As Live Production: Final Rehearsal

As Live Production: Final Rehearsal

Today was our final rehearsal day before we go live tomorrow. We arrived in the morning so that we could be ready to go as soon as possible. We had the set builders and the lighting crew constructing in the morning so we had to wait for them to finish the majority of the work before we could rehearse. However, they finished quicker than anticipated allowing us to get in to the studio to squeeze in an extra rehearsal. Which was really useful but had both positive and negative consequences which I will get in to.

Getting down in to the studio and seeing the set built for the first time was amazing. It really gave us a clear sense of scale and allowed our blocking to be more precise than ever. We had the presenters in all ready to rehearse however set up took a lot longer than expected as we faced multiple technical issues (mainly camera 3 not working and a few sound issues). As floor manager, I was constantly leasing between camera ops and the gallery to make sure everyone was aware of the issues and ensured they were being acted upon as efficiently as possible.

Also since we started earlier than expected we had no contributors or stand ins until the afternoon so I had to fill in for them and floor manage at the same time, which was incredibly difficult. 

Although I was sure to copy all of my script notes over from last week there were a few verbal changes we had discussed that I forgot to act upon (e.g. when contributors should leave the set, and where presenters should look). This caused the first rehearsal to be a little bit rusty and slightly disorganised. One thing that did go well was I made sure our audience contributors were in the right places ready to be interviewed. 

After our first rehearsal I dedicated more time to resolving the technical issues with camera 3 and also ensuring that both the audience plasmas were working properly. At this point Jack had returned from picking up one of our models and we also had a couple of stand ins. This gave me a chance to get back on the floor and give more direction to the contributors. This run through was interrupted now and again by lighting crews and set design team who were making frequent adjustments. However it was a good experience and working around them helped improve my focus.

After lunch, myself and Sonia spoke with Del, the presenters and our models/contributors (all of whom had arrived at this point), in order to get their feedback. The main points I got back is that the presenters would like more direction as to which cameras they should be looking at, to make this clear myself and Sonia would shout out the starting cameras before each section, while also positioning ourselves next to the live camera.

The models and contributors were happy we just needed to go through some minor changes to the blocking (some of them aren't to leave until the VT's start). I then spoke with Harvey who is our sound assistant and made sure that he and Jack knew about the mic swaps, and understood everything. 

The main feedback from Del was to be even louder than before, but that my direction was clear and concise, giving regular updates and counts from floor/gallery  was a huge help and                                                 something I should                                                   continue doing. 

The presenters had in-ear mics so they could hear the director and after some discussion it was agreed that myself and Sonia would still queue them just in case their coms went down (which did happen at one point).

Some feedback I got from camera ops was that they were concerned about their iris and exposure levels. I communicated this to the director who agreed it was an issue that needed resolving, but not until lighting were finished. 

By this point we had resolved all the technical issues with Camera 3 and after checking with all camera ops we began our next rehearsal. These next few run-throughs went a lot better. We kept to time and I was able to signal to the presenters when they needed to wrap up, even though they had earpieces this helped. I gave clear direction to all the models and made sure they followed their queues.

Before each section I made sure to clarify which would be our starting camera as sometimes the director would stray from the script, and this needed to be communicated to the floor and the presenters especially. I found this to be very effective and I was sure to keep my directions loud and clear.

This time around I got the blocking correct for all the contributors and made sure they were all comfortable, in the loop, and stood in the right places at the right times. As floor manager communication skills are key and I found it best to keep all contributors in the loop at all times so that they were happy and primed. 

I did struggle once or twice when trying to stand next to the Live cameras, and ended up getting in the way of a few shots. However, as the day progressed I learned where was safe to stand. Since we didn't have a designated runner today I had to move set pieces like the mannequin, although I would occasionally get in the way of shots or get too busy with the rest of the floor.

This is where Sonia really helped me. After some discussion we agreed that during the second half of the show I would take full charge of the presenters, floor, and relaying the Gallery. While she would assist with moving set pieces, and priming/fetching contributors who were spread about the studio. 

I was really grateful for her help and I found that our communication skills and role splitting improved massively today. We worked well as a team like one big floor managing unit. 

We ran through the show successfully several more times, and the changes we made really worked. All the contributors were in the right places at the right times and everyone knew what they were doing, when and where. Towards the end of the day I had to make sure people stayed on their talkbacks as they everyone got a little tired. But I made the extra effort to make everyone feel like their voice was heard and they had a purpose. 

Before we wrapped up I assisted all the camera ops in setting all their iris's, white balance etc. as was discussed earlier. I also acted as a stand in once we were off air to ensure GFX could get everything framed and working. 

I was sure to communicate any changes to the entire floor. At the end of the day I leased with sound and lighting departments so they could know how many audience members we had and where the key interviews were taking place. I explained this to them although looking back I could have been a little clearer. As after this I got spare camera ops to help add additional audience space (to make sure everyone had a seat and all camera ops had a purpose).

