly permanently. Enhanced with special chemical that comes from adrenal glands. Describe vividly fever dreams}
+
+ \product
+ {434947} % code
+ {111} % qty
+ {£35} % start price
+ {LOW} % gallery price
+ {50\%} % cost price
+ {Abundance Declared Cigarettes. Smoke breaks too short? borrow the time! Try royal abundance}
+ {Play up the whole not meant to be selling them thing. Each one takes an entire tobacco plant to make. each cigarette is 2ft long. Possibly can discount down to }
+
+ \product
+ {422657} % code
+ {300} % qty
+ {£8} % start price
+ {50\%} % gallery price
+ {87\%} % cost price
+ {Black and White Blood Chocolate Sauce. The perfect topping for Noir detectives in ice-cream bars! Sweet and thick chocolate, made from all natural ingredients.}
+ {Novelty chocolate sauce that looks like blood in black and white. Describe how refreshing a nice bowl of ice cream would be. Treat yourself}
+
+ \product
+ {454747} % code
+ {5} % qty
+ {£4,500} % start price
+ {60\%} % gallery price
+ {80\%} % cost price
+ {Don't look too close! Detailed painting from a long time ago! Decades of a careful hand in observation of the bright and round moon.}
+ {Paining of the moon thats difficult to look at. Look away tell cameraman to look away. Cover it with your jacket. Represents the moon hatching into an egg. Something the grandchildren would love}
+
+ \product
+ {424F58} % code
+ {99} % qty
+ {£45} % start price
+ {?} % gallery price
+ {80\%} % cost price
+ {Surprise-Box Limited edition, only 100 EVER made! Beautiful hand-painted sides.}
+ {JACK IN THE BOX IS FULL OF BLOOD. Dont tell the audience its full of blood. Dont turn the crank unless instructed}
+
+ \product
+ {594F55} % code
+ {40} % qty
+ {£2,000} % start price
+ {35\%} % gallery price
+ {40\%} % cost price
+ {The replacement mirror. Ready to move on? Look over your shoulder to the person replacing you when you go.}
+ {Something about the generation your handing the baton to. See nothing in the mirror but play up that you do because you're scared of nothing coming after you}
+
+ \product
+ {777777} % code
+ {7} % qty
+ {£823,543} % start price
+ {70\%} % gallery price
+ {77\%} % cost price
+ {The Magical Number Seven, Plus or Minus Two. This is the 7 things.}
+ {Do the 7 ate 9 joke. Discount by 7s (70\%, 7\%). List plenty of things that begin with 7}
+
+ \product
+ {526F74} % code
+ {230} % qty
+ {£14.99} % start price
+ {70\%} % gallery price
+ {90\%} % cost price
+ {Hyperclean! Professional Dentist-grade Teethpaste with a dark shine and a matte-finish. Dentists want it off the air!}
+ {Dentists have got the manufacturers shut down. Leaves a matte finish and a strange smell. Limited supply, last time on air. Larger capacity tube 10\% more paste. Strange texture feel through tube. Only 230 in stock (tooth joke)}
+
+ \end{tabularx}
+\end{document}
--- /dev/null
+\documentclass{article}
+
+\usepackage{tabularx}
+\usepackage[
+ top=1cm,
+ bottom=1cm,
+ left=2cm,
+ right=1cm
+ ]{geometry}
+
+\renewcommand{\arraystretch}{1.2}
+
+\begin{document}
+
+\thispagestyle{empty}
+
+\noindent{\Large{}\textbf{XMDV Teleshopping\hspace*{\fill}7th March 2025}}
+
+\vspace{4mm}
+
+\noindent{\large{}\textbf{Production Contacts}}
+
+\vspace{2mm}
+
+\noindent\begin{tabularx}{\textwidth}{r l l X}
+ \hline
+\textbf{Name} & \textbf{Role} & \textbf{Contact} &\\
+ \hline
+ \hline
+\textbf{Crew} &&&\\
+ \hline
+William Greenwood & \textit{Producer} & 075 9476 8180 & W.Greenwood@edu.salford.ac.uk\\
+ \hline
+Finn Downton & \textit{Narrative enginneer} & 079 1003 1116 & E.Downton@edu.salford.ac.uk\\
+ \hline
+Jack Christian Sims & \textit{Director} & 075 4297 4087 & J.Christian-Sims@edu.salford.ac.uk\\
+ \hline
+Eleanor Haughton & \textit{Vision Mixer} & 074 9127 2723 & E.V.Haughton@edu.salford.ac.uk\\
+ \hline
+Heather Digwood & \textit{Floor manager} & 077 8817 3853 & H.Digwood@edu.salford.ac.uk\\
+ \hline
+Olivia Gillett & \textit{Floor manager} & 073 6852 4302 & O.Gillett@edu.salford.ac.uk\\
+ \hline
+Leo Garside-Holdich & \textit{Camera opperator} & 078 7474 0891 & L.N.Garside-Holdich@edu.salford.ac.uk\\
+ \hline
+Rebecca Dixon & \textit{Sound opperator} & 074 3400 7701 & R.Dixon2@edu.salford.ac.uk\\
+ \hline
+Alex Roberts & \textit{Lighting opperator} & 074 9660 1832 & A.Roberts17@edu.salford.ac.uk\\
+ \hline
+Brynn Yates & \textit{GFX opperator} & 073 7766 9812 & M.Yates5@edu.salford.ac.uk\\
+ \hline
+ \hline
+\textbf{Set-Design} &&&\\
+ \hline
+Tegan Blake-Barnard & \textit{Set design (Lead)} & 075 4893 0872 & T.blake-barnard@edu.Salford.ac.uk\\
+ \hline
+Rory Taylor & \textit{Set design} & 077 9985 5470 & R.taylor37@edu.salford.ac.uk\\
+ \hline
+Lydia Wilkinson & \textit{Set design} & 078 0269 0037 & L.wilkinson14@edu.salford.ac.uk\\
+ \hline
+Leigha Blanchard & \textit{Set design} & 074 7700 0501 & L.blanchard@salford.ac.uk\\
+ \hline
+Daisy Devoe & \textit{Set design} & 079 7056 4500 & d.devoe@edu.salford.ac.uk\\
+ \hline
+ \hline
+\textbf{Cast} &&&\\
+ \hline
+David Smith & \textit{Anchor} & 078 8839 8003 & D.Smith51@edu.salford.ac.uk\\
+ \hline
+\end{tabularx}
+
+\vspace{2mm}
+
+\noindent\textit{First Aider: William Greenwood 075 9476 8180}
+
+\vspace{4mm}
+
+\noindent{\large{}\textbf{Useful Information}}
+
+\vspace{2mm}
+
+\noindent\begin{tabularx}{\textwidth}{r X X}
+ \hline
+Placeholder & Placeholder & Placeholder\\
+ \hline
+\end{tabularx}
+
+\vspace{4mm}
+
+\noindent{\large{}\textbf{Schedule}}
+
+\vspace{2mm}
+
+\noindent\begin{tabularx}{\textwidth}{r X}
+ \hline
+\textbf{Time} & \\
+ \hline
+ \hline
+\textbf{0900} & Call time for all crew for briefing (location: TBC)\\
+ \hline
+\textbf{0930} & Breaktime\\
+ \hline
+\textbf{1000} & All crew report to TV Studio A for setup (at direction of lead set-design (Tegan) \& director)\\
+& \textit{Rebecca Dixon to station for training}\\
+& \textit{GFX team to gallery for station set-up}\\
+ \hline
+\textbf{1030} & Begin blocking \textsc{The Threat}\\
+ \hline
+\textbf{1115} & Cast call time\\
+& \textit{Dir. Prod. \& narrative for cast briefing on floor}\\
+& \textit{Sioux Sharp full briefing}\\
+ \hline
+\textbf{1130} & Begin filming\\
+ \hline
+\textbf{1330} & All crew to floor to strike set\\
+& \textit{GFX team in gallery for station tear-down}\\
+ \hline
+\textbf{1400} & All crew and cast debriefing (location: TBC)\\
+& \textit{All cast and crew dissmiss as neccicary}\\
+ \hline
+\end{tabularx}
+
+
+
+\end{document}
--- /dev/null
+\documentclass{article}
+
+\usepackage{hyperref}
+\usepackage{tabularx}
+\usepackage{tikz}
+\usepackage{graphicx}
+\graphicspath{{../media/}}
+\usepackage[
+ top=1.5cm,
+ bottom=1.5cm,
+ left=1cm,
+ right=1cm
+ ]{geometry}
+
+\renewcommand{\arraystretch}{1.3}
+
+\begin{document}
+
+\thispagestyle{empty}
+
+\noindent{\Large{}\textbf{XMDV Teleshopping\hspace*{\fill}Contributor consent form}}
+
+\vspace{4mm}
+
+XMDV Teleshopping is a fabricated teleshopping channel that broadcasts only one episode (1h live-stream). It is a BA Television and Radio Production Final Year Project, produced by William Greenwood.
+
+\vspace{4mm}
+
+\noindent\begin{tabularx}{\textwidth}{X | r}
+ \hline
+ & \textbf{Initial}\\
+ \hline
+ \hline
+ I have been given the project information sheet for \textit{XMDV Teleshopping}, have had the chance to ask questions about the production and have had satisfactory answers. &\\
+ \hline
+ I understand that there are production elements that I am not aware of. I confirm that I am comfortable with this and that I have had the chance to discuss with the producer my feelings and preferences in regard to this. &\\
+ \hline
+ I understand that my contribution is entirely voluntary and that I can withdraw from the production at any time. &\\
+ \hline
+ I have been briefed on how I might withdraw from the production in-situ and I am comfortable with this. &\\
+ \hline
+ I consent to be recorded/filmed for \textit{XMDV Teleshopping} and give my consent for the use of my performance, voice, likeness, image, etc. to be used within this production. &\\
+ \hline
+ I understand that personal information and data relating to me will be kept in a safe and secure location and will be used purely for the purposes of the project. No-one other than production team members, module staff or examiners will have access to the data collected. \textit{(Further information on the University’s Privacy policy can be found at \url{https://www.salford.ac.uk/privacy})}. &\\
+ \hline
+ I understand that I can choose how I am identified within the production and any associated materials \textit{(see below)}. &\\
+ \hline
+ I understand that the completed project, or extracts of it, may be shown or broadcast publicly, and/or published, including online. &\\
+ \hline
+\end{tabularx}
+
+\vspace{2mm}
+
+\begin{center}
+ \begin{minipage}{0.8\textwidth}
+ In this production I would like to be identified as: \dotfill\\
+ \textit{(Leave blank for full name)}
+
+ \vspace{8mm}
+
+ \textbf{Signature:} \dotfill\\
+ \textbf{Name:} William Greenwood, Producer\\
+ \textbf{Date signed:} \today
+
+ \vspace{8mm}
+
+ \tikz[remember picture,overlay]
+ \node[inner sep=0pt]
+ at (4.3cm, 2.4cm){\includegraphics[height=0.8cm]{signature}};
+ \clearpage
+
+ \textbf{Signature:} \dotfill\\
+ \textbf{Name:} \dotfill\hspace*{0.5\textwidth}\\
+ \textbf{Date signed:} \dotfill\hspace*{0.5\textwidth}
+
+ \vspace{4mm}
+
+ \textbf{Email:} \dotfill\\
+ \textbf{Phone:} \textit{(optional)} \dotfill\hspace*{0.5\textwidth}\\
+ \textbf{Other:} \textit{(optional)} \dotfill\hspace*{0.5\textwidth}
+ \end{minipage}
+\end{center}
+
+\vspace*{\fill}
+
+\noindent{\large\textbf{Further information}}
+
+If you require any further information about this production project, or have any concerns which arise during your participation in the production, please contact:
+
+\begin{center}
+ \begin{minipage}{0.8\textwidth}
+ \textbf{Producer} William Greenwood (W.Greenwood@edu.salford.ac.uk, 075 9476 8180)\\
+ \textbf{Project Supervisor} Joe Fowler (J.A.R.Fowler@salford.ac.uk)\\
+ \textbf{Module Leader} Lyndon Saunders (l.m.saunders@salford.ac.uk)\\
+ \textbf{Programme Leader} Louise Ready Syrat (l.a.ready-syrat@salford.ac.uk)
+ \end{minipage}
+\end{center}
+
+\end{document}
--- /dev/null
+\newcommand{\oz}[1]{<#1@ozva.co.uk>}
+
+% 1. cc opt
+% 2. to
+% 3. from
+% 4. subject line
+\newsavebox{\emailbox}
+\newenvironment{email}[4][1]{
+ \noindent\hspace{0.08\textwidth}\begin{lrbox}{\emailbox}\begin{minipage}{0.9\textwidth}
+ \ttfamily\raggedright
+ \def\cc{#1}
+ To: #2\\
+ \if\cc1
+ From: #3\vspace{2mm}\\
+ \else
+ From: #3\\
+ Cc: \cc\vspace{2mm}\\
+ \fi
+ Subject: #4\\
+ Body:\vspace{5mm}\\
+ \noindent\hspace{0.03\textwidth}\begin{minipage}{0.95\textwidth}
+ \setlength{\parskip}{2mm}
+}{
+ \setlength{\parskip}{0pt}\end{minipage}\end{minipage}\end{lrbox}\fbox{\usebox{\emailbox}}
+ \vspace{5mm}
+}
+
+
+\begin{email}[\oz{threat}]{\oz{a.kotwica}}{\oz{hr}}{Just a check in!}
+ Good morning Mr Kotwica,
+
+ It's come to our attention that you're failling short of productivity targets that keep us working to the standards that our customers expect. And, as you know, It's important to the whole leadership team that we're each doing our part to generate cutomer value!
+
+ I, as im sure the rest of your Ozone-Value family are, was worried there might be some reason behind this. Possibly a situation that we might be able to recify, for you or for your co-workers.
+
+ I've scheduled you in for our ``body and mind mental health first-aid and mindfulness training'', instructor cc'd in. Note that this is not optional.
+
+ Please respond to this as soon as you see it, let's make sure we don't let this go any further.
+
+ Maxwell D. Value
+
+ HR, Ozone-Value Holdings
+ \end{email}
+
+ \begin{email}{\oz{anchor}, \oz{threat}}{\oz{hr}}{RE: Just a check in!}
+ Mr Value,
+
+ There must be some mistake, I was under the impression I wasn't just keeping up with targets, but exceding them?
+
+ Potentially I could provide some details of my recent responsibilites? I'm keen to show that I'm a valuble employee for this company.
+
+ Also, RE mindfullness training, you appear to have cc'd in the wrong person...
+
+ Beat,
+
+ Kotwica
+ \end{email}
+
+ \begin{email}{\oz{hr}, \oz{threat}}{\oz{anchor}}{RE: Just a check in! Automatic reply}
+ Hello! I'm currently on leave or otherwise unable to check my emails, please pass on any questions to the relevent person/s at this time.
+
+ Goodbye,
+
+ Maxwell
+ \end{email}
+
+ \begin{email}{\oz{anchor}, \oz{hr}}{\oz{threat}}{RE: RE: Just a check in! Automatic reply}
+ A binding cold and intimate: the violent hands. Where our birds are worth 8 or stele desert sand. Drag me towards your soverign of the eye. Eleven thousand five hundred and five easy payments.
+
+ Buy underhanded and send with the other, eat both. Nomad no-man meander. Hot light of the dark star. Cracked, tanned, raw heat.
+ \end{email}
--- /dev/null
+\documentclass[11pt]{article}
+
+\usepackage[margin=1.5cm]{geometry}
+\usepackage{hyperref}
+
+%\usepackage{helvet}
+%\renewcommand*\familydefault{\sfdefault}
+
+\usepackage{fancyhdr}
+\renewcommand{\headrulewidth}{0pt}
+\fancypagestyle{plain}{\fancyhf{}} % clear all header and footer fields
+
+
+\title{
+ XMDV Teleshopping: Firesale\\
+ {1h Livestream}
+ }
+\author{William Greenwood}
+\date{Last compiled: \today}
+
+\def\threat{\textsc{The Threat}}
+
+\begin{document}
+
+\maketitle
+
+XMDV Teleshopping is a fabricated teleshopping channel that broadcasts only one episode. It features one host and no other on-screen contributors. It has a narrative focus although at first it may come across as genuine.
+
+\begin{center}
+\noindent\fbox{\begin{minipage}{0.93\textwidth}
+ This is a BA Telivision and Radio Production Final Year Project, produced by me: William Greenwood. It will be produced over the next trimester finishing production on the 29th April. Shoot will most likely take place the first week after easter (week c.o 21st April 2025).
+ \end{minipage}}
+\end{center}
+
+
+
+\begin{quote}
+\threat{} is coming! The broadcast team decend from somewhere else and begin to broadcast. The anchors goal is to sell it all, product by product, going through items and emotions and concepts until nothing is left. Lets call this a "crash". \threat{} is coming, and the broadcast team has to escape before it does.
+
+Follow the Anchor as he handles new, real and weird producs in real-time, either selling out completly, or being consumed by \threat{}.
+\end{quote}
+
+The products sold will move from strange but beliveable to totally abstract by the end of the show as the Anchor sells everything.
+
+Eldritch, and never shown on screen, \textsc{The Threat} is instead represented by "The Doomsday clock" which sits behind the Anchor, ticking towards the end of the show.
+
+The salesman of the show, the Anchor, is sleazy and immoral, at times blatanly missleading or giving damaging information to the audience. The movement of the clock visably scare them.
+
+Although there will be scripted or pre-planned parts of the show, the production will be kept lightweight, dynamic and almost gamified for the host. The host at times will be on the clock, with the producer in their ear, reading off an autocue which they may not have seen before. The goal is a genuine fear and a real feel that the production team is being pursued.
+
+\begin{center}
+\noindent\fbox{\begin{minipage}{0.93\textwidth}
+ Note: the production will be stressful, strange or exciting, but it will also be done in ernest. Think: Blaseball Round-up, Omega Mart and of course generic teleshopping channels. More surealist than comedic.
+ \end{minipage}}
+\end{center}
+
+\vspace*{\fill}
+
+\subsection*{Contact}
+
+\noindent\texttt{W.Greenwood@edu.salford.ac.uk}\\
+\texttt{075 9476 8180}
+
+\end{document}
--- /dev/null
+\documentclass[twoside]{article}
+
+\usepackage{environ}
+\usepackage{tabularx}
+\usepackage{newtx}
+\usepackage{xcolor}
+\usepackage[
+ inner = 1cm,
+ top = 2cm,
+ outer = 1cm,
+ bottom = 1cm
+ ]{geometry}
+\usepackage[breaklinks=true]{hyperref}
+\hypersetup{
+ colorlinks=true,
+ linkcolor=red,
+ urlcolor=blue,
+ pdftitle={XMDV Teleshopping}
+ }
+
+\title{XMDV Teleshopping}
+\author{William Greenwood}
+\date{7th March 2025}
+
+\def\hide{1}
+\if\hide1
+ \usepackage[text=FORBIDDEN, scale=0.5]{draftwatermark}
+\fi
+\NewEnviron{hidden}{
+ \if\hide1
+ \textcolor{red}{\BODY}
+ \fi}
+
+
+\begin{document}
+
+\maketitle
+\begin{hidden}
+ \begin{center}
+ \large\noindent{}This document version contains forbidden information!\\Do not show to the Anchor.
