Live EastEnders www.gtc.org.uk www.gtc.org.uk KosovoLive independence EastEnders Live from Albert Square by Paul Holman Duncan Unsworth and Chris Goor rehearsing a possible ending

The cast were allowed to rehearse in ALL PHOTOGRAPHS © BBC warm clothing Day to day life in Walford EastEnders, one of the UK’s most popular serial dramas, is in production 50 weeks of the year, making two hours of drama a week to fill a Shock news directed live television before and walking out of the Queen Vic Pub With just six days to go, the final 52-week schedule. “That won’t look good on the live none of the normal production team onto Albert Square in reality entails a requirements were settled. There were “that there could be more than ten million people Two crews work in 9-day blocks – six days in the studios, each with four show” had long been a standing joke had experience of working live either. three-minute walk between sets. to be 40 full-sized cameras and a switching on didn’t seem overly important, the real cameras, and three days outside on the exterior set, the lot, with three on the set of EastEnders whenever an Fortunately though, the regular As the New Year brought the couple of small effects cameras, to cameras and two assistants for rigging and grip work. artist forgot their lines or some action camera staff on EastEnders all learnt transmission date ever nearer, more be operated by 32 cameramen, some concern was delivering the shots in front of one’s peers” went wrong. So, the announcement their craft at BBC Television Centre details began to emerge. The shock of whom would be moving from the At the time of writing, we work with Phillips LDK 100 cameras with triax last September that the show’s 25th where live work was nothing unusual, revelation was to be ‘who killed studios to the lot during the show, plus call time to be greeted by our resource started, Clive moved on to another backs. There is a multicamera recorded version, cut live by a vision- anniversary, on 19 February 2010, was and it came as no surprise when Archie’, the character whose death further camera moves from location to manager with ‘welcome packs’ – studio. Meanwhile, our crew spent mixer and usually there are extra recorders on each camera’s output for to be marked with a live episode came Duncan Unsworth, who regularly had been the climax of the Christmas location on the lot as well. almost half a ream of paperwork to half an hour sorting out problems with additional options in the final edit. as quite a shock to all of us who work works with Clive, was chosen as Day show. It looked like all the studios The normal EastEnders cameras sift through in 15 minutes. And they the set, negotiating with the lighting regularly on the show. If this wasn’t overall camera supervisor. would be needed, as well as the lot, would be used, supplemented by wondered why we hadn’t read it all department and rerouting cabling. We Location shooting away from the main site is also done regularly with challenging enough already, it was Then we learnt that the writer, so this would imply a minimum of additional Sony BVP950 cameras and kept asking what was happening choreographed amongst ourselves, and smaller teams shooting with DVC Pro recorder backs on the normal also to include a major ‘shock’ plot Simon Ashdown, was to be given no 15 cameras. Plus, we’d need more supplied by SIS and run directly into next! with the sound crew, how we could camera heads. development that would be kept secret special restrictions and that this was cameras than usual if a stunt was their scanner, plus some extra hired in Our studio was the first to start move from set to set and back again in Shooting is usually six to eight weeks ahead of transmission. from both cast and crew until during expected to be a ‘normal’ EastEnders to be involved – and our tame stunt Philips cameras compatible with the rehearsing, with Clive and the cast the time available and then those of us the live broadcast. episode with the usual fast-paced arranger had already been spotted existing infrastructure. To avoid any blocking through the positions and who needed to move outside to the lot In summer 2010 it is planned to move to HD acquisition. Initially, the only thing we knew action including both interior and recceing the roof of the Queen Vic. mismatching, the Philips cameras were action. As we started to move the set off to our next location. for certain was that Clive Arnold exterior scenes. A question for us was As none of the existing studios had to be used in the studios while the SIS peds to their first positions it became actors, stuntmen, stunt arranger, The next position for my camera was would direct. Clive is one of the most whether the technical requirements big enough vision-mixing or sound cameras would be out on the lot. clear that preparations weren’t quite On your marks... first AD arrived to swiftly block out outside where the stunt sequence respected directors at EastEnders could be met from within the existing desks, SIS LIVE would be providing as thorough as they might have been. My first position looked dry at least. It the action, refine shot sizes etc – and would start. This involved dropping the with a reputation for working fast but infrastructure, or whether an outside outside broadcast facilities, with a Day 1 Tx –3 My camera position was blocked by a was inside the Argee Bhajee restaurant then they were gone, off to the next cable to be re-rigged, and carrying the calmly, and with a fantastic ability broadcast unit would have to be large scanner, the DMCCR, for the I was to work with camera supervisor wall. The scene crew managed to strike set shooting outwards through the location. No one seemed to have put camera and head through the back to co-ordinate multicamera. He’s drafted in to provide more facilities. main network vision coverage. Another Kevin Coe’s crew in Studio B, then the offending flat pretty fast, but had door to a taxi. If the taxi failed to any marks down for the taxi, but of the set, down a dark alleyway to a also very well liked by the cast as Very significantly for a live show, the separate audio-mixing truck would move to the lot to operate a second to leave a pillar until later which made stop in position, there’d be no shot. that would all be sorted in the next second preset tripod about 50m away, he gives them wonderful flexibility EastEnders’ studios and sets are spread handle the complex sound mix and camera. We gathered just before the lining up shots less than ideal. Suddenly, the whirlwind of director, in rehearsals. However, he hadn’t over a large area, so a character live dub. Then, almost before we felt we’d rehearsal… wouldn’t it? all without distracting the artists