I then spoke to the sound department about the lack of music on the studio floor and after some discussion and explanation back and forth we both had a clearer idea of what would happen live and we resolved all previous issues.

Before leaving the studio I had a final chat with camera ops and the other departments to make sure reserved audience spaces were marked out, batteries were on charge, cables and cameras were in the right places. As well as helping to tape down any loose wiring. 

Overall today was a huge leap in communication, and general progress.

As Live Production: Rehearsal 10/04/18

As Live Production: Rehearsal 10/04/18

Today was one of our last rehearsals, and (after some initial teething) was one of our most successful. Today was also the first time we were able to run through the entire show from start to finish. 

With our actual presenters, models, and proper stand ins we had almost everything we would have in the live show. As a result today was heavy on building communication skills. After the last rehearsal myself and Sonia had an in depth chat with the directors (George Lock and Gavin) about how the role of the floor manager should be split. Since Del suggested it should be a shared role and not split, and in practice myself and Sonia found this to be very useful, since there is a lot of work for one person to do. However this was causing some confusion with the directors as they were unsure who was in charge if the floor. After some discussion and negotiation it was agreed that I should take charge of Alfie, and Sonia should take charge of Adaline. And while we would both be managing the floor at all times it would be Sonia who would vocalise the gallery's instructions for the first half and myself for the second half. Apart from that, whoever was in the best position would be the main focal point. 

After the first run through we found that this actually made sense and worked well. Having had several rehearsals to practice I found my listening skills were more developed and I was able to act on the directors words quite efficiently. 

However the first run through we did was quite rough, this was due to several factors. Firstly we hadn't had a rehearsal in nearly 3 weeks, meaning much of the information about the show and its staging had been forgotten or had to be recalled. One problem I encountered was that the presenters had forgotten what my hand signals meant. So when I was trying to get them to wrap up or stretch out a section they would get confused and just stop all

together. To fix this I sat down with them to go over where I would be standing, what my signals meant and that they could come to me if they were ever confused. There was an instance where the presenters stood up too early and went to walk over to the catwalk prematurely. But thanks to quick signals from myself and Sonia they passed until the time was right. After this we sat down together to note down the exact lines they should move on.

Another communication issue I faced today is that sometimes the director would say "role VT" instead of "sting" which caused confusion as to how much time we had between sections. Sometimes it was also unclear when models should be queued and

which camera presenters should look at when heading in to the audience. However despite a little confusion we were able to complete a full run through that was to time.

After the first couple of rough takes, Del came out to talk to us all as a group and give feedback. This was where we spoke as a group to work out some of the issues we were having. The main feedback myself and Sonia received was that we need to be louder, and have more of an assertive/clear presence on the floor so that everyone was clear on what was happening. We should start each section with as long of a countdown as possible and make sure everyone knows which camera we are starting with. We also discussed the logistics of the audience interview. Since Laura goes handheld for this part it is difficult for her to pan and dismount at the same time (in order to follow the presenters) without it looking rough and unprofessional. After some discussion that I contributed to it was agreed that a different camera should pan to follow the presenters initially while Laura dismounts (and we can then switch to her feed). I had to make sure this was communicated to the presenters so they knew where to look at all times.

Feedback from the contributors was that they wanted more direction and attention from us as floor managers as well. Since although they knew when to walk on they were unclear on where to look and when to walk off. After some discussion with Del and Jack we worked out some positioning between us so that the Talent and contributors could all see us when they needed to, and we could guide them when to Walkman/off and where to look (simply by standing next to the appropriate cameras). 

I was particularly grateful for this feedback and got to work on it in the next run through. This run through went a lot smoother however there was still a little bit of confusion that we had to work through. For the section where our presenters head in to the audience the contributors had to be sat in specific seats which we struggled to get right first time around. For this section the presenters also use a handheld mic. I had to get that from the sound department, learn how it works and work out when/where is most appropriate to give it to the presenter. Looking at the script I found the best place to do this was during one of the VT's. I spoke with the presenter briefing them on how/when to use it and where I would leave it for them. Unfortunately on this occasion the presenter forgot to bring it so I had to give it to them on the way to the interview. Although it cut out for some reason we decided to still keep using it so the presenters could practice using it. 

This section was also a little held up as I was unsure where best to stand to direct the presenter but stay out of the way of the cameras. We also found that we had to move the audience further back to give Laura enough room to move (which caused further confusion over where contributors should sit). 

But we were able to get a clearer idea of how this section would play out. The rest of this take went relatively smoothly with the only issues being confusion between myself and the gallery as the director was telling me to queue the presenters when there was still  time left on the countdown. But I went with my better judgement and followed my director (after some initial hesitation). 