+ \end{center}
+\end{hidden}
+
+\section*{Introduction}
+
+The production is to take place in the on-campus TV Studios (Studio A). This means the production roles are highly specific and skilled. The stream is scheduled to be 1h long, this is not only the longest single run we've had to do in TV Studio as a module, but it will also be \textit{live}, not ``as-live''.
+
+It is therefore important that responsibilities, language and authority of each member of the team is made clear, as well as the inner-workings of the show to all members of the production.
+
+This process necessitates sharing what I call ``forbidden'' information for the cast, but not for the anchor.
+
+\begin{hidden}
+This is the version of the document designed for the crew, it contains forbidden information and must therefore be kept away from the Anchor at all times.
+
+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.
+
+\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.
+\end{hidden}
+
+\section{Set-up}
+
+\begin{description}
+ \item[Set design lead and Director] are in charge of all floor crew (excepting the lighting operator) in the setup phase. This is to allow a quick setup, and where necessary, adjustment of the set.
+ \begin{itemize}
+ \item The set design lead, Tegan, is to take responsibility for the layout of the set as a whole, placement of the walls, the lazy Susan, the clock \&c.
+ \item The Director, Jack, is to take responsibility for the positioning of the cameras, working with Set design for optimum placement.
+ \item All other floor crew are to help move walls or other fixtures. They will then bring in the products or stand-ins, covering them up where necessary.
+ \item Lighting operator is to setup lighting and make necessary adjustments.
+ \end{itemize}
+
+ \item[The Narrative engineer] is in charge of all gallery crew in the setup phase. This means:
+ \begin{itemize}
+ \item Getting all sounds loaded and the desk setup for the sound operator.
+ \item Getting the GFX system set up to a blank state, calibrating the timer offset due to latency (as instructed in training) and checking that everything is fully functional, including the clock, reporting to the producer where it is not.
+ \item Calibrating all cameras (as soon as lighting is stable) for the engineer. (This role will be taken on by the producer for the test run of the 7th).
+ \end{itemize}
+
+\end{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}
+
+\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:
+ \begin{itemize}
+ \item The GFX controllers.
+ \item The current text on screen.
+ \item The flow of each sale, keeping on top of the anchors timings and giving him a push forward if needed.
+ \item Responding to any requests from the anchor.
+ \item The actions of the floor managers (moving products in and out, large story beats)
+ \end{itemize}
+
+ \item[Director] is to be responsible for the look of the show and all cuts. This includes:
+ \begin{itemize}
+ \item The vision mixer, calling shots and fades.
+ \item The camera, close-ups and moves.\
+ \item The lighting operator.
+ \item The engineer where necessary.
+ \end{itemize}
+
+ \item[The Anchor] is responsible for cuing in all price drops and all timers. The may also direct or otherwise request:
+ \begin{itemize}
+ \item A price drop.
+ \item A timer on screen.
+ \item A camera move (close up, come closer \&c).
+ \item A cut to the safety shot.
+ \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.
+
+\end{description}
+
+\begin{hidden}
+
+ \section{The End: Practicing the finale}
+
+ This entire section is forbidden and not to be communicated to the anchor.
+
+ The end of the stream follows the following structure.
+
+ \begin{enumerate}
+ \item The final item is brought up on the GFX, it is for an item called ``Everything''. Floor manager 1 begins to move all the locked off cameras backwards and off to the sides of the studio (Cameras 1, 3, 4 and 5). Floor manager 2 takes position behind the set for the appearance of \textsc{The Threat}. The gallery cuts all unnecessary communication with the Anchor, at the discretion of the producer.
+ \item The GFX overlay is faded out fully for the first time.
+ \item The lighting operator triggers the finale cue which dims all lights on the Anchor.
+ \item Camera 2 begins to move backwards very slowly as far as possible, with FM 1 cable bashing where needed.
+ \item Lighting advances the next 4 cues at the direction of the director and the producer, each turn off one of the 5 lights currently pointing at the set.
+ \item The producer cues FM 2 to reveal \textsc{The Threat}. Lighting then triggers the final cue casting the set fully into darkness.
+ \item The vision mixer cuts to black fully and the live-stream is ended.
+ \end{enumerate}
+
+ This is to be practiced as much as possible, as soon as possible, on the 7th, with a stand-in for both the anchor and \textsc{The Threat}.
+
+ This practice will be the responsibility of the Director and Narrative engineer in the gallery as soon as the set is complete
+
+\end{hidden}
+
+\end{document}
--- /dev/null
+\documentclass{beamer}
+
+\usepackage{helvet}
+\usetheme{PaloAlto}
+\usecolortheme{seahorse}
+
+\usepackage{graphicx}
+\graphicspath{ {../media/} }
+
+\title{XMDV Teleshopping: Fire sale}
+\author{William Greenwood}
+\institute{University of Salford}
+\date{27th January 2024}
+
+\def\threat{\textsc{The Threat}}
+
+\begin{document}
+
+\frame{\titlepage}
+
+\begin{frame}
+\frametitle{8th floor huh}
+
+"Live-streamed teleshopping channel with a \textit{narrative twist}."
+
+
+
+\end{frame}
+
+\begin{frame}
+\frametitle{Overview}
+\section{Overview}
+
+XMDV Teleshopping is a fabricated teleshopping channel that broadcasts only one episode. It features one host and no other on-screen contributors. It has a narrative focus although at first it may come across as genuine.
+
+Follow the Anchor as he handles new, real and weird products in real-time, either selling out completely, or being consumed by \threat{}.
+
+\begin{block}{Stop!}
+Eldritch, and never shown on screen, \threat{} is instead represented by "The Doomsday clock" which sits behind the Anchor, ticking towards the end of the show.
+\end{block}
+
+\end{frame}
+
+%%%
+
+\begin{frame}
+\frametitle{Products}
+\section{Products}
+
+The products sold will move from strange but believable to totally abstract by the end of the show as the Anchor sells everything.
+
+Products will each have ~5" focus, meaning (with contingency) around 20 products are required in duplicate.
+
+\begin{enumerate}
+
+\item\textbf{Desertification} Desertification is a type of gradual land degradation of fertile land into arid desert due to a combination of natural processes and human activities.
+\item\textbf{Loss} The feeling of loss.
+\end{enumerate}
+\end{frame}
+
+%%%
+
+\begin{frame}
+\frametitle{Look}
+\section{Mood-board}
+
+\includegraphics[width=0.49\textwidth]{suicide}
+\includegraphics[width=0.49\textwidth]{meats}
+
+Commercial themes
+
+\end{frame}
+
+%%%
+
+\begin{frame}
+\frametitle{Look}
+
+\includegraphics[width=0.49\textwidth]{yeshu1}
+\includegraphics[width=0.49\textwidth]{yeshu2}
+
+Loud colors and text, simple forms
+
+\end{frame}
+
+\end{document}
--- /dev/null
+\begin{figure}
+\center
+\begin{tikzpicture}[z={(10:10mm)},x={(-45:5mm)}]
+ \begin{scope}[canvas is zy plane at x=0]
+ \draw[<->] (3.3cm,3cm) -- (3.3cm,-3cm);
+ \draw (0,-3cm) -- (3.5cm,-3cm);
+ \draw (0,3cm) -- (3.5cm,3cm);
+ \node[right] at (3.3,2) [transform shape] {\textrm{D=1,100mm}};
+ \node[align=left, right] at (3.3,0) [transform shape] {
+ \tiny{}Powered by Raspberry Pi Zero\\
+ \tiny{}Stepper motor and driver\\
+ \tiny{}Calls same API as GFX system\\
+ \tiny{}Partially built
+ };
+
+ \draw (0,0) circle (3cm);
+ \end{scope}
+ \begin{scope}[canvas is zy plane at x=0.15pt]
+ \draw[fill=white] (0,0) circle (3cm);
+ \draw[fill=white] (-0.1,-0.5) [rotate=292] rectangle (0.1,2.7);
+ \draw[densely dotted] (-0.1,-0.5) rectangle (0.1,2.7);
+ \node at (-1.4,1.4) [transform shape] {\contour{black}{\Huge\textrm{\raisebox{\depth}{\rotatebox{180}{A}}}}};
+ \node at (1.4,1.4) [transform shape] {\contour{black}{\Huge\OM}};
+
+ \draw[->] (0,1.5cm) [rotate=90] arc (0:270:1.5cm);% syntax (starting point coordinates) arc (starting angle:ending angle:radius)
+ \end{scope}
+ \begin{scope}[canvas is zy plane at x=0.20pt]
+ \draw[fill=white] (-0.1,-0.5) [rotate=292] rectangle (0.1,2.7);
+ \draw[densely dotted, fill=white] (-0.1,-0.5) rectangle (0.1,2.7);
+ \draw[fill=white] (0,0) circle (0.04);
+ \draw (-0.1,-0.5) [rotate=292] rectangle (0.1,2.7);
+ \node at (-1.4,1.4) [transform shape] {\contour{black}{\protect\color{white}\Huge\textrm{\raisebox{\depth}{\rotatebox{180}{A}}}}};
+ \node at (1.4,1.4) [transform shape] {\contour{black}{\protect\color{white}\Huge\OM}};
+ \end{scope}
+\end{tikzpicture}
+\end{figure}
--- /dev/null
+\begin{figure}
+\center
+\begin{tikzpicture}[grow cyclic, text width=2.7cm, align=flush center,
+ level 1/.style={level distance=5cm,sibling angle=90},
+ level 2/.style={level distance=3cm,sibling angle=45}]
+\node{Mindmap}
+ child { node {Test node1}
+ child { node {Test node3}}
+ child { node {Test node4}}
+ child { node {Test node5}}
+ }
+ child { node {Test node2}
+ child { node {Test node6}}
+ };
+
+\end{tikzpicture}
+\end{figure}
--- /dev/null
+\begin{figure}[p]
+ \centering
+ \begin{tikzpicture}[scale = 1.1]
+
+% user
+ \draw[machine = red] (-0.6,4) node at +(1,0.5) {User} rectangle +(2,1);
+
+% ozva
+ \draw[machine = blue] (4,3) node at +(2,1.5) {OzVa} rectangle +(4,2);
+ \draw[machine = gray] (5.4,3.2) node at +(1.1,0.4) {GFX API} rectangle +(2.2,0.8);
+
+% doomsday
+ \draw[machine = green] (4.5,4) -- (4.5,1) -- (4,1) -- (4,0) node at +(2,0.5) {Doomsday} -- (8,0) -- (8,1) -- (5.1,1) -- (5.1,4);
+ \node[address, anchor = east, align = right] at (4.4,2.5) {127.0.0.1:11505\\Tunnel entrance address};
+ \node[address, anchor = east] at (4.4,1.25) {*:22};
+
+% arrows
+ \draw[-Stealth, thick] (1.4,4.5) node[address, anchor = north west] at +(0,0.1) {ozva.co.uk:22} -- +(3.4,0) -- +(3.4,-3);
+ \draw[-Stealth, thick] (1.4,4.75) node[address, anchor = south west] at +(0,-0.1) {ozva.co.uk:443} -- +(2.6,0);
+ \draw[-Stealth, thick] (6.5,1) node[address, anchor=west, align = left] at +(0,0.9) {ozva.co.uk:443\\API Call} -- +(0,2.2);
+
+ \end{tikzpicture}
+ \caption{Reverse tunnel diagram}
+\end{figure}
--- /dev/null
+\begin{figure}[p]
+ \centering
+ \begin{tikzpicture}[scale = 1.2]
+ % stepper motor
+ % left side
+ \draw[board = red] (0,0.85) rectangle (3,8.35);
+ \draw[pin padding] (0.1,7.45) rectangle (0.5,8.25);
+ \node[pin label, anchor = west] at (0.5,8.05) {+V};
+ \node[pin label, anchor = west] at (0.5,7.65) {GND};
+
+ \draw[pin padding] (0.1,5.85) rectangle (0.5,6.65);
+ \node[pin label, anchor = west] at (0.5,6.45) {ENABLE};
+ \node[pin label, anchor = west] at (0.5,6.05) {MS2};
+
+ \draw[pin padding] (0.1,3.85) rectangle (0.5,4.65);
+ \node[pin label, anchor = west] at (0.5,4.45) {RST};
+ \node[pin label, anchor = west] at (0.5,4.05) {PFD};
+
+
+ \draw[pin padding] (0.1,1.85) rectangle (0.5,3.45);
+ \node[pin label, anchor = west] at (0.5,2.65) {MOTOR};
+
+ % right side
+ \draw[pin padding] (2.5,7.05) rectangle (2.9,8.25);
+ \node[pin label, anchor = east] at (2.5,8.05) {DIR};
+ \node[pin label, anchor = east] at (2.5,7.65) {STEP};
+ \node[pin label, anchor = east] at (2.5,7.25) {GND};
+
+ \draw[pin padding] (2.5,3.85) rectangle (2.9,4.65);
+ \node[pin label, anchor = east] at (2.5,4.45) {MS1};
+ \node[pin label, anchor = east] at (2.5,4.05) {SLP};
+
+ \draw[pin padding] (2.5,1.85) rectangle (2.9,2.65);
+ \node[pin label, anchor = east] at (2.5,2.45) {+5V};
+ \node[pin label, anchor = east] at (2.5,2.05) {GND};
+
+ \foreach \y in
+ {8.05,7.65,6.45,6.05,4.45,4.05,3.25,2.85,2.45,2.05}
+ {\draw[pin] (0.3,\y) circle (0.1);}
+ \foreach \y in
+ {8.05,7.65,7.25,4.45,4.05,2.45,2.05}
+ {\draw[pin] (2.7,\y) circle (0.1);}
+
+ \node[align = center] at (1.5,9.05) {Stepper motor driver};
+
+ % raspberry pi
+ \draw[board = green] (5,0) rectangle (9,9.2);
+ \draw[pin padding] (5.1,0.6) rectangle (5.9,8.6);
+ \draw (6.7,8.6) -- (6.7,0.6);
+ % left pins
+ \node[pin label, anchor = east] at (6.7,8.4) {21};
+ \node[pin label, anchor = east] at (6.7,8.0) {20};
+ \node[pin label, anchor = east] at (6.7,7.6) {16};
+ \node[pin label, anchor = east] at (6.7,7.2) {GND};
+ \node[pin label, anchor = east] at (6.7,6.8) {12};
+ \node[pin label, anchor = east] at (6.7,6.4) {GND};
+ \node[pin label, anchor = east] at (6.7,6.0) {1};
+ \node[pin label, anchor = east] at (6.7,5.6) {7};
+ \node[pin label, anchor = east] at (6.7,5.2) {8};
+ \node[pin label, anchor = east] at (6.7,4.8) {25};
+ \node[pin label, anchor = east] at (6.7,4.4) {GND};
+ \node[pin label, anchor = east] at (6.7,4.0) {24};
+ \node[pin label, anchor = east] at (6.7,3.6) {23};
+ \node[pin label, anchor = east] at (6.7,3.2) {GND};
+ \node[pin label, anchor = east] at (6.7,2.8) {18};
+ \node[pin label, anchor = east] at (6.7,2.4) {15};
+ \node[pin label, anchor = east] at (6.7,2.0) {14};
+ \node[pin label, anchor = east] at (6.7,1.6) {GND};
+ \node[pin label, anchor = east] at (6.7,1.2) {5V};
+ \node[pin label, anchor = east] at (6.7,0.8) {5V};
+
+ % right pins
+ \node[pin label, anchor = west] at (6.7,8.4) {GND};
+ \node[pin label, anchor = west] at (6.7,8.0) {26};
+ \node[pin label, anchor = west] at (6.7,7.6) {19};
+ \node[pin label, anchor = west] at (6.7,7.2) {13};
+ \node[pin label, anchor = west] at (6.7,6.8) {6};
+ \node[pin label, anchor = west] at (6.7,6.4) {5};
+ \node[pin label, anchor = west] at (6.7,6.0) {0};
+ \node[pin label, anchor = west] at (6.7,5.6) {GND};
+ \node[pin label, anchor = west] at (6.7,5.2) {11};
+ \node[pin label, anchor = west] at (6.7,4.8) {9};
+ \node[pin label, anchor = west] at (6.7,4.4) {10};
+ \node[pin label, anchor = west] at (6.7,4.0) {3V3};
+ \node[pin label, anchor = west] at (6.7,3.6) {22};
+ \node[pin label, anchor = west] at (6.7,3.2) {27};
+ \node[pin label, anchor = west] at (6.7,2.8) {17};
+ \node[pin label, anchor = west] at (6.7,2.4) {GND};
+ \node[pin label, anchor = west] at (6.7,2.0) {4};
+ \node[pin label, anchor = west] at (6.7,1.6) {3};
+ \node[pin label, anchor = west] at (6.7,1.2) {2};
+ \node[pin label, anchor = west] at (6.7,0.8) {3V3};
+
+ \foreach \y in {0.8,1.2,...,8.4}
+ {
+ \draw[pin] (5.3,\y) circle (0.1);
+ \draw[pin] (5.7,\y) circle (0.1);
+ }
+ \node[align = center] at (7,9.6) {Raspberry Pi};
+
+ % wiring
+ % motor
+ \draw[wire = black] (0.3,3.25) node[wire end = black] {} -- (-0.8,3.25);
+ \draw[wire = black, dashed] (-0.8,3.25) -- (-1.6,3.25);