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Steve Roach rehearsing with Perrry Fenwick and Steve MacFadden

Duncan briefing the crew in Studio A

Kevin Coe trying to warm up!

Some of the kit waiting to be rigged Shooting out through the Argee Bhajee doorway Sound background One curiosity of the normal EastEnders cameras is that they aren’t fitted with sound and communication boards, so don’t have normal talkback “with 42 cameras, of two different types, spread over the show. As soon as our scene had tower to enable a close-up of him “most newspapers and comments were very positive, options. This specification decision was made to save costs as everyone finished, we grabbed our outdoor kit shouting, shot from below. Meanwhile, was routinely using radio talkback when the cameras were ordered. four different areas and working via different galleries and moved to our second positions. Joy a big inflatable fall bag had to be and although there were a few mentions of the slip-ups, of joys, it had started to rain. Nothing positioned under the stunt and In recent years, the old radio talkback system has been upgraded to the into a scanner, the end result was delays to some of terrible, just steady drenching drizzle. removed immediately the stunt man it appeared other hiccups weren’t noticed at all” excellent Drake free speak system that allows users to customise their Our first scene worked surprisingly had hit it, all disguised with sound and own talkback mix between production talkback, lighting (engineering) the cue lights” well with the taxi hitting its (non- lighting effects of a passing train to the previous night, and to pass on a scenes still looked a bit chaotic. talkback, production sound and inter-camera talkback. This has proved a existent) marks perfectly. Everything cover the inevitable din of the bag’s few of his own. It was clear he hadn’t Those of us who needed to move, fantastic system with great clear digital sound and robust build quality, playing another scene and, of course, just seeing the character who was rolled on but we could see that the removal. Charlie would then run back missed a thing, also that he wasn’t grabbed our coats and headed for our and the ability for the different technical crews to talk within their own avoiding walking through the back talking was a challenge. The scene Queen Vic scenes still weren’t going to take up the fallen hero’s position for happy at not being let in on the next camera positions as we could disciplines has been hugely useful and productive. of shot. started well enough, but as the action well. As the temperature dropped and the final few shots. The crew needed secret ending. hear on talkback that things were still Unfortunately, though, there weren’t enough sets to go round on the live The first proper rehearsal started moved upstage, one of the artists the rain became increasingly heavy, to be positioned so that they wouldn’t We continued rehearsing the charging on without a pause. Our first show and the complication of so many users trying to use a single system mid-afternoon with the floor manager failed to clear as the camera tracked our interest in watching the other obstruct the mechanics of the stunt, ending in daylight ready for a full outside scene went well enough and across many areas was so worrying that it was decided to put all the shouting, in all seriousness, “Quiet in in, causing a hiatus while the crew crew sort their problems out started while the rest of the cast would be speed non-stop rehearsal as soon as then it was off to our final location. camera crew on a simplex Motorola analogue set-up and leave the Drake the studio, going live in two minutes.” tried to recover from not being able to wane! moving into position so that they it got fully dark at 6 pm. There was an Things were starting to look a bit free speak system for production staff only. Instead of this being met with a to hit the correct mark. Artists started could come out of the Queen Vic or amazing atmosphere as the rehearsal rougher now, the cues weren’t quite ripple of sniggers, the atmosphere to cross shots trying to move to new The big stunt their various houses for end reactions. started. “Standby studio, going live… as slick and there were some problems out in the cold or to talk at all. With metal market stall moving it a few became quite serious and silent. It positions and very soon the rehearsal Soon, everyone was back on the lot to The icing on the cake of complexity on air”. In Studio B we were glued to with the action – but the stunt a lot of detail still to nail down, cuts inches, much to the consternation was a surprise to find that instead of ground to a halt. This was never going look at the complex final stunt scenes. was that the