Towards the end of the day we had time for one final rehearsal. We had a slight setback in this run through since Sonia had to leave, leaving me as the solo floor manager for the whole show. And weirdly enough although it was a struggle, it was by far our most successful run through. The biggest problem I had was trying to be in two places at once since I didn't have Sonia. To resolve this I tried to give Jack some more responsibility (which didn't really work as he was too distracted dealing with the other contributors). As such I had to make sure the presenters were in the correct positions and order, then queue them from the front of the set (since if I was at the back I wouldn't have time to run round). Which although caused slight delay, it did work. 

The rest of the run through however was a huge success. The models and presenters were all queued at the correct times (since Jack was instructed to use his own judgement more as well as listening to the director), and I stood next to the "Live" camera at all times making sure I could be seen and signal the models when to walk off. 

When it came to the audience interview this also went a lot better. After the last time, I decided I would place the hand held mic in the presenters hand during the VT so they had it on them (although this made it difficult for them to hold their script this won't be a problem in the Live show). I also ensured the guests we speak to were sat in the correct seats and that I stood out of the way but was still visible to the presenter. Since Sonia wasn't here I couldn't look after Adeline and Alfie at the same time during this section, but I made sure while we were in the audience that she knew exactly what camera to look at, and that she could call me over if she had any problems.

The rest of this take went very smoothly and I was able to keep it to time nicely. I was loud, on the ball, and stood in the right place to give clear direction. The only other issue we had was that we forgot to remove the mannequin after the Etsy seller interview. But apart from that everyone finished the take contempt with the overall success of the run-through.

I was very pleased with the progress I made, and we made as a group today and next week I look forward to working more closely with Sonia, and having our actual contributors and runners in the studio as well. 

As Live Production: DIY Final Cut Review

As Live Production: DIY Final Cut Review

With the limited availability of Bonnie our Etsy seller, there wasn't a lot of time to work on the edit for this VT. However, Alex Hargood worked really hard to get rough and fine cuts made which looked quite different to this final cut. 

For this shoot, we didn't have a director and he wasn't present for part of the editing process. As a result, the first cut was quite interview heavy which is not what he wanted and meant a lot of changes had to be made.

I liked the first cut but knew it had to be more like a montage. 

Looking at this cut now I really like the natural cuts between the sit-down interview section and the clothes making montage/B-Roll.

The lighting for this is nice and even which is a nice bonus. The framing being centralised is also aesthetically pleasing. To give the idea of constant movement Alex incorporated a number of tilts, pans and zooms in to the edit. I think this works really well to keep the story moving.

I like the selection of shots used and the pacing of the cuts works nicely. When Bonnie talks about something there are often appropriate cuts to a shot that follows that thought which is great storytelling. 

Whats really great about this VT is that the montage with style used, you could remove the sound and the VT would still tell an effective story.

There wasn' a lot of time to work on feedback other than that of the director. As such I personally would like to see a longer introduction that incorporated more of my research and facts about etsy.

But overall I think this VT fits really well with the style of the show and Alex has done a great job considering the time he had.

Studio Production: Etsy VT Shoot

Studio Production: Etsy VT Shoot

The second and final VT that my group was in charge of filming, was the VT with the Etsy seller. We wanted to film a VT that would give a little background information on Bonnie, our online clothes retailer. 

Although my primary role outside of the studio is as a researcher, I  thought it would be a good idea for me to attend this shoot to lend a hand (since our director George Wing couldn't make it) and also since I was the person who initially contacted and reached out to Bonnie, I thought it would be a good idea for her to meet me so I could introduce myself in person and brief her further about the show. 

We met at the studios in the morning before heading to the contributors house as a group. We introduced ourselves to Bonnie and explained our idea with her further. We had a quick reccie of her studio to see which angles and which table would look the best. \

Although the first room we looked at had more natural light, this was not the contributors actual studio, and as such did not have convenient access for the her sowing machine. As such we wanted the contributor to feel as natural and relaxed as possible, so we were happy to set up some LED's in her studio to give as a great new set up. Although George Wing wasn't with us, we set up the composition of the shot to get a decent mise en scene that we thought he would be happy with. George had also sent us a few video examples and a brief of the look he had in mind that we would do our best to adhere to. 

For this shoot we decided to go with a two camera set up. This is so we could create an interesting montage sequence that would maintain the audiences attention. This way we could also have one camera focussing on Bonnie while the other focussed on whatever she was making, the items she was using, the movement of the sowing machine etc. Having two cameras allowed us to get opposite angles and reverse shots of each item while still remaining within a 180 degree range. 

In this shoot Alex Baldwin and Alex Hargood were the main camera and sound operators. Connor Deamer was the producer (although his role overlapped in to that of a director as well which worked well, giving us key guidance). We also had Laura who was there with me to lend a hand and make the contributor comfortable.