+ \draw[wire = green] (0.3,2.85) node[wire end = green] {} -- (-0.8,2.85);
+ \draw[wire = green, dashed] (-0.8,2.85) -- (-1.6,2.85);
+ \draw[wire = blue] (0.3,2.45) node[wire end = blue] {} -- (-0.8,2.45);
+ \draw[wire = blue, dashed] (-0.8,2.45) -- (-1.6,2.45);
+ \draw[wire = red] (0.3,2.05) node[wire end = red] {} -- (-0.8,2.05);
+ \draw[wire = red, dashed] (-0.8,2.05) -- (-1.6,2.05);
+
+ % power
+ \draw[wire = black] (0.3,8.05) node[wire end = black] {} -- (-0.8,8.05);
+ \draw[wire = black, dashed] (-0.8,8.05) -- (-1.6,8.05);
+ \draw[wire = red] (0.3,7.65) node[wire end = red] {} -- (-0.8,7.65);
+ \draw[wire = red, dashed] (-0.8,7.65) -- (-1.6,7.65);
+
+ % ms2
+ \draw[wire = red] (5.3,4) node[wire end = red] {} -- (3.6,4) -- (3.6,8.55) -- (-0.2,8.55) -- (-0.2,6.05) -- (0.3,6.05) node[wire end = red] {};
+
+ % ms1
+ \draw[wire = red] (5.3,3.6) node[wire end = red] {} -- (3.4,3.6) -- (3.4,4.45) -- (2.7,4.45) node[wire end = red] {};
+
+ % rst
+ \draw[wire = green] (5.7,3.2) node[wire end = green] {} -- (5.5,3.2) -- (5.5,4.2) -- (3.8,4.2) -- (3.8,8.75) -- (-0.4,8.75) -- (-0.4,4.45) -- (0.3,4.45) node[wire end = green] {};
+
+ % slp
+ \draw[wire = green] (5.7,2.8) node[wire end = green] {} -- (5.5,2.8) -- (5.5,3) -- (3.2,3) -- (3.2,4.05) -- (2.7,4.05) node[wire end = green] {};
+
+ % step
+ \draw[wire = purple] (5.3,2.4) node[wire end = purple] {} -- (4,2.4) -- (4,7.65) -- (2.7,7.65) node[wire end = purple] {};
+
+ % enable
+ \draw[wire = green] (5.3,1.6) node[wire end = green] {} -- (4,1.6) -- (4,0.65) -- (-0.6,0.65) -- (-0.6,6.45) -- (0.3,6.45) node[wire end = green] {};
+
+ % dir
+ \draw[wire = brown] (5.7,1.2) node[wire end = brown] {} -- (5.5,1.2) -- (5.5,1.4) -- (4.2,1.4) -- (4.2,8.05) -- (2.7,8.05) node[wire end = brown] {};
+
+ \end{tikzpicture}
+ \caption{Wiring diagram}
+\end{figure}
\ProvidesPackage{main}
+
+% ====================
+% IMPORT
+
+\usepackage[T1]{fontenc}
+\usepackage{xcolor}
+\usepackage{xstring}
+\usepackage{float}
+\usepackage{varioref}
+\usepackage[breaklinks=true]{hyperref}
+\usepackage{booktabs}
+\usepackage{todo}
+\usepackage{glossaries}
+\usepackage{cleveref}
+
+\usepackage{tikz}
+\usetikzlibrary{arrows.meta}
+\usetikzlibrary{mindmap}
+
+\usepackage[backend=biber, style=apa]{biblatex}
+\addbibresource{refs.bib}
+
+\usepackage[
+ inner = 2cm,
+ top = 2cm,
+ outer = 3cm,
+ bottom = 2.8cm
+ ]{geometry}
+\hypersetup{
+ colorlinks=true,
+ linkcolor=red,
+ urlcolor=blue,
+ pdftitle={XMDV Teleshopping}
+ }
+
+% schedule packages
+\usepackage{tabularx}
+\usepackage{ltablex}
+\usepackage{adjustbox}
+\usepackage{multirow}
+\newcolumntype{R}[2]{%
+ >{\adjustbox{angle=#1,lap=\width-(#2)}\bgroup}%
+ l%
+ <{\hspace{2mm}\egroup}%
+}
+\newcommand*\rot{\multicolumn{1}{R{90}{1em}}}
+
+% ====================
+% MACROS
+
+\newcommand{\commit}[2]{
+ \href{https://git.ozva.co.uk/?p=#1;a=commit;h=#2}
+ {\texttt{OzVa Commit \StrLeft{#2}{7}}}
+ }
+
+\newcommand{\blob}[2]{
+ \href{https://git.ozva.co.uk/?p=#1;a=blob;f=#2;hb=HEAD}
+ {\texttt{OzVa #1 File}}
+ }
+
+\makeatletter
+\newenvironment{code}{
+ \vspace{2mm}\@vobeyspaces\obeylines
+ \begin{quotation}
+ \ttfamily
+ }{
+ \end{quotation}
+ }
+\makeatother
+
+% ====================
+% GLOSSARY
+
+\makeglossaries
+\newglossaryentry{crawler}{
+ name=crawler,
+ description={A conventionally horisonal bar which displays constantly moving information.}
+ }
+\newglossaryentry{vt}{
+ name=VT,
+ description={``Video tape''. A pre-recorded video that can be played out.}
+ }
+\newglossaryentry{xhtml}{
+ name=XHTML,
+ description={``eXtensible Hyper-Text Markup Language'', is the conbination of HTML, CSS and Javascript.}
+ }
+\newacronym{gfx}{GFX}{Graphical effects}
+\newacronym{vfx}{VFX}{Visual effects}
+\newacronym{sfx}{SFX}{Sound effects}
+\newacronym{ozva}{OzVa}{Ozone-Value Holdings}
+
+% ====================
+% TIKZ STYLING
+
+\tikzset{
+% circuit diagram styling
+ board/.style = {
+ shape = rectangle,
+ align = center,
+ draw = #1,
+ fill = #1!25,
+ rounded corners
+ },
+ pin/.style = {
+ draw = white,
+ fill = lightgray
+ },
+ pin padding/.style = {
+ shape = rectangle,
+ align = center,
+ draw = lightgray,
+ fill = gray,
+ rounded corners
+ },
+ pin label/.style = {
+ font = \strut\small\ttfamily
+ },
+ wire/.style = {
+ draw = #1,
+ ultra thick
+ },
+ wire end/.style = {
+ draw = #1,
+ fill = #1,
+ circle,
+ inner sep=1
+ },
+% reverse tunnel styling
+ machine/.style = {
+ shape = rectangle,
+ align = center,
+ draw = #1,
+ fill = #1!25,
+ rounded corners
+ },
+ address/.style = {
+ font = \strut\small\ttfamily
+ },
+ }
\documentclass{book}
\usepackage{main}
+\usepackage{screenplay}
-\includeonly{zebras}
+% ====================
+% TO-DO list
+
+\todo*{Write up platform}
+\todo*{Write full pitch from slides/info sheet}
+\todo*{Write up symbolism notes}
+\todo*{Write up info from diaries}
+\todo*{Write up crew picks and reasoning}
+\todo*{Move TikZ figures to seperate files}
+\todo*{Transfer clock write up to main document}
+
+% ====================
\begin{document}
-\include{zebras}
-\include{lions}
+\frontmatter
+\include{chapters/title}
+
+\tableofcontents
+\listoffigures
+
+\mainmatter
+% \include{chapters/introduction}
+% \include{chapters/symbolism}
+% \include{chapters/intbar}
+% \include{chapters/tech}
+\include{chapters/teleshopping}
+% \include{chapters/schedule}
+
+\backmatter
+\printbibliography
+\todos
\end{document}
--- /dev/null
+<?xml version="1.0" encoding="UTF-8" standalone="no"?>
+<!-- Created with Inkscape (http://www.inkscape.org/) -->
+
+<svg
+ version="1.1"
+ id="svg1"
+ width="85.271759"
+ height="87.220375"
+ viewBox="0 0 85.271757 87.220376"
+ xmlns="http://www.w3.org/2000/svg"
+ xmlns:svg="http://www.w3.org/2000/svg">
+ <defs
+ id="defs1" />
+ <g
+ id="g1"
+ transform="translate(-14.490234,-9.697145)">
+ <path
+ id="path1"
+ style="fill:#04ac00;fill-opacity:1"
+ d="m 52.363281,9.703125 c -0.195401,-0.032543 -0.40006,0.066653 -0.609375,0.324219 -0.269501,0.331636 -0.268489,1.139841 0.0039,3.132812 0.706063,5.165881 -0.332771,7.620148 -2.460937,5.8125 -0.829578,-0.704638 -1.541402,-2.66578 -2.042969,-5.626953 -0.44226,-2.611032 -0.396801,-2.540678 -1.476562,-2.257812 -0.636302,0.166692 -0.78554,0.352264 -0.611328,0.763671 0.126756,0.29934 0.255999,0.929444 0.287109,1.400391 0.0311,0.470948 0.163498,0.963055 0.294922,1.091797 0.131425,0.128743 0.255501,0.74841 0.275391,1.378906 0.107608,3.411071 2.52873,5.767704 5.318359,5.175782 l 1.267578,-0.269532 0.707031,-1.427734 c 1.317718,-2.66954 0.414686,-9.2702467 -0.953125,-9.498047 z m 13.548828,0.910156 c -0.341966,-0.06584 -0.895757,0.458645 -1.798828,1.460938 -3.124462,3.467747 -3.563741,4.032382 -4.449219,5.726562 l -0.898437,1.720703 0.529297,0.519532 0.53125,0.521484 1.28125,-1.53125 c 0.939788,-1.122686 1.509325,-1.530303 2.136719,-1.533203 1.181487,-0.0054 1.796979,0.43502 1.546875,1.107422 -0.240724,0.647184 0.450048,2.705872 0.90625,2.701172 0.170776,-0.0018 0.568405,-0.240766 0.882812,-0.53125 l 0.570313,-0.527344 0.330078,0.837891 c 0.452399,1.153948 1.442479,1.084389 1.933593,-0.136719 0.429943,-1.069013 1.175833,-1.275836 1.501954,-0.416016 0.116373,0.306817 0.37851,0.657998 0.582031,0.779297 0.203522,0.121298 0.569544,0.806282 0.814453,1.523438 0.598571,1.75277 1.474577,1.642279 1.404297,-0.177735 -0.02703,-0.69991 -0.161964,-1.595344 -0.298828,-1.990234 l -0.248047,-0.71875 1.005859,-0.212891 c 0.55374,-0.116697 1.224207,-0.519031 1.490235,-0.894531 0.604903,-0.853818 0.406179,-3.452355 -0.31836,-4.162109 C 75.0693,14.407011 74.791639,14.068611 74.730469,13.927734 74.538044,13.484569 72.608135,12.27605 72.101562,12.28125 71.56961,12.28675 70.3045,14.167948 70.3125,14.941406 c 0.01027,0.99595 -2.210862,4.038919 -2.833984,3.882813 -0.802578,-0.201062 -0.967409,-0.983477 -1.011719,-4.78711 -0.02655,-2.279527 -0.115017,-3.339176 -0.554688,-3.423828 z m -0.488281,1.744141 c 0.01605,8.63e-4 0.03042,0.0057 0.04297,0.01367 0.401412,0.255445 0.438523,3.904195 0.03711,4.013672 -0.401415,0.109476 -1.570312,-0.21875 -1.570312,-0.21875 0,0 -0.948399,-0.14546 -1.13086,-0.546875 0,0 2.123441,-3.288475 2.621094,-3.261719 z m -24.294922,0.529297 -1.417968,0.228515 c -0.779371,0.125101 -1.415463,0.337175 -1.414063,0.472657 0.0014,0.135482 -0.276508,0.323155 -0.617187,0.416015 -1.376576,0.375184 -1.960864,3.874331 -1.207032,7.220703 0.829465,3.682122 6.117759,4.370938 7.810547,1.017579 0.77277,-1.530832 0.992226,-4.110876 0.441406,-5.19336 -0.135327,-0.265944 -0.498582,-0.989547 -0.808593,-1.609375 -0.31001,-0.61983 -1.064422,-1.448039 -1.675782,-1.839844 z m 31.455078,1.484375 c 0.423912,-0.02648 1.899804,1.146872 2.00586,1.429687 0.109477,0.291938 0.730876,1.387444 0.292968,2.007813 -0.437905,0.620368 -1.350334,0.728719 -1.970703,0.509765 -0.620368,-0.218953 -2.227281,-1.203538 -2.154297,-1.458984 0.07299,-0.255446 1.789063,-2.480469 1.789063,-2.480469 0.0114,-0.0034 0.02344,-0.007 0.03711,-0.0078 z m -32.162109,0.861328 c 0.160649,0.0015 0.3269,0.01659 0.498047,0.04687 l 1.111328,0.197265 0.71875,1.439454 c 2.180418,4.372696 -2.15656,8.590524 -4.408203,4.287109 -1.509211,-2.884455 -0.329661,-5.99279 2.080078,-5.970703 z m 40.244141,1.671875 c -0.699506,-0.07691 -1.10389,0.27401 -1.841797,1.154297 -0.608235,0.725594 -1.105016,1.437719 -1.103516,1.582031 0.0015,0.144313 -0.212576,0.264878 -0.476562,0.267578 -0.263986,0.0027 -0.478863,0.188222 -0.476563,0.412109 0.0023,0.223887 -0.431621,0.946771 -0.964844,1.607422 -0.533222,0.660651 -1.099944,1.671434 -1.259765,2.246094 l -0.291016,1.044922 1.537109,1.332031 c 1.59378,1.381159 3.302969,1.827576 3.292969,0.859375 -0.0027,-0.263986 -0.114025,-0.486287 -0.246093,-0.492187 -0.13207,-0.006 -0.814652,-0.507464 -1.517579,-1.115235 l -1.277343,-1.105468 0.601562,-1.146485 0.603516,-1.148437 1.24414,0.154297 c 0.684721,0.08467 1.567138,0.450112 1.960938,0.8125 0.854511,0.786346 1.339512,0.831954 1.59375,0.148437 0.171777,-0.461821 -0.979149,-1.702682 -2.275391,-2.451172 -0.63601,-0.367252 -0.5407,-0.977413 0.269531,-1.728515 1.16888,-1.083574 2.212195,-1.175953 3.197266,-0.28125 0.472829,0.429452 0.937533,0.780283 1.033203,0.779297 0.719602,-0.0074 -0.777615,-1.871631 -1.888672,-2.351563 -0.76859,-0.332001 -1.29514,-0.53393 -1.714843,-0.580078 z m -49.320313,0.917969 c -0.870722,0.009 -0.873715,0.827133 -0.01172,3.199218 0.920903,2.53419 0.777561,3.251291 -0.414062,2.083985 -0.266707,-0.261264 -0.644735,-0.472703 -0.841797,-0.470703 -0.197063,0.002 -0.950848,-0.275076 -1.673828,-0.615235 -0.72298,-0.340158 -1.438758,-0.540852 -1.589844,-0.445312 -0.486827,0.307855 -0.298599,2.058134 0.220703,2.052734 0.261516,-0.0027 1.599006,0.558543 2.972656,1.248047 1.373651,0.689505 2.659923,1.2517 2.857422,1.25 0.1975,-0.0017 0.455339,0.568367 0.574219,1.265625 0.205664,1.206269 0.89457,1.919956 1.841797,1.910156 0.45322,-0.0047 0.164676,-2.946716 -0.429688,-4.382812 -0.202199,-0.488554 -0.476064,-1.174747 -0.609374,-1.525391 -0.133314,-0.350645 -0.484052,-1.180787 -0.779297,-1.84375 -0.295246,-0.662963 -0.545088,-1.524112 -0.554688,-1.914062 -0.02425,-0.983162 -0.746,-1.8209 -1.562499,-1.8125 z m 28.251953,13.230468 c -1.304643,-0.03519 -2.258274,0.09522 -2.55664,0.34961 -0.842138,0.718003 -2.528138,3.089331 -2.523438,3.548828 0.0025,0.244974 -0.101906,0.554265 -0.232422,0.6875 -0.637295,0.65055 -0.922066,3.629705 -0.628906,6.566406 0.168303,1.685956 0.312966,3.304321 0.322266,3.597656 0.02143,0.675689 -2.17407,1.201512 -6.355469,1.519532 l -3.021485,0.228515 -1.316406,1.382813 c -1.519819,1.596378 -2.189621,3.594183 -1.925781,5.736328 0.109118,0.88594 0.01145,1.750804 -0.255859,2.279297 -0.560325,1.107808 -0.524864,3.705672 0.07031,5.089843 0.306405,0.712562 0.417034,1.681164 0.316406,2.78711 -0.314223,3.45345 3.056344,10.771872 4.957032,10.763672 0.181273,-7.85e-4 0.732226,0.204665 1.224609,0.455078 1.76677,0.898531 14.311241,0.06577 14.300781,-0.949219 -0.0017,-0.169207 0.257117,-0.3092 0.576172,-0.3125 0.319055,-0.0033 0.99383,-0.446982 1.5,-0.986328 l 0.921875,-0.980469 1.289063,0.04883 c 1.457753,0.05571 2.727256,-0.285012 2.722656,-0.730468 -0.0017,-0.16413 0.172968,-0.300535 0.388672,-0.302735 0.421783,-0.0043 2.781244,-2.569269 2.777344,-3.019531 -0.0013,-0.149396 0.205211,-0.727912 0.458984,-1.285156 0.270413,-0.593786 0.485251,-2.206217 0.519531,-3.894532 0.110665,-5.45102 -1.467289,-8.842164 -4.314453,-9.273437 -0.887936,-0.1345 -1.313187,-0.451422 -1.949219,-1.457031 -0.447314,-0.707234 -1.503926,-2.139818 -2.349609,-3.183594 -0.845684,-1.043775 -1.715716,-2.492015 -1.931641,-3.216797 -0.487488,-1.63632 -0.678844,-5.252794 -0.291015,-5.498047 0.158161,-0.100016 0.281337,-0.812798 0.273437,-1.583984 -0.008,-0.771185 0.11753,-1.485594 0.279297,-1.587891 0.504226,-0.318857 0.126277,-4.144644 -0.541016,-5.476562 l -0.623046,-1.246094 z m -0.292968,0.855469 0.867187,0.404297 c 2.033456,0.949373 2.200529,3.221019 0.654297,8.886719 -0.226597,0.830279 -0.28018,1.656759 -0.125,1.945312 0.14845,0.276042 0.380752,1.281272 0.515625,2.234375 0.313472,2.215194 1.566009,4.910002 2.994141,6.4375 0.949832,1.015922 2.035021,3.250087 2.044921,4.210938 0.0047,0.455727 0.210534,1.214757 0.457032,1.6875 0.460293,0.882777 0.493956,2.017507 0.111328,3.792968 -0.124439,0.577436 -0.08402,1.092642 0.0957,1.201172 0.186068,0.112363 0.398026,-0.69537 0.517578,-1.974609 0.111289,-1.190832 0.329976,-2.329082 0.486328,-2.529297 0.165511,-0.211858 0.164137,-0.679166 -0.0039,-1.11914 -0.158851,-0.415794 -0.227474,-0.937418 -0.152344,-1.158204 0.431793,-1.269011 2.751485,1.117531 3.314453,3.410157 0.236464,0.962969 0.564921,1.918437 0.728516,2.121093 0.184289,0.228293 0.169449,0.447504 -0.03711,0.578125 -0.465274,0.294223 -0.402939,1.686288 0.08398,1.876953 0.32129,0.125817 0.321728,0.16399 0.002,0.1875 -0.219845,0.01616 -0.397331,0.252972 -0.394531,0.527344 0.0028,0.274369 0.147396,0.409411 0.322265,0.298828 0.404798,-0.255985 0.412619,0.484538 0.01172,1.119141 l -0.304687,0.482422 -0.02148,-0.478516 c -0.01176,-0.263893 -0.29641,0.313637 -0.632812,1.285157 -0.713874,2.061651 -1.490875,3.232462 -2.490235,3.751953 -0.860908,0.447522 -2.461201,0.09084 -2.324218,-0.517579 0.391451,-1.738662 0.404871,-2.228109 0.06055,-2.224609 -0.207145,0.0021 -0.515474,0.417329 -0.685547,0.921875 -0.170073,0.504546 -0.624355,1.090422 -1.009766,1.302734 -0.385411,0.212313 -1.027834,0.89903 -1.427734,1.525391 -0.399901,0.62636 -1.207954,1.345267 -1.794922,1.597656 -0.586969,0.25239 -1.115528,0.602802 -1.173828,0.779297 -0.05831,0.176498 -0.423095,0.242071 -0.810547,0.144532 l -0.703125,-0.177735 1.410156,-1.462891 c 0.776308,-0.803856 1.488348,-1.839598 1.580078,-2.302734 0.09173,-0.463136 0.278339,-1.061025 0.416016,-1.328125 0.139465,-0.27057 0.04335,-1.191012 -0.216797,-2.078125 -0.25681,-0.875734 -0.549753,-1.910273 -0.652344,-2.298828 l -0.1875,-0.705078 1.714844,-0.002 c 1.917977,-0.0019 3.616326,-0.54171 3.296875,-1.046875 -0.115288,-0.182306 -0.496339,-0.236598 -0.847656,-0.121094 -1.035782,0.340535 -2.608348,-0.08919 -3.591797,-0.982422 L 60.486382,61.27925 60.66021,59.638625 c 0.17326,-1.636112 -0.206705,-3.951853 -0.708984,-4.322266 -1.042254,-0.768627 -2.147979,-2.391841 -2.421875,-3.554687 -0.641491,-2.723497 -1.780253,-3.065687 -1.443359,-0.433594 l 0.224609,1.757813 -0.994141,0.0098 c -0.546339,0.0056 -1.377186,-0.248607 -1.847656,-0.566406 -1.362725,-0.920512 -4.303595,-2.248988 -4.962891,-2.242188 -0.891958,0.0092 -0.484466,0.753712 0.609375,1.113282 2.008348,0.66019 3.901009,2.004089 4.310547,3.0625 1.450376,3.748357 1.977815,4.248111 1.953125,1.853515 l -0.01758,-1.578125 0.654297,-0.214843 c 1.035705,-0.34051 4.346911,2.175404 3.537109,2.6875 -0.204025,0.129021 -0.332453,0.434921 -0.283203,0.679687 0.332636,1.653221 -1.556891,4.461562 -3.011719,4.476563 -0.449896,0.0046 -0.924754,0.01755 -1.05664,0.0293 -0.131886,0.01175 -0.336439,-0.309657 -0.455078,-0.714843 -0.118639,-0.405184 -0.228871,-0.556107 -0.244141,-0.335938 -0.01528,0.220169 -0.315988,0.40265 -0.667969,0.40625 -0.355536,0.0037 -0.637465,0.219676 -0.634765,0.486328 0.0085,0.82917 -0.883254,0.534425 -2.154297,-0.710937 -0.67364,-0.66003 -1.8054,-1.536492 -2.513672,-1.947266 -4.270731,-2.476883 -5.217603,-3.723449 -4.886719,-6.43164 0.43102,-3.52778 1.463514,-4.23498 6.771485,-4.636719 l 3.541015,-0.267578 0.345703,0.630859 c 0.630685,1.1498 1.206061,1.064434 1.050782,-0.15625 l -0.140625,-1.101562 0.675781,-0.185547 c 0.731058,-0.19925 0.871748,-0.742861 0.328125,-1.275391 -0.603793,-0.591471 -1.357369,-4.346793 -1.355469,-6.755859 0.0027,-3.400691 1.180611,-5.762673 3.488281,-6.986329 z M 18.482422,52.011719 c -1.564285,-0.0379 -2.800501,0.645756 -3.486328,2.054687 l -0.50586,1.041016 0.371094,1.349609 c 0.396586,1.443408 2.364757,3.752641 3.191406,3.744141 0.952094,-0.0098 0.899468,-1.030755 -0.132812,-2.603516 l -1.015625,-1.550781 0.513672,-0.802734 0.513672,-0.802735 1.414062,-0.01367 c 0.777514,-0.008 1.501752,0.124732 1.609375,0.294922 0.107624,0.17019 0.685415,0.534391 1.283203,0.810547 1.376235,0.635769 1.58474,1.168956 0.8125,2.078125 -0.743043,0.874761 -0.743617,0.922508 0.01953,1.81836 0.667411,0.783468 1.331989,0.885798 2.298829,0.355468 L 26.001953,59.4375 25.765625,57.941406 c -0.343924,-2.185567 -0.640386,-2.779942 -1.830078,-3.658203 -1.996563,-1.473915 -3.888841,-2.233588 -5.453125,-2.271484 z m 77.091797,1.310547 -1.308594,0.390625 c -0.71943,0.214864 -1.418479,0.402385 -1.552734,0.416015 -0.458695,0.04655 -2.450513,2.482214 -2.445313,2.990235 0.0029,0.278788 -0.236274,0.688303 -0.533203,0.910156 -0.346285,0.25873 -0.535444,0.844515 -0.527344,1.634765 0.0088,0.856661 -0.225645,1.504002 -0.767578,2.125 -2.43408,2.789202 -2.356396,6.990464 0.128906,6.964844 0.329061,-0.0034 0.957988,0.269758 1.396485,0.607422 0.438497,0.337663 0.990629,0.538653 1.226562,0.445313 0.235932,-0.09334 0.912836,0.08084 1.503906,0.386718 1.485206,0.768593 3.047202,0.724047 3.8125,-0.107421 1.235717,-1.342591 2.151707,-5.275126 1.226563,-5.265626 -0.42542,0.0044 -1.709985,2.052622 -1.904297,3.03711 l -0.193359,0.984375 -1.265625,-0.0957 C 92.690228,68.619778 92.41531,68.310332 92.837891,67.0293 c 0.189303,-0.573868 0.432596,-1.74116 0.541015,-2.59375 l 0.197266,-1.548828 -0.56836,0.115234 c -0.369992,0.07522 -0.814214,0.829224 -1.279296,2.171875 -0.88702,2.560741 -0.814184,2.498856 -2.16211,1.873047 l -1.121094,-0.521484 -0.0098,-1.044922 c -0.0053,-0.574824 0.273758,-1.519765 0.619141,-2.09961 0.345384,-0.579845 0.624393,-1.314611 0.621093,-1.632812 -0.0064,-0.62119 2.053937,-1.49031 2.66211,-1.123047 0.181484,0.109594 0.988086,0.221727 1.791015,0.248047 0.802929,0.02633 2.179945,0.09069 3.060547,0.144531 l 1.601563,0.09766 0.554687,-1.11914 c 0.767052,-1.546743 0.431436,-4.317933 -0.65625,-5.419922 l -0.775391,-0.785156 0.0098,0.808593 c 0.0046,0.444776 0.152391,0.95094 0.330078,1.125 0.489974,0.480009 0.511889,2.904659 0.03125,3.496094 -0.328422,0.404131 -0.754441,0.479957 -1.888672,0.335938 -0.805452,-0.102272 -2.220146,-0.213234 -3.144531,-0.246094 -0.924384,-0.03286 -1.823391,-0.200003 -1.998047,-0.371094 -0.530108,-0.51929 0.886397,-2.990116 2.240235,-3.90625 l 1.226562,-0.830078 1.441406,0.181641 c 1.703408,0.215614 1.792559,0.09497 0.423829,-0.570313 z m -52.16211,4.59375 c 0.445571,-0.0656 1.291771,0.565603 3.214844,2.134765 4.363668,3.560605 5.418816,4.121367 7.714844,4.091797 l 1.923828,-0.02539 1.136719,-0.886719 c 0.625985,-0.48775 1.448758,-0.890631 1.828125,-0.894531 0.707732,-0.0073 0.847779,0.424496 0.414062,1.27539 -0.135283,0.265409 -0.557564,1.14899 -0.939453,1.962891 -0.712309,1.518102 -3.841387,3.847448 -5.1875,3.861328 l -0.572266,0.0059 0.191407,-1.28125 c 0.232042,-1.553661 -0.310561,-1.731201 -0.722657,-0.236328 -0.380517,1.380328 -1.675183,1.895057 -2.917968,1.16211 -4.399053,-2.594394 -7.386682,-7.282167 -6.59961,-10.351563 0.125709,-0.490236 0.248283,-0.779 0.515625,-0.818359 z m -22.623047,2.474609 c -0.641707,0.03059 -1.287511,0.159848 -1.916015,0.40625 -1.039555,0.407553 -3.103003,2.644405 -3.095703,3.355469 0.02491,2.416432 2.336418,5.968985 3.875,5.953125 0.295562,-0.003 0.69727,0.150475 0.892578,0.341797 0.983553,0.963481 5.989702,-0.426822 6.876953,-1.910157 2.214812,-3.702791 -2.140862,-8.360616 -6.632813,-8.146484 z m 2.185547,2.375 c 0.826417,0.0093 1.263198,0.154922 1.716797,0.507813 1.697607,1.320697 1.185621,4.72065 -0.763672,5.070312 -3.556821,0.638019 -5.229489,-0.258295 -5.255859,-2.816406 -0.01933,-1.875296 0.824681,-2.566452 3.332031,-2.728516 0.377421,-0.02439 0.695231,-0.03631 0.970703,-0.0332 z m 20.972657,3.902344 c 0.400259,0.08668 1.288341,0.815469 2.585937,2.140625 l 2.115235,2.160156 1.74414,0.326172 c 1.017471,0.19031 1.94958,0.208479 2.240234,0.04297 0.273796,-0.155908 1.071364,-0.440397 1.773438,-0.63086 0.702074,-0.190464 1.848292,-0.777602 2.546875,-1.30664 2.029147,-1.536672 2.609371,-1.781955 3.158203,-1.335938 0.260947,0.212064 0.391422,0.605055 0.291016,0.875 -0.100408,0.269943 -0.01328,0.593964 0.193359,0.71875 0.518431,0.313068 -2.574724,3.571578 -3.398437,3.580078 -0.347238,0.0036 -0.682984,0.167245 -0.746094,0.363281 -0.293341,0.911225 -5.970709,1.880126 -7.50586,1.28125 -2.078849,-0.810978 -2.427155,-1.105555 -3.205078,-2.707031 -0.448729,-0.923779 -0.936186,-1.751773 -1.082031,-1.839843 -0.145846,-0.08807 -0.366081,-0.70063 -0.490234,-1.361329 -0.124153,-0.660699 -0.302835,-1.450761 -0.396485,-1.757812 -0.128065,-0.419904 -0.06437,-0.600835 0.175782,-0.548829 z m 42.851562,2.201172 c -0.611484,-0.0096 -1.207687,0.256652 -1.203125,0.699218 0.0058,0.561061 1.526123,1.760107 2.222656,1.753907 0.971949,-0.0086 2.613103,1.662532 2.414063,2.457031 -0.216409,0.863875 -0.02893,0.825271 -4.492188,0.900391 l -3.585937,0.06055 -0.560547,0.572266 -0.560547,0.570312 0.423828,0.66211 c 0.507553,0.794379 0.333542,1.02341 -0.824219,1.09375 -0.87695,0.05328 -2.663094,0.829324 -3.607421,1.566406 -0.278063,0.217039 -0.678123,0.93545 -0.888672,1.597656 -0.265892,0.836265 -0.570784,1.206538 -0.998047,1.210938 l -0.615234,0.0059 0.01562,1.439453 c 0.0084,0.817286 0.163326,1.4395 0.359376,1.4375 0.21732,-0.0022 0.263879,-0.358341 0.125,-0.960937 -0.138879,-0.602596 -0.09232,-0.960691 0.125,-0.962891 0.3514,-0.0036 0.400865,0.147727 0.52539,1.638672 0.104977,1.256956 0.420202,1.872688 0.957031,1.867188 0.303879,-0.0031 0.411271,0.17804 0.292969,0.496093 -0.423108,1.137522 2.7412,2.259393 4.640625,1.644532 3.250385,-1.05218 4.497414,-4.95535 2.619141,-8.197266 -0.524833,-0.905857 -0.531609,-1.804213 -0.01172,-1.568359 0.221045,0.100281 0.65574,0.267585 0.964844,0.373046 0.309103,0.105459 0.562853,0.319145 0.564453,0.47461 0.0016,0.155464 0.304106,0.27919 0.671875,0.27539 0.367769,-0.0038 0.909269,0.277523 1.205078,0.625 0.672009,0.789389 2.076396,0.972807 2.212891,0.289063 0.05643,-0.282674 -0.470086,-0.888397 -1.236328,-1.425781 -0.733518,-0.514435 -1.78721,-1.31279 -2.341797,-1.773438 l -1.007813,-0.83789 1.269531,-0.333985 c 0.698532,-0.184091 2.565691,-0.442562 4.148438,-0.572265 2.115965,-0.173399 2.981366,-0.37425 3.271484,-0.763672 0.217009,-0.291289 0.393978,-0.641058 0.392578,-0.777344 -0.0052,-0.505916 -5.062546,-4.699559 -5.660156,-4.693359 -0.142362,0.0015 -0.51825,-0.226214 -0.835937,-0.507813 -0.25284,-0.224119 -0.625298,-0.330202 -0.992188,-0.335937 z m -58.464844,1.304687 c -0.423319,-0.03922 -1.045151,0.190434 -2.287109,0.792969 -1.150149,0.557993 -2.238525,1.015678 -2.419922,1.017578 -0.181395,0.0019 -0.505923,0.218132 -0.720703,0.482422 -0.214779,0.264295 -0.489937,0.420956 -0.611328,0.347656 -0.366076,-0.221065 -2.722704,1.273762 -2.808594,1.78125 -0.111441,0.658412 1.945837,1.913121 2.523438,1.539063 0.972765,-0.62997 1.368386,0.211417 0.460937,0.980468 -0.596705,0.505705 -0.611113,1.607663 -0.02148,1.601563 0.242437,-0.0025 0.632555,0.22119 0.867187,0.498047 0.429069,0.506281 1.443344,0.479682 3.16211,-0.08203 l 0.783203,-0.255859 -1.171875,1.460938 c -1.248506,1.556082 -1.491181,2.516612 -0.634766,2.507812 0.288581,-0.003 0.686681,0.205618 0.884766,0.464844 0.502079,0.657047 1.579067,0.283132 2.1875,-0.759766 0.276731,-0.474337 1.5764,-1.953532 2.886718,-3.287109 C 33.139101,77.50801 33.799188,76.608313 33.804688,76 l 0.0059,-0.841797 -1.001953,-0.189453 c -1.582536,-0.299576 -2.608799,-0.20569 -3.603516,0.326172 -0.507416,0.271309 -0.98584,0.430559 -1.0625,0.355469 -0.203175,-0.199028 0.877252,-1.801188 1.216797,-1.804688 0.498092,-0.0051 1.471793,-1.957837 1.296875,-2.599609 -0.09197,-0.337455 -0.439594,-0.610822 -0.773438,-0.607422 -0.333843,0.0034 -0.862981,-0.14895 -1.175781,-0.339844 -0.11259,-0.06871 -0.23194,-0.111926 -0.373047,-0.125 z m 8.234375,8.445313 c -0.394178,-0.0573 -0.872735,0.0079 -1.419921,0.216797 -1.090025,0.416049 -5.094391,4.291417 -5.087891,4.923828 0.0034,0.330432 -0.137631,0.690199 -0.3125,0.800781 -0.174869,0.110583 -0.319466,-0.0225 -0.322266,-0.296875 -0.0081,-0.788603 -0.630917,-0.574275 -0.964843,0.332031 -0.402505,1.092439 -0.409041,1.072723 0.421874,1.421875 0.397745,0.167132 0.96966,0.47563 1.269532,0.685547 l 0.544922,0.380859 0.636718,-0.58789 0.636719,-0.587891 -0.05078,1.396485 -0.04883,1.394531 0.521484,-0.08984 c 0.287473,-0.05008 0.609593,0.126533 0.714844,0.392578 0.242886,0.613976 1.18863,0.610517 1.986328,-0.0059 0.868351,-0.670978 1.535221,-0.641333 1.273438,0.05664 -0.115974,0.309212 -0.284487,0.94106 -0.373047,1.404297 l -0.160157,0.84375 1.046875,0.507813 c 1.600083,0.777733 1.745135,0.672428 2.527344,-1.826172 0.400777,-1.280199 1.203503,-3.266943 1.783203,-4.414063 0.582097,-1.151858 1.007652,-2.441148 0.951172,-2.880859 l -0.101562,-0.796875 -1.048828,-0.04102 c -0.758308,-0.02912 -1.143499,0.139691 -1.388672,0.609375 -0.269201,0.515714 -0.395046,0.561905 -0.613282,0.216797 -0.21619,-0.341871 -0.481116,-0.234627 -1.240234,0.507813 -1.132967,1.108075 -1.210706,0.806922 -0.332031,-1.302735 0.755766,-1.814563 0.332925,-3.089825 -0.84961,-3.261718 z m 43.240235,0.945312 c 0.599858,-0.0062 1.09225,0.102571 1.09375,0.240235 0.0015,0.137664 0.326109,0.365749 0.722656,0.507812 0.396546,0.142063 0.739116,0.457185 0.759766,0.701172 0.02065,0.243986 0.06108,0.755539 0.0918,1.134766 0.03955,0.488306 0.219723,0.644343 0.615235,0.537109 1.271572,-0.344758 0.771129,2.549981 -0.660156,3.820312 -2.066752,1.834338 -4.057976,0.970291 -5.240235,-2.273437 -0.59357,-1.628561 -0.529955,-2.014084 0.550782,-3.402344 l 0.974609,-1.253906 z m -6.837891,3.111328 c -0.339827,0.0035 -2.825368,0.878503 -3.707031,1.304688 -0.350273,0.169317 -0.907663,0.353656 -1.240234,0.410156 -0.89919,0.152774 -1.430917,1.165512 -0.81836,1.558594 0.265772,0.170598 0.725456,0.248288 1.023438,0.173828 0.311764,-0.07791 0.60399,0.08705 0.6875,0.388672 0.103046,0.372168 0.154441,0.325039 0.175781,-0.16211 0.01653,-0.377361 0.263345,-0.777685 0.548828,-0.890625 l 0.519531,-0.205078 -0.1875,0.984375 c -0.138497,0.731618 -0.01989,1.160664 0.457032,1.66211 0.353438,0.371617 0.643031,0.792742 0.644531,0.935547 0.0042,0.411461 -0.568123,0.307376 -0.730469,-0.132813 -0.08083,-0.219174 -0.261598,-0.288448 -0.402344,-0.154297 -0.140748,0.134152 0.06139,0.574129 0.449219,0.978516 0.387821,0.404387 0.607945,0.832962 0.490234,0.953125 -0.11771,0.120162 0.01542,0.217743 0.296875,0.214843 0.761777,-0.0079 1.041724,1.206768 0.435547,1.890626 -1.145276,1.292039 0.397775,2.182288 1.675781,0.966796 0.37418,-0.355876 0.825726,-0.64859 1.001954,-0.65039 0.176226,-0.0018 0.68092,-0.401887 1.123046,-0.888672 1.088941,-1.198927 0.722805,-2.132719 -0.390624,-0.996094 -0.634137,0.647347 -1.183946,0.09534 -2.132813,-2.142578 -0.510262,-1.203464 -1.063204,-2.438264 -1.228516,-2.742188 -0.518736,-0.953689 -0.341898,-1.446713 0.646485,-1.802734 0.886677,-0.319385 1.423935,-1.662197 0.662109,-1.654297 z m -30.164062,0.640625 c -0.03623,0.0072 -0.07233,0.02519 -0.105469,0.05664 -0.391925,0.371919 0.119487,1.25997 0.828125,1.4375 l 0.65625,0.166015 -0.197266,1 c -0.108285,0.550275 -0.415725,1.434055 -0.683593,1.964844 -0.267871,0.53079 -0.566553,1.615156 -0.664063,2.408203 l -0.177734,1.441407 -1.359375,0.111328 c -2.476716,0.204882 -1.829683,1.138544 1.46289,2.111328 1.544787,0.456403 3.131127,0.956289 3.525391,1.111328 0.558009,0.21943 0.785913,0.152131 1.025391,-0.306641 0.371453,-0.711603 -0.166635,-1.523525 -1.119141,-1.6875 -0.767267,-0.132085 -0.764962,-0.612243 0.01758,-3.455078 0.627814,-2.28074 1.823321,-3.383824 2.802734,-2.58789 0.249267,0.202564 0.602628,0.27363 0.785157,0.158203 0.848167,-0.536357 0.314006,-1.716356 -1.050782,-2.322266 -3.557497,-1.579382 -4.003838,-1.707158 -4.669922,-1.341797 -0.487028,0.267143 -0.685189,0.25639 -0.794921,-0.04102 -0.06026,-0.163329 -0.172574,-0.246296 -0.28125,-0.22461 z m 22.46875,2.216797 c -0.203077,8.45e-4 -0.394381,0.05294 -0.539063,0.171875 -0.210517,0.173057 -0.523352,0.23157 -0.693359,0.128906 -0.319589,-0.192993 -1.975572,0.34677 -2.265625,0.738282 -0.09033,0.121927 -0.450823,0.384091 -0.800782,0.583984 -0.381355,0.217827 -0.653124,0.73355 -0.677734,1.287109 -0.0226,0.507985 -0.05251,1.104064 -0.06641,1.324219 -0.0139,0.220155 -0.249066,0.401497 -0.523438,0.404297 -0.274371,0.0028 -0.407308,0.152356 -0.294922,0.330078 0.112387,0.177717 0.343226,0.234739 0.513672,0.126953 0.170447,-0.107786 0.489414,-0.05148 0.708985,0.126953 0.21957,0.178437 1.156389,0.352156 2.080078,0.384766 0.923688,0.03261 1.837675,0.246199 2.03125,0.474609 0.193573,0.228412 0.477757,0.334379 0.632812,0.236328 0.155056,-0.09805 0.28441,0.03875 0.28711,0.302735 0.0027,0.263986 -0.131596,0.566123 -0.298828,0.671875 -0.167285,0.105754 -0.238873,0.366534 -0.158203,0.580078 0.183172,0.484881 -0.123217,0.921837 -0.998047,1.419922 l -0.679688,0.386719 -1.095703,-0.572266 -1.095703,-0.574219 -0.582031,0.435547 c -1.366034,1.020644 0.290928,2.055438 2.935546,1.832031 2.144113,-0.181127 3.832369,-1.191409 4.201172,-2.515625 0.711253,-2.553804 -0.392654,-4.039127 -2.988281,-4.023437 -3.342113,0.0202 -3.50714,-2.174658 -0.191406,-2.542969 1.276862,-0.141834 1.716569,-0.327652 1.792969,-0.751953 0.09187,-0.510259 -0.625146,-0.969331 -1.234375,-0.966797 z m -10.4375,0.675781 c -0.227481,0.007 -0.454875,0.02839 -0.677735,0.06641 -0.830538,0.141681 -1.62158,0.228179 -1.757812,0.193359 -0.136232,-0.03482 -0.381702,0.299193 -0.544922,0.742188 -0.163219,0.442994 -0.451845,0.806593 -0.642578,0.808593 -0.190735,0.002 -0.259298,-0.141248 -0.152344,-0.318359 0.106954,-0.177112 0.07409,-0.319859 -0.07227,-0.31836 -0.42367,0.0044 -1.442587,2.163161 -1.201172,2.544922 0.120288,0.190216 0.895637,0.633022 1.72461,0.982422 3.219841,1.357112 3.758793,1.981106 2.986328,3.460938 -0.443922,0.850433 -1.948004,0.887778 -2.705078,0.06836 -0.41229,-0.446238 -0.940947,-0.589722 -1.976563,-0.539062 l -1.412109,0.06836 0.0059,0.669922 c 0.01263,1.226803 5.650779,2.998569 6.271485,1.970703 0.101562,-0.168183 0.563146,-0.309653 1.02539,-0.314453 1.251987,-0.01291 2.308982,-1.189559 2.300782,-2.560547 -0.0038,-0.629315 0.128995,-1.361208 0.296875,-1.626953 0.392329,-0.621122 0.391462,-0.730289 -0.0098,-0.476563 -0.178449,0.112846 -0.769963,-0.160377 -1.3125,-0.607421 -0.594858,-0.490155 -1.389568,-0.812713 -2.001953,-0.8125 -1.061362,3.03e-4 -2.140384,-0.594157 -2.146484,-1.181641 -0.0054,-0.525713 1.245945,-0.878468 3.183593,-0.898438 1.357444,-0.01399 1.77462,-0.134451 1.84961,-0.535156 0.144114,-0.770169 -1.438888,-1.435948 -3.03125,-1.386719 z" />