final big reveal of ‘who the mixed feed watching the other worked well and a possible ending to be made and a final dress rehearsal of a cameraman standing right next a normal stop–start rehearsal during to be an easy scene… Our shots seemed straightforward killed Archie’ was still a secret. We studio’s output as the show progressed was rehearsed. to be shot and recorded as emergency to it. After the rehearsal he let the which we could sort out problems with We breathed a sigh of relief that enough but the real difficulties lay in were to rehearse ten endings as the towards us. As the cast started to As we waited to hear whether back-up for Friday, this was a serious stunt arranger know in no uncertain artist positions etc, this first rehearsal it wasn’t us who had stopped the the logistics of the stunt sequence. The rain started to turn to sleet and flakes deliver their proper performances in we would rerun the end sequence, problem for the production team. terms what he thought of that stunt was being treated as a non-stop run. rehearsal, whilst sympathising with main character, Bradley, was to run of snow. Albert Square’s reputation for costume, everyone seemed to rise to rehearse some more endings or go The executive producer explained driver’s abilities. By the end, we were Peter Woodley’s crew who were really from the police, climb a drainpipe onto being a hideously cold place to work the challenge. Soon the cast burst into back to the start again, we were the situation and how the existing left with a feeling that we were now Down the pub up against it. The action was hard a roof, jump from roof to roof edge, wasn’t dented that night. our studio. There was a definite and staggered to hear a wrap called – plans for the day would be in a much better position to make So far, I hadn’t seen much of the enough to follow in the packed set, shout to his wife, then overbalance determined air about them; they were over two hours early. The timings reorganised, plus the cuts that had the professional job of the show studio output, so it was interesting but there was another problem as well. and fall off. There was also some Day 2 Tx –2 really going for it. were showing that the programme been made to the script. As soon as that everyone wanted so much. But to see how everyone else was coping. With 42 cameras, of two different in-vision car movement as more police Following the difficulties of the Our second scene was one of the was significantly over-running, so it got dark, we started a full rehearsal much to the frustration of Duncan The crew in Stage 1 with the Queen types, spread over four different areas arrived on the scene. previous night’s rehearsal, we started most quiet and intimate scenes of the executive producer, director and with a runner standing in for Lacey, and lighting director John Carberry, Vic interior set was having the and working via different galleries into This would require careful timing the day with a full facilities check, the episode, between Bradley and scriptwriter had to trim things down and worked our way steadily through still nobody on the crew knew which toughest job. The live episode was a scanner, the end result was delays and accurate shot sizes to avoid seeing including tests to establish what sort Stacey. Lacey Turner, who plays to time. the show solving all the outstanding ending would be used. Clive tried to a continuation from the previous to some of the cue lights, a nightmare Charlie Clements, who played Bradley, of delay there was with the cue lights. Stacey, was simply stunning, far problems. reassure them that it would all be one which had involved a boisterous when different-sized shots are coming swapping with the stunt man who While this was happening, Duncan beyond what one would normally Day 3 Tx –1 The stunt sequence was again run fine, but I think they’d both have wedding party and been shot some thick and fast and lens changes have would climb the drain pipe. Charlie visited each studio to chat about any expect in rehearsal. This was starting Word was spreading like wildfire that at almost full speed. There was a been much happier if they’d been let weeks earlier. With a cast of nearly to happen immediately one is off shot. needed to move quickly off the lot problems we’d experienced, to check to turn into something really special. Lacey had completely lost her voice reminder of the risks involved when in on the secret. 50 principals and supporting artists, The rehearsal continued, eventually and up onto a specially built scaffold we’d got all the director’s notes from Unfortunately, things weren’t quite and been told by her doctor not to go reaching Studio B and our part of so slick in Stage 1, and the Queen Vic a fast-moving police car clipped a