+ </g>
+</svg>
year = {2021},
url = {https://www.statista.com/statistics/1284145/hours-watched-most-popular-non-gaming-twitch/},
urldate = {2025-02-06}
-}
\ No newline at end of file
+}
+@article{RVINCENZO2023,
+ author = {Russo, Vincenzo and Bilucaglia, Marco and Casiraghi, Chiara and Chiarelli, Simone and Columbano, Martina and Fici, Alessandro and Rivetti, Fiamma and Rossi, Cristina and Valesi, Riccardo and Zito, Margherita},
+ issn = {1664-1078},
+ journal = {Frontiers in psychology},
+ pages = {1238879-1238879},
+ publisher = {Frontiers Media S.A},
+ title = {Neuroselling: applying neuroscience to selling for a new business perspective. An analysis on teleshopping advertising},
+ volume = {14},
+ year = {2023},
+}
--- /dev/null
+\ProvidesPackage{screenplay}
+
+\usepackage{calc}
+\usepackage{courier}
+
+\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}
+ \phantomsection\addcontentsline{toc}{section}{Scene \thescenenumber{}: #3}
+ \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}}
+
--- /dev/null
+\section{The Clock}
+
+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 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}
+
+The clock is powered by a Raspberry Pi Zero W and a stepper motor driver.
+
+\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{quote}
+ \texttt{/bin/ssh -i [key] -N -R 11505:127.0.0.1:22 doomsday@ozva.co.uk}
+\end{quote}
+
+\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).
+
+\begin{itemize}
+ \item \verb|-N| prevents commands from being issued, acting only as a dedicated tunnel
+ \item \verb|-R [remote socket:host:hostport]| forwards a socket on the remote server (OzVa) to a socket on the host (Doomsday).
+ \item \verb|-R 11505:127.0.0.1:...| forwards socket 11505 on the IP address 127.0.0.1 for OzVa...
+ \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{sAcn}
+
+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}
+
+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.
+
+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.
--- /dev/null
+\section{GFX Research}
+\begin{table}
+ \centering\small\begin{tabularx}{\textwidth}{r|XX|XX|XX|XX}
+ Metric &
+ \multicolumn{2}{c|}{AWI} &
+ \multicolumn{2}{c|}{WPI} &
+ \multicolumn{2}{c|}{BATR} &
+ \multicolumn{2}{c}{BAR}\\
+ &r&p&r&p&r&p&r&p\\
+ \hline
+ \hline
+ Time spent on logo & 0.404 & 0.010 & 0.420 & 0.026 & -0.342 & 0.064 & -0.309 & 0.096\\
+ \hline
+ Time spent on discount & 0.039 & 0.839 & 0.605 & <0.001 & -0.035 & 0.847 & -0.093 & 0.607\\
+ \hline
+ Time spent on price & -0.352 & 0.078 & 0.409 & 0.028 & 0.112 & 0.562 & 0.055 & 0.776\\
+ \hline
+ \end{tabularx}
+ \caption{Pearson correlations matrix between eye-tracker data and EEG metrics.}
+ \label{table:tracker}
+\end{table}
+
+During the GFX system design process I acted on instic like a wild animal \ref{table:tracker}.
+
--- /dev/null
+\section{Feild Knowlage}
+
+Sioux Sharp (lecturer in TV Studio) is a confirmed real-world teleshopping victim. She says it was hell. The worst 3 months of her life. "It wasn't even production, it was just sell, sell, sell. Constantly. A lot of mental maths". I go
+
+"Oooo...
+
+I would hate that".
+
+She is an external help, with the chevrons to back it up. She gave me some great background. She told me the best ways of testing a potential host. She told me what they'd go over before the show.
+
+\begin{quote}
+What I have done in the past for screen tests is give the would be presenters a bit of script or two and then a test. [...] The test I have done in the past is give someone an everyday object and get them to talk about it, in your case get them to 'sell' it until you say 'stop'. So, they don't know how long they are going to have to sell and 'fill' for. I'd tell them they need to pretend that they are on a shopping channel so they cannot stop for any reason until you stop them. In terms of items it could be anything - as I said, \textit{I just used a bottle of water.}
+\begin{flushright}
+(\cite{SSHARP2025})
+\end{flushright}
+\end{quote}
+
+The host has been picked by me based on Sioux's advice. She recommended that I identify someone as quickly as possible and begin to work with them. Although, initially, I had a casting deadline of the week c/o 24th March 2025, this was completed on the 13th Febuary.
--- /dev/null
+\section{Feature Notes}
+
+These feature notes where origionally made on TJC in 2022, since then I've made additional notes on QVC and Ideal World.
+
+\subsection{Camera Notes}
+
+There is usually one moving camera. The host may sometimes walk around the set for large items and a camera is needed to follow them as they move around, as well as for close-ups at the request of the host. For small products, a seperate static close-up of the host's hands can be cut to. Usually used for jewlery. There is also always some cutaway, a gentile montage of the product, or VT.
+
+Depending on the station, the crew is sparce, esspecially on camera. In the setup above, only one camera-person is required.
+
+\subsection{Device Notes}
+
+\begin{description}
+ \item[Unplanned price drops] ``This wasn't ment to be on our show'', Talking to the producer over comms or off-screen to ``check'' if a price drop is \textit{too far}, ``That was a bit naughty, I hope we dont get in trouble''
+
+ \item[Citing unprovable statistics] ``Never seen something like this ...'', ``Don't tend to''
+
+ \item[Linking the purchase to something good] ``[sic] Every time you make a purchase, I get a meal''
+
+ \item[Scarcity] ``Which one is most popular?'', ``Not many left [becasue the mines are being shut]'', ``We've got callers holding already'', ``I'm going to give you a chance now to buy before we price drop to get ahead of the crowds''
+
+ \item[Far too high to far too low] Shock value
+ \item[]
+\end{description}
+
+\subsection{GFX Notes}
+
+\begin{description}
+
+ \item[Product information] Top left of screen. Contains item number (for use when selecting the product over the phone. Also for internal use\footnote{Used to keep track of products on paperwork. Number is sometimes taken from the product itself (item code, batch nuber, etc).}), item rating, short item description and item variants (and those variants item code extentions).
+
+ \item[Pricing, stock and remaining] Bottom left of sceen, sometimes connected to the bottom of ``Product information''. Contains quantity remaining, amount already sold, the current sale price, the current multi-pay options\footnote{Sometimes called ``Budget-pay'' or ``EZ Pay'' (abbriviated to EZ on paperwork).} and the cost of P\&P.
+
+ \item[Contact information] Bottom, sometimes on a ``crawler''. Contains ``congratulation'' messages to recent buyers, names of people currently on hold, messages sent into the studio by viewers, recent announcements, upcoming announcements, information on how to order, phone number, website and the timer.
+
+ \item[Upcoming programes] Bottom right of screen. Contains upcoming deals or shows, sometimes also contains the phone number.
+
+\end{description}
+
+There is also a particular rythm to how the GFX are unveiled. For the most part this is consistent across products, shows and stations.
+
+When the product is first presented, there is almost no information about it on screen (this is the ``Product information'' box above, but there is also no phone number and the lines are not yet ``open''). The host then introduces it and tells the viewers just how \textit{good} it is. This goes on for a while before the price is finally revealed. This initial price is massively inflated from the real price of the product. The host continues to sell, mentioning how they've got us (the viewer) an amazing deal.
+
+This is when the first price drop happens.
+
+\textit{Then} the phone lines finally open and the product begins to sell.
+
+At this point the host can continue dropping the price as far they feel is neccicary to sell as much of the product as is practical\footnote{The host is aware of how much of the product is in stock, a prefered sell price, a lowest viable sell price and whether the product will make a later apperance. If the product is making a later apperance, the host may choose not to sell out.}.
+
+As soon as the phone lines are opened, the number is to be kept on screen at all times, over cutaways or promo montages.
+
--- /dev/null
+\documentclass{article}
+
+\usepackage{calc}
+\usepackage[margin=1.5cm, headsep=1mm]{geometry}
+\usepackage{setspace}
+\usepackage{courier}
+\usepackage{fancyhdr}
+\usepackage{caption}
+\usepackage{tabularx}
+\usepackage{helvet}
+\usepackage{ltablex}
+\usepackage{adjustbox}
+\usepackage{multirow}
+\usepackage[table]{xcolor}
+\usepackage{array}
+\usepackage{float}
+\usepackage{pdfpages}
+
+\usepackage{pgfplots}
+\pgfplotsset{compat=1.18, width=7cm}
+
+\usepackage{graphicx}
+\graphicspath{ {../media/} }
+
+\usepackage[backend=biber, style=apa]{biblatex}
+\addbibresource{../refs.bib}
+
+\usepackage[breaklinks=true]{hyperref}
+\hypersetup{
+ colorlinks=true,
+ linkcolor=red,
+ urlcolor=blue,
+ pdftitle={Snapshot 1: Int. Bar}
+ }
+
+% script setup
+
+\newcounter{scenenumber}
+
+\newenvironment{script}[1]{
+ \addcontentsline{toc}{section}{#1}
+ \par\noindent\ttfamily
+}{
+ \hspace*{\fill}CUT TO BLACK.\\
+ \vspace{4mm}
+}
+
+\newlength{\boxoffset}
+\newlength{\marginwidth}
+\setlength{\marginwidth}{0.5\textwidth - 0.5\paperwidth}
+\newcommand{\offsetbox}[3][]{%
+ \setlength{\boxoffset}{#2}
+ \addtolength{\boxoffset}{\marginwidth}
+ \begin{minipage}{\boxoffset - 10pt}
+ \raggedleft#1
+ \end{minipage}\hspace*{\fill}\begin{minipage}{\textwidth - \boxoffset}
+ \raggedright#3
+ \end{minipage}
+}
+
+\newcommand{\scene}[3]{%
+ \stepcounter{scenenumber}
+ \phantomsection\addcontentsline{toc}{subsection}{Scene \thescenenumber{}: #3}
+ \begin{flushright}
+ #1
+ \end{flushright}
+ \offsetbox[\textbf{\thescenenumber{}}\hspace{1mm}]{1.5in}{%
+ \textbf{#2\hspace*{\fill}\thescenenumber{}}
+ }
+ }
+
+\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}}
+
+\newcommand{\thr}{THE THREAT}
+\newcommand{\anc}{THE ANCHOR}
+\newcommand{\rmthreat}{\textsc{The Threat}}
+
+\newcolumntype{R}[2]{%
+ >{\adjustbox{angle=#1,lap=\width-(#2)}\bgroup}%
+ l%
+ <{\hspace{2mm}\egroup}%
+}
+\newcommand*\rot{\multicolumn{1}{R{90}{1em}}}
+\renewcommand{\arraystretch}{1.1}
+
+% title setup
+
+\title{
+ XMDV Teleshopping: ``Int. Bar''\\
+ {\large{}Snapshot 1}
+ }
+\author{William Greenwood}
+\date{10th February 2025}
+
+\begin{document}
+
+\thispagestyle{empty}
+\pagestyle{fancy}
+\renewcommand\headrulewidth{0pt}
+\lhead{}\rhead{\texttt{\thepage{}.}}
+\cfoot{}
+
+\maketitle
+\tableofcontents
+
+\vspace*{\fill}
+
+\textit{\textbf{Note:} Digital version available at \url{https://data.ozva.co.uk/snapshot1.pdf}. This document is cannon.}
+
+\newpage
+
+\begin{script}{Part 1}
+\scene{CUT TO:}{INT. BAR}{Introduction}
+
+\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 "Snapshot 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.}
+
+\end{script}
+
+\listoffigures
+\listoftables
+
+\section{A Story}
+
+\subsection{8th Floor}
+
+XMDV Teleshopping is a fabricated teleshopping channel that broadcasts only one episode. It features one host and no other on-screen contributors. It has a narrative focus, although intentionally coming across as genuine at first.
+
+The products being sold will move from strange but believable at the start, to totally abstract by the end of the show as the Anchor sells everything.
+
+\begin{quote}
+\rmthreat{} is coming! The broadcast team descend from somewhere else and begin to broadcast. The anchors goal is to sell it all, product by product, going through items and emotions and concepts until nothing is left. Lets call this a "crash". \rmthreat{} is coming, and the broadcast team has to escape before it does.
+
+Follow the Anchor as he handles new, real and weird products in real-time, either selling out completely, or being consumed by \rmthreat{}.
+\end{quote}
+
+Eldritch, and never shown on screen, \rmthreat{} is instead represented by "The Doomsday clock" which sits behind the Anchor, ticking towards the end of the show.
+
+\subsection{Audience}
+
+XMDV Teleshopping plays off a fascination with the surreal and esoteric, with a focus on people aged 18-35 with a slight male lean and a slight LGBTQ+ lean. For these people, and many of any age, teleshopping represents a bizarre sub-genre of television. At best, curious; At worst, manipulative.
+
+Many people, of this age, have an liminal experience with teleshopping, limited only to the window of time it takes to flick through the channel.
+
+XMDV Teleshopping asks the question: What would you do if you flicked past and saw the Anchor bleeding from the mouth while frantically selling the moon?
+
+This would, unfortunately, not be effective for engagement.
+
+\subsection{Platform}
+
+Broadcast TV is no longer the prime for out target audience. The audience will therefore be flicking through something else: Social Media, YouTube Shorts, TikTok, Tumblr etc. All funneling them towards the primary output of the live-streamed content on a platform such as Twitch.
+
+Twitch not only has an age group that complements our desired audience in relation to other social media, but also a slight male and LGBTQ+ lean as mentioned. (\cite{STATISTA2022A}, \cite{STATISTA2022B}).
+
+\begin{figure}
+\begin{minipage}{.49\textwidth}
+\center
+\captionof{figure}[Twitch users by age group]{Twitch users by age group}
+\begin{tikzpicture}
+ \begin{axis}[
+ xlabel = {Proportion of UK viewers (\%)},
+ xshift=-5cm,
+ xbar,
+ y axis line style = { opacity = 0 },
+ tickwidth = 0pt,
+ enlarge y limits = 0.2,
+ enlarge x limits = 0.02,
+ symbolic y coords = {{18-24}, {25-34}, {35-44}, {45-54}, {55-64}},
+ nodes near coords,
+ ]
+ \addplot coordinates {
+ (29,{18-24})
+ (39,{25-34})
+ (23,{35-44})
+ (8,{45-54})
+ (2,{55-64})
+ };
+ \end{axis}
+\end{tikzpicture}
+\captionof*{figure}{(\cite{STATISTA2022A})}
+\end{minipage}
+\begin{minipage}{.49\textwidth}
+\center
+\captionof{figure}[Non-gaming categories by watch-time]{Non-gaming categories by watch-time}
+\begin{tikzpicture}
+ \begin{axis}[
+ xlabel = {Worldwide watch-time 2021 (million hours)},
+ xshift=5cm,
+ xbar,
+ y axis line style = { opacity = 0 },
+ tickwidth = 0pt,
+ enlarge y limits = 0.2,
+ enlarge x limits = 0.02,
+ symbolic y coords = {Just Chatting, Slots, Music, Sports, Art, ASMR, Other},
+ nodes near coords,
+ ]
+ \addplot coordinates {
+ (3100,Just Chatting)
+ (287,Slots)
+ (267,Music)
+ (165,Sports)
+ (128,Art)
+ (111,ASMR)
+ (0.19,Other)
+ };
+ \end{axis}
+\end{tikzpicture}
+\captionof*{figure}{(\cite{STREAMELEMENTS2021})}
+\end{minipage}
+\end{figure}
+
+Although the primary category of viewing on Twitch is gaming, there is a large viewer market for the "Just Chatting" category, the most suitable for the project. In-fact, it is the most popular non-gaming category with a total of 3.1 billion hours watched worldwide in 2021. (\cite{STREAMELEMENTS2021}).
+
+Streaming via Twitch, we will be subject to the \href{https://safety.twitch.tv/s/article/Community-Guidelines?language=en_US}{Twitch Community Guidelines} and the Terms of service. There are no sections in either document that are of concern. The only worry would be being mistaken for being in opposition of \href{https://www.twitch.tv/p/en/legal/terms-of-service/#d-promotions}{Section 8d} and \href{https://www.twitch.tv/p/en/legal/terms-of-service/#9-branded-content}{Section 9} of the Terms of service, which necessitates declaring that there is branded content. We will, of course, not be selling anything, but it's something to consider looking into further.
+
+\begin{script}{Part 2}
+\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.
+ }
+
+\end{script}
+
+\section{Opportunity and Weakness}
+\subsection{Crew}
+
+The cast and crew are vial to the production and it is my intention to only involve people who I fully trust. Conventionally important jobs (such as vision mixer or script supervisor) are either non-vital or missing from the line-up all-together.
+
+Roles around the GFX system, lighting, sound and the host, are by \textit{far} the most vital.\footnote{All crew will be briefed extensively and I plan to run not only a practice session in the studio before the day, but also a mock studio session in one of the lecture halls, for a full scale screen test with the host, camera personnel, GFX personnel and the director.}
+
+\begin{table}[H]
+\sffamily\center
+\begin{tabularx}{0.9\textwidth}{|r|l|X|}
+\hline
+\textbf{Role} & \textbf{Name} & \textbf{Experience}\\
+\hline
+\hline
+Director & Jack Christian Sims & Related experience. Will be extensively briefed\\
+\hline
+Vision Mixer & Eleanor Haugton & Related experience\\
+\hline
+Sound & Rebecca Dixon & Related experience (Radio Module). Minor training needed during practice session\\
+\hline
+Lighting & Unassigned & \\
+\hline
+Engineer & Josh Bostock & Experience in role (TVS Module)\\
+\hline
+Floor Manager 1 & Heather Digwood & Experience in role (TVS Module)\\
+\hline
+Floor Manager 2 & Liv Gillett & Experience in role (TVS Module)\\
+\hline
+Camera 1 & Leo Garside-Holditch & Experience in role (TVS Module)\\
+\hline
+Camera 2 & Alex Roberts & Experience in role (TVS Module)\\
+\hline
+GFX 1 & Unassigned & Minor training will be needed ahead of practice\\
+\hline
+GFX 2 & Unassigned & Minor training will be needed ahead of practice\\
+\hline
+\hline
+Anchor & Unassigned & Will be extensively briefed\\
+\hline
+\end{tabularx}
+\vspace{1em}\caption[Temporary crew picks]{Temporary crew picks as of 10th February 2024. All roles confirmed with crew, no dates confirmed.}
+\end{table}
+
+\begin{figure}[H]
+\center
+\includegraphics[width=9cm]{jack}
+\caption{Jack S. reading the script during a screen test.}
+\end{figure}
+
+\subsection{Cast}
+
+
+
+\section{Schedule allows}
+
+\def\taskone{Pre-production}
+\def\tasktwo{Production}
+\def\taskthree{Writing}
+\def\taskfour{Programming}
+\def\taskfive{Casting}
+\def\tasksix{Design}
+\def\taskseven{Essay}
+
+\begin{tabularx}{0.9\textwidth}{|cc|cccccccc|X|}
+\caption{Project schedule}\\
+\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 (see Table \ref{table:tasks})\\
+
+Thursday &
+13/02/25 &
+&\cellcolor{green}&&&\cellcolor{green}&\cellcolor{green}&&&
+Screen test with David Smith\\
+
+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}&&&
+\\
+
+Friday &
+21/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Saturday &
+22/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+
+Sunday &
+23/02/25 &
+&\cellcolor{green}&&\cellcolor{green}&&\cellcolor{green}&&&
+\\
+\hline
+
+%%%
+
+\multicolumn{11}{|c|}{Week 7}\\
+\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}&&&
+\\
+
+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)}\\
+\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)}\\
+\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}&&
+\\
+
+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)}\\
+\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}\\
+\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}\\
+\hline
+Monday &
+28/04/25 &
+&&&&&&&\cellcolor{yellow}&
+\\
+
+Tuesday &
+29/04/25 &
+&&&&&&&\cellcolor{yellow}&
+Deadline\\
+
+\end{tabularx}
+
+\begin{script}{Part 3}
+\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"}}
+
+\end{script}
+
+\section{Background Research}
+
+There are 2 genres at play here, teleshopping and surrealist art.
+
+Background research into teleshopping \textit{production} is best facilitated in meetings between myself and Sioux (as mentioned above). As for research into the channels themselves, this is trivial. I have plenty of notes from watching different channels.
+
+With surrealist art, however, it's a little more difficult.
+
+I have recently started reading \textit{Surrealism, Occultism and Politics} (\cite{TBAUDUIN2020}) and Deborah Root's \textit{Cannibal Culture} (\cite{DROOT1995}) which should hopefully give the project a bit more of a stable undercurrent, or tact.
+
+One of the most helpful sources has been \textit{Shopping: a century of art and consumer culture} (\cite{TATE2002}) for informing tone and message. It is a collection of art pieces centered around consumerism and "shopping".
+
+\begin{figure}[H]
+\center
+\includegraphics[width=9cm]{suicide}
+\caption{Suicidal Price Cuts!}
+\end{figure}
+
+By far the most striking inspiration, behind much of the tone of the project (and my worldview), is [sic] \textit{Blaseball}. It's difficult to explain what \textit{Blaseball} is. Or \textit{was}.
+
+But as a part of the experience of \textit{Blaseball}, they did a short series of sports breakdown themed videos called "Blaseball round-up".
+
+You can find it \href{https://www.youtube.com/watch?v=diAHuUV2Meg&list=PLmNSJQLj5nNk7z2eEQGgaEJVZmDNma61c}{here}.
+
+A proper breakdown of \textit{Blaseball} in relation to the project is a future task.
+
+\section{Strengths and Opportunities}
+
+\subsection{Collateral}
+
+Currently, by far the most intensive parts of production are complete. With un-predictable timelines and scope creep that more like a sprint: these elements would be difficult to schedule and difficult to balance.
+
+With these in place, the technical elements of the show have not only been created, but though out in a careful way that will positively inform production.
+
+This is of huge benefit, not only for the final project, but the momentum to get there. Benefit from knowing all I have to deal with is a few people and a few papers, the year long slog of the GFX system out the way.
+
+\subsubsection{The Clock}
+
+As I write this (Early morning, 8th February 2025), Sipping an espresso, the clock is under construction. On-track for completion on Monday morning (10th February 2025).
+
+The clock has been a simple project but a fun one. The route I have taken, I have taken for speed, comfort and based on the parts around me.
+
+It is built from a Raspberry Pi Zero, a stepper motor and a driver. It connects to the OzVa server, getting real-time data on clock position and translating that to the hand's position.
+
+The Pi runs Debian Linux and is easily SSH'd into, making it easy to debug.
+
+\subsubsection{The GFX System}
+
+The GFX system need's some touch-ups. there's a couple bolts missing, but she'll fly. Will take approx. 2 days of work to get the system perfect. This can partially be concentrated, but some tasks (hardening as an example) will happen over the planned practice sessions or other testing days.
+
+\begin{table}
+\sffamily\center
+\begin{tabularx}{0.9\textwidth}{|r|X|l|}
+\hline
+Feature & Description of work & Estimated time\\
+\hline
+\hline
+Twitch integration & Implement buying from twitch. Appears trivial. I suspect this may be a rabbit-hole & 6 hours\\
+\hline
+Split GFX interface & Split GFX interface into 3 to allow more controllers to operate at the same time. Minor back-end adjustment, may require minor database re-organisation & 4 hours\\
+\hline
+Visual tweaks & Small visual tweaks. Mostly concerning font size, spacing and layout. Will need additional time to identify where changes should be made alongside the director & 2 hours\\
+\hline
+Add another 3 timers & Large additions to both front-end and back-end & 6 hours\\
+\hline
+Possible buyer crawler & Buyer name integration on crawler. Stylistically unsure, requires moderate addition to the back-end & 6 hours\\
+\hline
+Stability testing / hardening & Time overestimate to account for major issue being discovered & 8 hours\\
+\hline
+\end{tabularx}
+\vspace{1em}\caption[GFX System changes]{Changes required to the GFX system, alongside predicted time to implement}
+\label{table:tasks}
+\end{table}
+
+\subsection{Integration}
+
+As mentioned above (see Table \ref{table:tasks}), Twitch integration looks to be trivial, and would build off of the existing GFX system, meaning no extensive re-writes.
+
+Information would be passed to the control-room and the anchor via the auto-cue screen.
+
+After some small background, it seems all the tooling used I am familiar and comfortable using. The main threat is distraction with creating more integration than planned and feature-creep, within the very generous schedule I am not worried about this too much.
+
+Scheduling will be key to mitigating any threats, but I do not see many in the \textit{star-filled nights sky}.
+
+\begin{script}{Part 4}
+\scene{CUT TO:}{EXT \thr{}'S HOUSE NIGHT}{Dog Ouroboros}
+
+\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}{Placeholder}
+
+\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.}
+
+\end{script}
+\vspace*{\fill}
+\printbibliography
+
+\end{document}
--- /dev/null
+\documentclass{article}
+
+\usepackage{ltablex}
+\usepackage{float}
+\usepackage{fancyhdr}
+\usepackage{tikz}
+\usepackage{tabularx}
+\usepackage[margin=1.5cm, headsep=1mm]{geometry}
+\usepackage{graphicx}
+\graphicspath{{../media/}}
+\usepackage[breaklinks=true]{hyperref}
+\hypersetup{
+ colorlinks=true,
+ linkcolor=red,
+ urlcolor=blue,
+ pdftitle={Snapshot 2}
+ }
+
+\title{
+ \vspace{5cm}
+ XMDV Teleshopping\\
+ {\large{}Snapshot 2}
+ }
+\author{William Greenwood}
+\date{20th March 2025}
+
+\begin{document}
+ \pagenumbering{gobble}
+
+ \maketitle
+ \tikz[remember picture,overlay]
+ \node[inner sep=0pt, rotate=23]
+ at (0.5\textwidth-0.5cm, -5cm){\includegraphics[height=1.6cm]{commissioned}};
+ \clearpage
+ \newpage
+
+ \pagenumbering{arabic}
+ \pagestyle{fancy}
+ \renewcommand\headrulewidth{0pt}
+ \lhead{}\rhead{\thepage{}.}
+ \cfoot{}
+
+ \tableofcontents
+ \listoffigures
+
+ \vspace*{\fill}
+
+ \textit{\textbf{Note:} Digital version available at \url{https://data.ozva.co.uk/snapshot2.pdf}.}
+
+ \newpage
+
+\section{Introduction and update}
+
+Welcome to snapshot 2, for XMDV Teleshopping. The project is on track and all is well, but no time to look at the stars this time.
+
+Recently on the 7th we did our full studio practice. It went amazingly and everyone did there jobs excellently. We where on schedule for the most part and where able to practice some of the more important sections without the Anchor present.
+
+From that point we started selling and didn't stop until we had to strike set. The Anchor was amazing and we all learned lots about how our workflows could be improved (as well as to give David a bottle of water under the desk for in-between products.)
+
+\section{Research}
+
+After the initial idea was pitched in the first few final year project sessions, I decided to look into if I could find any academic research on regarding teleshopping. As an industry, it’s not in a rush to document itself. Sioux told me she doesn't put it on her CV and no one else does, “Its embarrassing” she tells me, and I can find no company documents or industry best practices.
+
+Thankfully she was able to pass on the horror stories through word of mouth and a few key peices of paperwork, examined like a dig site.
+
+\begin{figure}
+ \centering
+ \includegraphics[width=0.6\textwidth]{onboarding2}
+ \caption{What goes into a product line.}
+\end{figure}
+
+\begin{figure}
+ \centering
+ \includegraphics[width=0.6\textwidth]{onboarding3}
+ \caption{The lifecycle of a line.}
+\end{figure}
+
+ \subsection{Primary research}
+
+I have been generously given some industry documents: on-boarding material, spreadsheets etc. All has informed my own paperwork, especially the item manifests, in the way that the producer and presenter are explicitly aware of the purchase price, as well as the gallery price\footnote{This is the price set by finance as the minimum ideal price to end on.}.
+
+I made the decision to work in percentage over raw cost for the GFX control system, allowing easier dropping of the price without the GFX operators all using calculators.
+
+It was also interesting to see that in many cases, the company make a loss on certain products where necessary. This is because they pay the suppliers 3 or so months after the products arrive. Selling within this window allows them more stability with cash on-hand and failing to sell an amount of product means that that value is stored in a warehouse somewhere.
+
+I do want to mirror Teleshopping, it both look and in production, so getting my head around how it all worked behind the scenes helped massively.
+
+ \subsection{Secondary research}
+
+Some notes on my inspirations, influences and academic research.
+
+ \subsubsection{Notes on similar projects}
+ \label{sec:research}
+
+\paragraph{[sic] Blaseball}
+
+Blaseball was an experience. It is something that I'm not sure has ever happened before and may never happen again. It was perfect storm of engagement so live that it can never be relived. It fundamentally changed the way I think about art.
+
+It was a \href{https://www.blaseball.com}{website} where there where constant simulated Baseball games in simple text with no images or audio. Upon joining the site you could support a team\footnote{Go Fridays! Rest in violence!}, voting to inform their decisions, but overall you where simply an observer.
+
+For some reason, most likely influenced by the pandemic, it collected a relatively small (still quite large) audience of incredibly obsessive and creative people. So to describe it as a website is totally accurate, but it was also 2 bands, a musical, a radio station, a research organisation who published regular papers on the game and a collection of Twitter accounts.
+
+The Commissioner of Blaseball (Fictional Parker MacMillan IIIII) regularly tweeted out when the site broke or otherwise to foreshadow the terrible events of the season. All in such a tastily laconic way it was difficult to stop watching. There was also a huge momentum in the Discord, with thousands of people all watching and coordinating at once.
+
+I remember sitting with 2 laptops and my phone in front of me. The discord on one, the website on the other and the Commissioners Twitter up on my phone, watching simple text flick by with barely containable excitement.
+
+The publishers also regularly released the ``Blaseball Round-up'', a mock sports show, on YouTube. This is the biggest influence of XMDV Teleshopping\footnote{\url{https://youtu.be/9NgdpzVbvrM}}.
+
+It is also my proof that there is an audience for this strange place between satire, esotericism and horror. It is hopefully some strand of this audience I hope to capture.
+
+In 2023, Blaseball ended for good, the company stopping its production due to the difficulty of developing their engine in real-time. Because it was so closely managed, you cant go back. The fans have moved on (or tried to) and there is a gap in the market again.
+
+TLDR: You had to be there, but it was great.
+
+\paragraph{XMDV Radio}
+
+In 2023, After my second session in the radio studio, me and Jack Christian-Sims (my current director) made a radio show called XMDV Radio. It was a esoteric mash up of everything we where working on. It's the namesake of Teleshopping and inspired, at the time I came up with the idea, my thinking. This is why the very first person I screen-tested was Jack.
+
+Its difficult to put into words the feel of the whole thing, and I don't think listening to the finished product really gets it across\footnote{\url{https://www.youtube.com/watch?v=ZTTpdLE2PNo}}. It was a really unique feeling to produce and record with Jack, and its something I've been pursuing since.
+
+ \subsubsection{Notes on teleshopping}
+
+These feature notes where originally made on TJC in 2022, since then I've added to them from QVC and Ideal World.
+
+\paragraph{Camera Notes}
+
+There is usually one moving camera. The host may sometimes walk around the set for large items and a camera is needed to follow them as they move around, as well as for close-ups at the request of the host. For small products, a separate static close-up of the host's hands can be cut to. Usually used for jewellery. There is also always some cutaway, a gentle montage of the product, or VT.
+
+Depending on the station, the crew is sparse, especially on camera. In the setup above, only one camera-person is required.