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The lot patch panel

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“there was a reminder of the risks involved when a fast- shots were taken, which looked a bit Crew list Professional resource... flat. But then it was straight into the Camera supervisors Over 10,000 products are availble via our website moving police car clipped a metal market stall moving it final scenes of grief at the fate of the Duncan Unsworth creativevideo.co.uk. It’s almost certainly the most hero. One hand-held shot got jogged David Bowden comprehensive library of information anywhere in our a few inches, much to the consternation of a cameraman when an actor stood on its cable, then Kevin Coe industry, with product details and specifications, brochures, there was just time for an emotional manuals, video reviews, tutorials and much, much more. It standing right next to it” Matt Hart end confession, before the familiar means you can research products and place orders at any Peter Woodley ‘doof doof…’ kicked in and the end time of the day or night to suit you. Day 4 Tx Transmission credits rolled. A cheer went up across Cameramen Eventually the big day dawned, The show started well although a The Square and all that was left to Alison Banham with the weather forecast good and stumbled line early on caused a jitter do was to de-rig and pack away all Roy Bailey everybody in determined mood to get in the scanner, then one scene went Competitive prices... the kit before heading off to the Phillip Carr the job done well. The good news was a bit wrong as an actress opened up John Corby We want your business now and in the future, so we don’t 25th anniversary party. want to be beaten on price. That’s why be back our that Lacey would be well enough to be with her lines from her following James Cullen already-competitive prices with a comprehensive price in the show. scene. You’d have to have known Keith Dawson match undertaking (ask for details). Each day the schedule had changed, the script to spot the mistake, and The day after: Tx +1 Ian Dicker Eight o’clock in the morning and I and with a full dress rehearsal still to everyone covered well, but it did Liz Doy was back at Elstree to re-rig any kit be recorded as the back-up, this day make the next scene a bit odd when Peter Fox that was needed for Monday when was taking on an unusual pattern. It it started with a line that had already Chris Goor the production was due to shoot started with another facilities check, been used – hardly a disaster though. Mike Graham www.creativevideo.co.uk again. More than expected had been a crew photo for everyone on the Thankfully, the tricky scenes in the Lawrence Hall achieved the previous night and within production, then a long break. At 6pm Vic were going OK, with all the artists Colin Hazelwood a few hours everything was ready for we began the full recorded dress run. hitting their marks and clearing in Ian Head the normal routine. The three of us Everything went well, maybe a few time for camera moves, while still Claire Hedgecock booked in to sort things out sat down shots not quite as perfectly framed retaining the feel of a packed, Paul Holman in one of the control rooms to see as we’d like, but acceptable. The lively pub. Ian Keown the audience comments and externals went well, as did the stunt Once the action moved outside, Chris McCullough newspaper reviews. and, with less than three minutes left, my taxi hit its non-existent mark, yet David Neill A total of 16.6 million viewers had Clive shouted out which ending was again. But, as the artists moved off, Joanne Nellis watched, a very good figure these to be recorded. Everything had gone the action became a bit faster paced Sarah Lee days. Most newspapers and comments remarkably well and we were now than in rehearsal. A shot was dropped Steve Roach were very positive, and although there left with resetting and waiting for the leaving not enough time for a fast David Sanders were a few mentions of the slip-ups, transmission time to tick round. shot change and, coupled with the David Short it appeared other hiccups weren’t Waiting to go on air on a big live delayed cue light, meant someone was Johanna Stinton noticed at all. There was also much production like this is always an odd caught with an on-air lens change. The Darrell Thornton comment on how one actor had left feeling. I get no rush of adrenaline, crash zoom finished perfectly framed, David Whitaker no great excitement, just a sense of but that’s not a style EastEnders uses. a shop without paying for the goods calm and concern to get it right. That Just before the climactic end she’d picked up! there could be more than ten million scenes, Clive announced to all: “Stacey Everyone from the runners people switching on didn’t seem is the killer” – an ending none of us upwards had done a superb job, but Fact file overly important, the real concern was had expected. special mention should go to Sarah Paul joined the BBC at delivering the shots in front of one’s The stunt scene started, the shots Giles-Harding our vision-mixer who Television Centre as a trainee Call CVP Group for local service on a national level peers. The camerawork itself not being were perfectly timed and we all saw managed to cut the show brilliantly cameraman in 1978, moving particularly demanding actually added everything we should but nothing else. every day from start to finish, and also to BBC OBs in 1995, then L O N D O N MIDLANDS N O R T H SCOTLAND to the pressure – there were simply The big fall went well and we found the sound team lead by Pat Nunn and going freelance in 2001. He 020 8380 7400 01527 854 222 0113 261 5850 0141 564 2710 no excuses for failure. As the clock the reaction shots while Charlie rushed John Downes, who managed to keep specialises in multicamera counted down, the same quiet we back round to his final position on the on top of an amazingly complex script work as a studio ped operator, had experienced all week descended ground. At first, the news that he was with great precision. Mixing a dub live and on OBs and location. on Studio B. safely in position on The Square wasn’t is a skill rarely called upon these days, www.paulholman.com we speak fluent cameraman heard, and a couple of extra reaction but was carried out superbly well.

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