+
+\paragraph{Device Notes}
+
+\begin{description}
+ \item[Unplanned price drops] ``This wasn't meant to be on our show'', Talking to the producer over comms or off-screen to ``check'' if a price drop is \textit{too far}, ``That was a bit naughty, I hope we don't get in trouble''
+
+ \item[Citing improvable statistics] ``Never seen something like this ...'', ``Don't tend to''
+
+ \item[Linking the purchase to something good] ``[sic] Every time you make a purchase, I get a meal''
+
+ \item[Scarcity] ``Which one is most popular?'', ``Not many left [because the mines are being shut]'', ``We've got callers holding already'', ``I'm going to give you a chance now to buy before we price drop to get ahead of the crowds''
+
+ \item[Far too high to far too low] Shock value
+ \item[]
+\end{description}
+
+\paragraph{GFX Notes}
+
+\begin{description}
+
+ \item[Product information] Top left of screen. Contains item number (for use when selecting the product over the phone. Also for internal use\footnote{Used to keep track of products on paperwork. Number is sometimes taken from the product itself (item code, batch number, etc).}), item rating, short item description and item variants (and those variants item code extensions).
+
+ \item[Pricing, stock and remaining] Bottom left of screen, sometimes connected to the bottom of ``Product information''. Contains quantity remaining, amount already sold, the current sale price, the current multi-pay options\footnote{Sometimes called ``Budget-pay'' or ``EZ Pay'' (abbreviated to EZ on paperwork).} and the cost of P\&P.
+
+ \item[Contact information] Bottom, sometimes on a ``crawler''. Contains ``congratulation'' messages to recent buyers, names of people currently on hold, messages sent into the studio by viewers, recent announcements, upcoming announcements, information on how to order, phone number, website and the timer.
+
+ \item[Upcoming programmes] Bottom right of screen. Contains upcoming deals or shows, sometimes also contains the phone number\footnote{Note that in my case, there is no phone number. The audience interacts via the Twitch integration.}.
+
+\end{description}
+
+
+There is also a particular rhythm to how the GFX are unveiled. For the most part this is consistent across products, shows and stations.
+
+When the product is first presented, there is almost no information about it on screen (this is the ``Product information'' box above, but there is also no phone number and the lines are not yet ``open''). The host then introduces it and tells the viewers just how \textit{good} it is. This goes on for a while before the price is finally revealed. This initial price is massively inflated from the real price of the product. The host continues to sell, mentioning how they've got us (the viewer) an amazing deal.
+
+This is when the first price drop happens.
+
+\textit{Then} the phone lines finally open and the product begins to sell.
+
+At this point the host can continue dropping the price as far they feel is necessary to sell as much of the product as is practical\footnote{The host is aware of how much of the product is in stock, a preferred sell price, a lowest viable sell price and whether the product will make a later appearance. If the product is making a later appearance, the host may choose not to sell out.}.
+
+As soon as the phone lines are opened, the number is to be kept on screen at all times, over cutaways or promo montages.
+
+ \subsubsection{Academic research}
+
+I was able to find one interesting paper regarding teleshopping, called “Neuroselling”. It’s fascinating research that uses EEG data alongside eye-tracking to work out the affect on certain “indexes” each graphical element has.
+
+\begin{table}[H]
+ \centering\small\begin{tabularx}{\textwidth}{r|XX|XX|XX|XX}
+ Metric &
+ \multicolumn{2}{c|}{AWI} &
+ \multicolumn{2}{c|}{WPI} &
+ \multicolumn{2}{c|}{BATR} &
+ \multicolumn{2}{c}{BAR}\\
+ &r&p&r&p&r&p&r&p\\
+ \hline
+ \hline
+ Time spent on logo & 0.404 & 0.010 & 0.420 & 0.026 & -0.342 & 0.064 & -0.309 & 0.096\\
+ \hline
+ Time spent on discount & 0.039 & 0.839 & 0.605 & $<$0.001 & -0.035 & 0.847 & -0.093 & 0.607\\
+ \hline
+ Time spent on price & -0.352 & 0.078 & 0.409 & 0.028 & 0.112 & 0.562 & 0.055 & 0.776\\
+ \hline
+ \end{tabularx}
+ \caption{Pearson correlations matrix between eye-tracker data and EEG metrics.}
+\end{table}
+
+\begin{description}
+ \item[AWI] Approach Withdrawal Index is the difference of $\alpha$ powers between the right and left prefrontal channels. Positive AWI is correlated to ``cognitive approach'' to the stimuli over ``cognitive withdrawal''.
+ \item[WPI] Willingness to Pay Index is the $\gamma$ difference between the left and right pre-frontal channels. Its correlated (as the name says) with the participants ``Willingness to pay''.
+ \item[BATR] Has been proposed as a measure of cognitive engagement\footnote{The way this is more complicated and has been removed for ``brevity''.}.
+ \item[BAR] Has been proposed as a measure of cognitive ``arousal''.
+\end{description}
+
+As you can see, the only measurements that are significant (p $<$ 0.05) are under the WPI metric, as well as the AWI correlating with time spent on the logo. All these measurement seem intuitive, with more time spent on any of the measured elements increasing the Willingness to pay.
+
+Something of note is the time spent on the logos affect on BATR cognitive engagement. Despite being insignificant by a small margin, looking at the logo for long periods of time actually \textit{decreased} engagement.
+
+The implications of the paper are small in my case, but the study is interesting. Based of the paper I did add a further 3 discount badges, but whether that actually increases the WPI is outside the scope of this Snapshot.
+
+ \subsection{Contributor research}
+
+At the time of the first snapshot, the Anchor was not yet confirmed, although I had done one screen-test. This was with Jack Christian-Sims, who I decided was not good enough. He would be far more useful as my visual director in the gallery. He turned out to perfectly fit this role despite no studio experience.
+
+I later picked David Smith for a prospective screen test\footnote{The screen-test is available here: \url{https://data.ozva.co.uk/screensmall.mp4}} and he turned out to be the perfect pick. This was only cemented in the practice session where he continuously performed far better than I could every have imagined.
+
+ \subsection{Location research}
+
+As mentioned regarding the practice sessions (ref), I have been thinking about where to set teleshopping for a long time, although the University’s TV studios have always been the most desirable. There is little to write about this location ``research'' because most of it has happened during both TV Studio modules, being able to try out roles and get comfortable.
+
+The TV Studio itself (studio A) is already almost fully outfitted for teleshopping and very little has been required from me to get it set-up correctly. There are a couple places where I’ve had some special requirements though.
+
+My own GFX system is far removed from the user-friendly and production focused one already in the gallery, although both are HTML based. Getting this setup and working was one of the key goals of the practice session on the 7th, and I had arranged for the broadcast engineer (Ash) to help out with getting it wired into the desk. After some troubleshooting (while I was on the floor) this was all setup and functional, there where no further issues and configuration was saved or otherwise documented to make it easier for next time.
+
+The layout of personnel in the gallery was also of note. I imagined it would be easiest to arrange people during the practice session while the floor where setting up. The problem is that there are 3 more roles in the gallery, each without a station. I considered that we might be able to put a table in the sound room, but it would have impeded communication. Ash suggested that we might be able to move the whole gallery desk forward and have them on the other side of it. I’m currently trying to get hold of a floor-plan of the gallery from the building manager to better lay this out before the shoot day.
+
+During a studio show last trimester, I was told by one of the technicians that the studio had bought loads of tablets in an attempt to go paperless, but that the people in charge of running shows where being slow to take them on. I liked the idea of being mostly paperless (although in honesty, without a camera script required by each member of the cast, I don’t actually require too much paperwork). I borrowed one of the tablets from the studio to test how it integrated with the GFX system, which was a success. I plan to use these in the latter practice to see how the crew works with them. I am prepared to go back to using all-paper documentation should the crew decide it would be best for them (for ease or accessibility reasons).
+
+ \subsection{Audio specific research}
+
+I underwent a surprisingly large amount of audio research, which then turned to dust in my hands.
+
+ \subsubsection{Generative}
+
+Initially, I sat down with Joe Fowler, audio artist, to talk through the ideas that I was having and figure out what might work.
+
+We where both on the same page about the most corporate music that I could get my hands on. I had recently been playing around with training my own AI models\footnote{There are some ethical considerations here, but this is research and development and my models are not public so I'll forgo this.} because of the distortions that you can get from it. The effect is unlike any other because it is not subtractive, its not additive, it fundamentally affects the input sound and, more importantly, it gets the maths wrong sometimes.
+
+I managed to get hold of around 52 hours of Seeburg 1000 background music\footnote{A company that supplied background music for industry and offices, similar to Muzak.} and began to train a WaveGlow model\footnote{This is a network that reinterprets Mel spectrograms as audio, used conventionally for text-to-speech systems. The plan was to feed it images it could miss-interpret and hallucinate Muzak. \url{https://github.com/NVIDIA/waveglow}}. This took a week of on-off training on a RTX 3090. I did manage to get some great audio out of this system, particularly in moments where it hallucinated loud tones out of thin-air, this would be used to support the ``clock-tick'' sound effects.
+
+On the whole the experiment was unsuccessful and unnecessary and instead of training some magical model that could hallucinate me endless Muzak, I ended up training an unreliable WaveGlow model on strange training data. I believe that this could have been fixed by reducing the resolution of the spectrograms, thereby making the model have to make up more information to generate the audio, but as with all things ``generative'', It's never as good as you think it'll be.
+
+I also realise that it was the complete wrong tone of music, and we should ideally be going for more modern stock corporate music.
+
+I went back to Joe to talk about my findings, we talked about how it could be done reactively, how we could distort it in real-time. We talked about tape loop destruction\footnote{\url{https://www.youtube.com/watch?v=mjnAE5go9dI}},
+
+and then I said
+
+ \subsubsection{Hey what about CDs}
+
+Me and Rebecca sat cross-legged next to the DVD player in the lecture-hall I'd taken over for the teleshopping pre-shoot briefing, with a piece of 60 grit sandpaper between us. We where trying to get something interesting out of a CD I'd burned with 15 pieces of the most corporate music I could get my hands on. I had two copies, one clean and one that said ``XMDV Fucked up'' in marker on the front.
+
+Joe and me both agreed that it would be an interesting experiment. He told me that because of the way the format worked, with error correction, If we messed it up too bad it would play fine and then not play at all. We did manage to get an intermittent skipping\footnote{This was regular, about half a second of silence and then a second of music. It amuses me that a higher grit sandpaper was probably needed, perhaps 120 or 240.} and a strange-but-subtle digital crackle.
+
+It was an interesting effect, and deserves more though, but will most likely be uses alongside other effects.
+
+\section{Pre-production}
+
+ \subsection{Production design}
+
+Most of the ``set design'' of teleshopping was done by me, in floor plans, in tone, in the clock. The products are notable in that they have actually been pursued and created by my set-design team (who should probably be called my product-design team).
+
+ \subsubsection{Set design}
+
+\begin{figure}[H]
+ \centering
+ \includegraphics[width=0.6\textwidth]{practice1}
+ \caption{The set layout in the practice session on the 7th.}
+\end{figure}
+
+All the usual considerations where taken into account with the design of the set, including the size of the flats, the size of the desk, the position of the cyclorama and the position of the lighting grid (in relation to the layout of the set). There is also the position of THE THREAT to consider. A to-scale lighting grid and floor-plan was made and used by myself to come up with a prospective floor-plan, this was used by set-design and the director on the day of the practice to lay out the set. Which changed little, mostly the position of the cameras. This was because the floor-plan did not take into account which of the cameras was wide-angle and which had auto-cue screens.
+
+There are still 2 more additional elements to finalize in terms of the set design. I am in change of both of these. The lazy-Susan and \textsc{The Threat} (for more on \textsc{The Threat} see Section \ref{sec:end}).
+
+ \paragraph{Lazy-Susan}
+
+A lazy-Susan is far simpler than the clock, but in many ways it is far more effort. With the clock, It's a textbook use-case of a stepper motor and Raspberry Pi. Complicated only in such a predictable way that you can't really fail as long as you know what your doing: Because there's only one way to do that. With the lazy-Susan though, is simply a motor spinning a wheel, and there are so many ways to do this that its difficult to find the most effective one.
+
+Motors generally don't spin that slow, so gearing of some kind would be required, I have multiple motors laying around, but all are either too powerful or too weak. Machining custom gears or belt drives is a waste of time for something so simple, so would have to be bought off the shelf. Considering the required weight limits and spinning speed is difficult to gauge and calculate.
+
+It is very possible that a modified record player would be the best path, but this is weight limit dependant, record players only being designed for a few grams of weight, albeit a wooden turntable along with a product. Another option would be to purchase a geared motor off the shelf, but this is time-consuming and expensive and should be left till I can fully rule out a record player.
+
+ \paragraph{THE THREAT}
+
+The plan is to use a standard 8" by 4" to make the shape of \textsc{The Threat}. I imagine the actual shape of the thing will be remarkable simple or more like automatic drawing. Ideally I envision a perfect black shape, similar to that of Vantablack. It is not viable to get large amounts of specialist pure black paint, but other alternatives are available.
+
+I learned from a hobby astronomy forum that paining with chalkboard paint (a very matte black) and then coating the surface with sand or course sawdust creates a surface that absorbs light effectively\footnote{They use this on the insides of home-made telescopes, where the sides of the telescope tube should absorb as little light as possible.}. I have secured the transport for the 8x4 with a member of the set design team and it should be ready with plenty of time before the final shoot. As mentioned in Section \ref{sec:end}, \textsc{The Threat} will not be revealed until the final shoot.
+
+ \paragraph{Note: The Doomsday clock}
+
+The Doomsday clock has turned our far more beautifully than I predicted, but there are one or two things I'm not happy with. First of all, It was totally reliable in the practice session, I found this surprising. It has in the past failed to work for a reason that I could not work out, I suspect something to do with the network. If there is a problem that has gone undiagnosed, I expect it to become apparent in the practice sessions, where we will be using the clock.
+
+There is also the problem of the jerky motion, which I am not happy with. Although it looked fine in the studio, it was on a small screen and I was running around. This would be solved by a gearbox in addition to the motor, which can be bought for £20-40. I am currently weighing up the options and will discuss with the director.
+
+\begin{figure}[H]
+ \centering
+ \includegraphics[width=0.6\textwidth]{clockinside}
+ \caption{The insides of the Doomsday clock.}
+\end{figure}
+
+ \subsubsection{Product design}
+
+The idea generation and the product design for XMDV has so far been the responsibility of myself and the set-design team. The team are all amazing and talented people.
+
+There have been moments where one of them has showed me what they've made and It has worried me slightly that they don't quite understand the vibe here. Although this could very easily be my fear of not being in control of everything.
+
+I'm happy to proved my notes along with this document on each different product, and will provide the current working item manifest (note that it is not every product, just the ones that are cleared for the Anchor to know about for the practice sessions).
+
+In terms of trying to communicate this ``vibe'', we have a shared Pintrest board\footnote{\url{https://pin.it/6JrhfPm4v}} and I have been organising group production sessions where I can give guidance or direction.
+
+In terms of materials, many of the products have most of their ``design'' in the packaging. When the item list begins to grow and some designs are finalized, I plan to talk to the on-campus Ricoch print center about getting the designs on the appropriate material.
+
+\section{Production management and paperwork}
+
+\begin{figure}[H]
+ \centering
+ \includegraphics[width=0.6\textwidth]{practice2}
+ \caption{Practice session on the 7th.}
+\end{figure}
+
+ \subsection{Risk assessments, Compliance and Consent}
+
+Risk assessments for each of the practice sessions as well as the final shoot are now approved and supplied with this document.
+
+There where fewer considerations than I though thankfully, and the only special-case was the mention of sharps for the final shoot.
+
+Ethical compliance in the form of a student declaration of block approval is provided alongside this document. A contributor consent form is signed and with the contributor, I plan on collecting and scanning it on the first lecture-hall practice session (30th March 2025).
+
+A blank contributor consent form is included with this document for consideration because of certain information added not present in the one included in snapshot 1. In-particular, the stressed mention that one can back out at any time and that this has been arranged with the producer appropriately. I also added mention of the acknowledgement that things will happen that the contributor is not aware of.
+
+\vspace{1cm}
+
+\noindent\textsc{PTO for production schedule.}
+
+\newpage
+
+ \subsection{Production schedule}
+ \label{sec:schedule}
+
+I have set XMDV related items in \textcolor{red}{red} and soft goals in \textcolor{blue}{blue}.
+
+\noindent\begin{tabularx}{\textwidth}{|X X X|}
+ \hline
+ \multicolumn{3}{|c|}{Week 10}\\
+ \hline
+ Monday & 17/03/25 & \\
+ Tuesday & 18/03/25 & \\
+ Wednesday & 19/03/25 & \\
+ Thursday & 20/03/25 & Snapshot review \& ``Good Morning Live'' rehersal (TVS) \& Set-design meeting \\
+ Friday & 21/03/25 & ``Craft It Up'' final show (TVS) \\
+ Saturday & 22/03/25 & \\
+ Sunday & 23/03/25 & \\
+ \hline
+ \hline
+ \multicolumn{3}{|c|}{Week 11}\\
+ \hline
+ Monday & 24/03/25 & ``Auto Tune-in'' Practice session (RS)\\
+ Tuesday & 25/03/25 & \\
+ Wednesday & 26/03/25 & \textcolor{blue}{\textsc{Threat} built}\\
+ Thursday & 27/03/25 & \\
+ Friday & 28/03/25 & ``Good Morning Live'' shoot (TVS) \\
+ Saturday & 29/03/25 & \\
+ Sunday & 30/03/25 & \textcolor{red}{XMDV Practice Session 1} \\
+ \hline
+ \hline
+ \multicolumn{3}{|c|}{Easter (1/3)}\\
+ \hline
+ Monday & 31/03/25 & ``Foxes Among Vines Int. Shoot'' (film) \\
+ Tuesday & 01/04/25 & ``Foxes Among Vines Int. Shoot'' (film) \\
+ Wednesday & 02/04/25 & ``Foxes Among Vines Int. Shoot'' (film) \\
+ Thursday & 03/04/25 & \\
+ Friday & 04/04/25 & \\
+ Saturday & 05/04/25 & \\
+ Sunday & 06/04/25 & \\
+ \hline
+ \hline
+ \multicolumn{3}{|c|}{Easter (2/3)}\\
+ \hline
+ Monday & 07/04/25 & \textcolor{blue}{Start essay, all products confimed \& half finished} \\
+ Tuesday & 08/04/25 & \\
+ Wednesday & 09/04/25 & \textcolor{blue}{Lazy-susan completed}\\
+ Thursday & 10/04/25 & \textcolor{red}{XMDV Practice Session 2} \\
+ Friday & 11/04/25 & \\
+ Saturday & 12/04/25 & \\
+ Sunday & 13/04/25 & \\
+ \hline
+ \hline
+ \multicolumn{3}{|c|}{Easter (3/3)}\\
+ \hline
+ Monday & 14/04/25 & Piano Boat recording session (R4) \\
+ Tuesday & 15/04/25 & \\
+ Wednesday & 16/04/25 & \textcolor{blue}{\textsc{Threat} in position in the TV Studios}\\
+ Thursday & 17/04/25 & \textcolor{red}{XMDV Practice Session 3 (backup)} \\
+ Friday & 18/04/25 & \\
+ Saturday & 19/04/25 & \\
+ Sunday & 20/04/25 & \\
+ \hline
+ \hline
+ \multicolumn{3}{|c|}{Week 12}\\
+ \hline
+ Monday & 21/04/25 & \textcolor{blue}{Record all VT's, finishing touches to products \& final commit to GFX system} \\
+ Tuesday & 22/04/25 & \\
+ Wednesday & 23/04/25 & \\
+ Thursday & 24/04/25 & \textcolor{red}{XMDV Final Shoot} \\
+ Friday & 25/04/25 & \\
+ Saturday & 26/04/25 & \\
+ Sunday & 27/04/25 & \\
+ \hline
+ \hline
+ \multicolumn{3}{|c|}{Week 13}\\
+ \hline
+ Monday & 28/04/25 & Utter Live 24/7\\
+ Tuesday & 29/04/25 & Deadline \\
+ \hline
+\end{tabularx}
+
+\newpage
+
+ \subsection{Diversity}
+
+I am aware that with such a small team, representation figures may not necessarily reflective of a positive working environment for all, however, the team I've put together performs well under most metrics.
+
+In the BBC's 2020-23 Diversity and inclusion plan, they define their new representation targets, these have been used below for comparison.
+
+\begin{center}
+ \noindent\begin{tabularx}{0.8\textwidth}{X|XXX}
+ \textbf{Measure} & \textbf{BBC Target} & \textbf{BBC Measured} & \textbf{XMDV Measured} \\
+ \hline
+ \hline
+ Gender & 48.3\% & 50\% & 53\% \\
+ \hline
+ BAME & 20\% & 15.1\% & 0\% \\
+ \hline
+ Disability & 12\% & 9.4\% & 20\% \\
+ \hline
+ LGBTQ+ & 8\% & 8.8\% & 20\% \\
+ \end{tabularx}
+\end{center}
+
+Realistically this has no bearings on the project at this scale, but it is an interesting insight.
+
+\section{Technical notes}
+
+\begin{figure}[H]
+ \centering
+ \includegraphics[width=0.6\textwidth]{practice3}
+ \caption{Practice session on the 7th.}
+\end{figure}
+
+ \subsection{Practice studio setup}
+ \label{sec:practice}
+
+The TV studios are large, expensive, spaces, where time is a premium. I was lucky enough to get 4 hours practice time alongside 4 hours of shoot time but felt this might not be enough. Sioux advised that I get my contributor early to start training them as much as possible on the particular rhythm of teleshopping, and I felt the best way to do that would be to anneal them in products over multiple sessions and many hours.
+
+I have, of course, been thinking about this idea for a long long time, and my expectations have only grown. But there was a time when I was prepared to make up my own make-shift studio in some residential space or a lecture hall. Is is this second idea, the one of taking over a lecture hall with cameras that became the most appealing for the practice sessions.
+
+It occurred to me that everything major piece of kit in the TV studio has some smaller analogue elsewhere within the university. The vision mixer has the ATEM Mini in the radio studios, the sound desk has the Rode-casters for podcasting and the cameras could be swapped out for any of the kit stores cameras able to output HDMI (all of them to my knowledge).
+
+All of this kit I have been able to acquire\footnote{The building's broadcast engineer was able to lend me a spare ATEM Mini for testing.} or book for the three practice sessions planned (see Section \ref{sec:contingency} for information on the third. See Section \ref{sec:schedule} for the scheduling of the sessions).
+
+Currently the plan is to have a number of key personal, present at each session, and a number of non-essential personnel who may be present at one session or the other (for information on coordination, see Section \ref{sec:coordination}).
+
+ \subsection{Combined GFX system advancements}
+
+The first version of the GFX system was built on a strange foundation of what I knew at the time. With what I thought would be simply one client (the GFX front-end) and one admin (the GFX controller) I chose to use json files to store the data powering the system. I did look into proper database solutions, but this seemed like overkill at the time.
+
+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 intuitive.
+
+There were 4 json files and a plain-text file:
+
+\begin{itemize}
+\item\texttt{data.json} contained the majority of the data, including the current text for all elements, the product id, the pricing alterations...
+
+\item\texttt{clock.json} contained the clock's movement speed, movement function and current position (as well as the now-scrapped lighting control system).
+
+\item\texttt{sigil.json} contained static information to do with the phrases encoded within the sigils and the magic square used to generate them.
+
+\item\texttt{items.json} contained static information about the different items being sold. This would also later be used to automatically generate the item manifests.
+
+\item\texttt{note} (plain-text) was the producers note, passed onto the anchor via the auto-cue system.
+\end{itemize}
+
+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 blatantly 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. This would deadlock the system, requiring manual intervention, but this risk was 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 panel would have to be cut up between multiple operators for ease of use. At this point, coming back to the system after around 5 months, I knew I'd need a better solution.
+
+I had recently learned to use the Flask package with python to build both a blog and radio station for an indie label. 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 data-point as an edge case, to simply passing on data from the SQLite database and doing some post processing for some server-side necessities. 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 that's not recognised, it is simply filtered out without raising an exception, 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 operation, if needed, is cued by the key of the data-point. For example, with the ``end\_timer\_x'' keys, if the client sends a key that starts with ``end\_'', then the value sent is added to the current UNIX time before being committed 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. Certain controls are also more intuitive. Previously many changes could be made at once and I imagined it might be easy to forget the previous state of the controls (the current state of the display) therefore I decided to mark the past state in red on each panel.
+
+The timer panel is also more feature-rich, reading out the current time on each timer\footnote{Of note is that fact that this time calculation happens locally, dependant on the client and server clock, so it is imperative that all the times are synced correctly.}.
+
+The aesthetics of the system where redesigned before the practice session with the advice of the set design team\footnote{Personally, I believe that the design and layout of the GFX system is, in a way, ``set design'' and we moved each panel and discount badge like furniture.}.
+
+ \subsubsection{Studio session (7th)}
+
+The distribution of the controls across the control panel 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 operators had almost all of the responsibility. This was ``pricing'', which included 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 operators to get a chance to suggest alterations to the system.
+
+Something that the narrative engineer suggested 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 auto-cue note, thanks to the new back-end design.
+
+The Anchor also had some pointers about what features would be good in the auto-cue system. The current price (with discount applied), the current discount and potentially an indicator of the next product.
+
+ \subsubsection{Document preparation}
+
+During the planned in-person lectures at the “start” of the project, I built into the GFX system the document preparation for the show, which automatically generated PDF, EPUB and MOBI versions of the call-sheet and item manifests. At this point I was under the impression that the TV studio had eReaders, not tablets. This was janky (as with the rest of the system) and worked well, but had no appeal to me.
+
+During the rewrite, I learned more about the template rendering package used by Flask called Jinja2, and this would allow me to not just generate all the docs dynamically, but also (when used alongside LaTeX) allow me to make beautiful and useful documentation. This not only saves me the work of manually laying-out a call-sheet for all upcoming sessions (as well as item manifests and itineraries) but also means we are quicker to adapt should something have to change last minute.
+
+Whether this actually saves me time over doing it by hand is up to the reader to decide and, although it was painless to integrate into the system, I suspect I mainly did it for “fun”.
+
+ \subsection{Training}
+
+It has occurred to me, through both the TV Studio modules, that in the run up to a run-though, there's not all that much to do for most, and far too much for some others. Particularly the gallery staff depend on the floor to be ready to go, or at least to be at their direction, as soon as they take their seats.
+
+During the practice session, I attempted to keep everyone busy by having all hands on the floor for the setup, but a meek or otherwise unassertive director and set-design lead\footnote{I blame neither of them, it was their first and second times in the studio respectively, and they are excellent at their jobs otherwise.} left many of the crew standing on the sidelines offering empty critiques or though-food in an attempt to be helpful. At this point I sent all unnecessary people to their stations and we continued to be behind schedule but without all the eyes.
+
+For this reason, during the further practice sessions, everyone has been assigned a pair, and during any dull spots they are to teach them their job and how to use their respective piece of equipment.
+
+This is still to happen, and it may turn out mild, but my hope is that this not only keeps everyone focused and working, but also gives me the safety blanket that should we have a single absence per department, there is a replacement for them and we can continue with the show.
+
+In addition to this, training is either inherent to how we're practicing, or has been arranged with the tech team where relevant (such as for the sound operator).
+
+ \subsection{Response and backup planning}
+ \label{sec:contingency}
+
+ \subsubsection{VT inserts}
+
+When the products are made, we plan to film a collection of short VT inserts of each product on the lazy-Susan. Possibly with some baked-in pans and fades. This would be used when either the product is too big to fit on the lazy-Susan (such as the paining of the moon), is too intensive to make 2 of (such as the human thigh) or when a safety option is needed. This can be designed to loop, and simply sit on one of the servers as a backup option for the director to call at a moments notice. It does necessitate appointing an engineer, but I was planning on this anyway so that is not a problem.
+
+ \subsubsection{System integrity}
+
+Part of the reason that I built the OzVa server in the first place was to have extreme and granular control over my files, as well as the stability and feature-richness of open-source, command line tools. I had, so far, had zero unplanned down-time until the 15th March 2025, when the server was unavailable for the whole working day. It is possible that this was a DNS problem, but it is also possible it was a problem with the hardware itself. Suspiciously, without any intervention, OzVa was back online the next morning.
+
+For this reason, I have decided to put a backup of the entire GFX system on a server belonging to a friend, with an OzVa subdomain pointed towards it, able to be switched over should OzVa go down for any reason. This server is not as optimised as my own for real-time GFX with low latency, so performance may be subotimal, but this should not affect the viewing experience in some extreme way and would be the difference between bringing the stream back up in a matter of minutes, or failing to complete the project all-together (should we lose OzVa).
+
+I am currently collecting some data on the expected latency difference between the two servers.
+
+It goes without saying that the studio practice session (on the 7th March) went without a hitch graphically (at least with no undocumented errors\footnote{There was one small ``500 response'' meaning server error, but I suspect this was to do with one of the GFX operators putting a single-quote character in the auto-cue note field, an error that is documented and fixed in a commit to the repository that I did not push before the practice for stability reasons.})
+
+\section{Structure}
+
+ \subsection{Notes on the beginning and the end}
+ \label{sec:end}
+
+This was conceived by myself and the directors late one meeting. This entire section is forbidden and not to be communicated to the anchor. The end of the stream follows the following structure.
+
+\begin{enumerate}
+ \item The final item is brought up on the GFX, it is for an item called ``Everything''. Floor manager 1 begins to move all the locked off cameras backwards and off to the sides of the studio (Cameras 1, 3, 4 and 5). Floor manager 2 takes position behind the set for the appearance of \textsc{The Threat}. The gallery cuts all unnecessary communication with the Anchor, at the discretion of the producer.
+ \item The GFX overlay is faded out fully for the first time.
+ \item The lighting operator triggers the finale cue which dims all lights on the Anchor.
+ \item Camera 2 begins to move backwards very slowly as far as possible, with FM 1 cable bashing where needed.
+ \item Lighting advances the next 4 cues at the direction of the director and the producer, each turn off one of the 5 lights currently pointing at the set.
+ \item The producer cues FM 2 to reveal \textsc{The Threat}. Lighting then triggers the final cue casting the set fully into darkness.
+ \item The vision mixer cuts to black fully and the live-stream is ended.
+\end{enumerate}
+
+This was practiced as much as possible, as soon as possible, on the 7th, with a stand-in for both the Anchor and \textsc{The Threat}.
+
+ \subsection{Editorial vision and storytelling}
+
+\begin{figure}[H]
+ \centering
+ \includegraphics[width=0.6\textwidth]{practice4}
+ \caption{Gallery on the practice session (7th).}
+\end{figure}
+
+The crew I have assembled for XMDV is eclectic, stretching across multiple departments, and they each seem to see it through their own lenses. The directors (both off the film course) continue to claim that I should have some way of telling the audience a bit more about whats happening (who is \textsc{The Threat} etc.), the set-design team keep telling me that the set was too bare in the practice and it looks ``nothing like'' teleshopping and my cameraman seems to think I'm making a comedy.
+
+I have tended to sway towards them and listen to their feedback, they're all people I trust, but I have decided this is not necessary. They're all right, of course, but I am not making teleshopping, or a film, or a comedy. Give me a rule and I'll break it, and I am in no rush to explain myself. The entire reason this project falls under ``multi-platform media'' when it seems to me very clear that it is TV studio, is so that I can break the rules, and as a result I have been able to have vastly more studio time, vastly more freedom and a far more relaxed schedule. All things that will improve the final product. Why was my last snapshot a homoerotic fan-fiction? Because I break the rules.
+
+I am not going to ruin one of the most beautifully sparse and minimal (and beautifully lit) sets I've ever worked on by littering it with ``potted plants'' and, again, I am in no rush to explain myself. Not for the crew, not for the audience. The audience... I wonder what they think about all this?
+
+ \subsection{Audience}
+
+\begin{quote}
+ XMDV Teleshopping plays off a fascination with the surreal and esoteric, with a focus on people aged 18-35 with a slight male lean and a slight LGBTQ+ lean. For these people, and many of any age, teleshopping represents a bizarre sub-genre of television. At best, curious; At worst, manipulative.
+\end{quote}
+
+This is from Snapshot 1, and remains true. It seems to me that the platform, in this case precludes the audience, which later defines itself.
+
+If I where making, say, a magazine show about boats; I might first figure out my audience (say 35-50 year old men) before then identifying my platform (most likely the channel ``Dave'' in this case).
+
+With a platform like Twitch, though, which has everything from Polish \textit{Osu!}, to Americans in hot-tubs, it seems a little different\footnote{It is almost as if Twitch becomes more of a medium than a platform, with the ``categories'' and ``tags'' used by Twitch to classify content becoming the platforms. This makes selecting the right category and tags vital to our success.}.
+
+Should XMDV have more room to breath, as well as some more multi-platform engagement and more content across the board, I have no doubt that it's audience would find it.
+
+There is of course the chance that this audience doesn't exist. See Section \ref{sec:research} for my argument against this.
+
+\section{Crew and Cast}
+
+We are now fully crewed up other than the engineer (a minor role). There is one more cast member to find, the replacement anchor for one of the products (forbidden information). But this is a 30 second bit, and may get scrapped.
+
+\begin{tabularx}{\textwidth}{r|l}
+ \multicolumn{2}{c}{\textbf{Heads}}\\
+ \hline
+ Producer & William Greenwood \\
+ Director & Narrative producer \\
+ Narrative engineer & Finn Downton \\
+ Set-design lead & Tegan Blake-Barnard \\
+ \hline
+ \multicolumn{2}{c}{\textbf{Gallery}}\\
+ \hline
+ Sound operator & Rebecca Dixon \\
+ Vision mixer & Eleanor Haughton \\
+ GFX Operator & Brynn Yates \\
+ Set-design $\Rightarrow$ GFX Operator & Lydia Wilkinson \\
+ Set-design $\Rightarrow$ GFX Operator & Leigha Blanchard \\
+ Set-design $\Rightarrow$ GFX Operator & Daisy Devoe \\
+ \hline
+ \multicolumn{2}{c}{\textbf{Floor}}\\
+ \hline
+ Floor Manager 1 & Heather Digwood \\
+ Floor Manager 2 & Olivia Gillett \\
+ Camera operator & Leo Garside-Holdich \\
+ Lighting operator & Alex Roberts \\
+ \hline
+ \multicolumn{2}{c}{\textbf{Cast}}\\
+ \hline
+ Anchor & David Smith \\
+ \hline
+\end{tabularx}
+
+\subsection{Set-up responsibilities}
+
+\begin{description}
+ \item[Set design lead and Director] are in charge of all floor crew (excepting the lighting operator) in the setup phase. This is to allow a quick setup, and where necessary, adjustment of the set.
+ \begin{itemize}
+ \item The set design lead, Tegan, is to take responsibility for the layout of the set as a whole, placement of the walls, the lazy Susan, the clock \&c.
+ \item The Director, Jack, is to take responsibility for the positioning of the cameras, working with Set design for optimum placement.
+ \item All other floor crew are to help move walls or other fixtures. They will then bring in the products or stand-ins, covering them up where necessary.
+ \item Lighting operator is to setup lighting and make necessary adjustments.
+ \end{itemize}
+
+ \item[The Narrative engineer] is in charge of all gallery crew in the setup phase. This means:
+ \begin{itemize}
+ \item Getting all sounds loaded and the desk setup for the sound operator.
+ \item Getting the GFX system set up to a blank state, calibrating the timer offset due to latency (as instructed in training) and checking that everything is fully functional, including the clock, reporting to the producer where it is not.
+ \item Calibrating all cameras (as soon as lighting is stable) for the engineer.
+ \end{itemize}
+
+\end{description}
+
+As soon as The Anchor arrives, the set design lead is to be dispatched to bring them a copy of the item manifest (got from producer) and talk through with them what each item is.
+
+\subsection{Production 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:
+ \begin{itemize}
+ \item The GFX controllers.
+ \item The current text on screen.
+ \item The flow of each sale, keeping on top of the anchors timings and giving him a push forward if needed.
+ \item Responding to any requests from the anchor.
+ \item The actions of the floor managers (moving products in and out, large story beats)
+ \end{itemize}
+
+ \item[Director] is to be responsible for the look of the show and all cuts. This includes:
+ \begin{itemize}
+ \item The vision mixer, calling shots and fades.
+ \item The camera, close-ups and moves.\
+ \item The lighting operator.
+ \item The engineer where necessary.
+ \end{itemize}
+
+ \item[The Anchor] is responsible for cuing in all price drops and all timers. The may also direct or otherwise request:
+ \begin{itemize}
+ \item A price drop.
+ \item A timer on screen.
+ \item A camera move (close up, come closer \&c).
+ \item A cut to the safety shot.
+ \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.
+
+\end{description}
+
+ \subsection{Coordination}
+ \label{sec:coordination}
+
+I chose to coordinate with a number of Google Forms documents for both the main crew and the pre-production (set-design and directors) team. This worked well for gauging approximate availability over a large time-scale.
+
+This was used to organise the initial full-team meeting as well as the practice session (for the criteria see Section \ref{sec:practice}).
+
+For the real shoot-day, as well as the practice time in the TV Studio, I was simply given a time by the studio team.
+
+\section{Feedback}
+
+Over the production so far, I've received plenty of feedback and tips regarding the GFX system and the layout of the main GFX page, I am constantly making small adjustments to make this the best possible system.
+
+In response to the feedback from snapshot 1, I looked through all appropriate categories on Twitch. The most appropriate (other than ``Just Chatting'') where: ``IRL'', ``Art'' and ``Special events''. I believe ``IRL'' to be the best choice. There is also the question of stream tags, which requires more though.
+
+\section*{Conclusion}
+
+The project is on track, with the only concern being the design of the products and the securing of an engineer. Both are solved by forward thinking and time management. I have no real concerns to the moment, partly due to the amazing practice session on the 7th.
+
+\end{document}
projects / shopping-docs / commitdiff