During this shoot I practiced my floor managing skills by briefing our talent on what we would be shooting, where they should walk, look etc. and when I wasn't doing this I was camera assisting, making sure the exposures and white balances matched, suggesting shots and occasionally taking control of a camera to follow some action. 

We filmed a set up sequence, getting some high angle shots of the materials being played out on the table and the sowing machine being set up. Then Bonnie took us through the process of making one of her items. We made sure to include a few pull focuses, zooms, pans and title so that we could create an interesting montage in the edit.

After the process was finished we were sure to get some wide and panning shots of the finished item; the kind you might see on a live broadcast. We finished the day by filming a small introduction sequence (being careful not to divulge too much background info that we are saving for the studio interview) and also obtaining a few establishing shots of the house and studio to help lead in the sequence. 

Overall the day went well. We got plenty of footage that we can create a montage from and it was great to meet the contributor that I had been talking to these past few weeks. 

As Live Production: Old To New Final Cut Review

As Live Production: Old To New Final Cut Review

After finishing the shoot on the "Old To New" VT Alex Hargood worked hard to edit together a cut. I viewed the rough and fine cuts and overall was really pleased with how both of them turned out. 

The VT has really nice transitions and the switch from a male to a female model and then back again as the decade's change are a really nice touch. 

The mise en scene for the whole shoot is really nice and the props that were gathered help add to the scene without detracting attention from the models.

In the rough cut there were a few shots that needed either cropping or extending. This is because either the model's face was cut off or a bag/other item was in the shot. And also because some shots did not give the audience long enough to focus on the clothing items.

There was also a transition that had an 80's logo spinning on a record (which worked really well as a transition) but then stopped. I suggested that it should keep spinning and the shot should then either fade or cut so that the pace is not ruined. 

I also thought when I first viewed the rough cut that to help symbolise the passing of decades and trends each decade should have a different filter. 

I am really pleased that these changes made it in to the final cut and that my research into style trends were clearly utilised in this VT.

I think that the music works well and that the VT utilises rhythmic editing without solely relying on it. Each shot is a nice length and gives the audience a chance to view the clothing items. 

Apart from the graphics (which are deliberately made to stand out). a lot of the editing is invisible which is what you want. The light levels are also very effective creating a good atmosphere without casting too many shadows.

Overall seeing my suggested changes make it in to the final cut there is nothing else that i can think of that needs changing. 

As Live Production: Rehearsal 20/03/18

As Live Production: Rehearsal 20/03/18

Today we had our first rehursal with our actual presenters and proper stand in's. We were all put inner production rolls and returned to our assigned positions (e.g. specific camera numbers) that were arranged last week. In the case of myself and Sonia it was agreed that our role would not be split in to two halves, instead we would work in tandem with Jack as our assistant. Although there was some initial confusion with others over this I have to say it worked really well. 

Entering the studios we had to set up the cameras and talkback as usual, since everyone knew where they were assigned this was easier than last week, however we had encountered several technical difficulties with one of the cameras. For unknown reasons it was not producing a visual output. As floor manager I had to communicate frequently with the director and the camera op to establish that everyone was aware of the issue and make sure it was being worked on. 

As we had our real presenters in the studio for this rehearsal and floor managers have a huge connection with he talent I knew it was important to introduce myself. I made sure that the presenters knew who I was and who the other floor manager/assistant floor manger was. Then having learned from last week, I gave them a quick briefing as to what some of my hand signals meant, so that they wouldn't be confused. I ran them through the basic/most important ones and made sure to make them clear and regular to help them remember them and learn new ones. 

Another advantage of today was that our set was placed/oriented where it would be in the actual show, and everyone had the same version of the script, meaning everyone was more prepared and had a clear idea of what would be required of them. 

Since we had focussed a lot on the introduction of the show last week, the directors felt that we should rehearse a different section of the script. The advantage of this was that we had some mock up/rough cut VT's prepared ao we knew exactly how long we had between segments and the gallery/VT operators could practice the running of these clips. 

As the day went on we discovered that although we all had the same script the camera blocking on it was a little rushed and a lot of it needed re-working. Whilst the director would often talk to the cameras directly through talkback (or occasionally come out on to the studio floor), I was still responsible for making sure the cameras were appropriately spaced, were aware of where they needed to be at all times. 

We aslo had our actual mannequin in the studio and could block the scene around it. The difficult faced with his however is that in this scene, and the one directly following it there were a number of stage directions that were listed for the presenters to follow. When rehearsing the scene for the first time the presenters were unsure weather or not to follow them, and although I asked the director they didn't pick up one this until the second take. This was when Del informed us that if the script says we should do something, then usually it is best we follow it without waiting for the director to cue it, otherwise It could hold up the

show.

Throughout the day I had to deal with a number of questions and issues from both talent and crew. As floor manager I made sure to regularly check in on the presenters and make sure they were happy and most importantly knew what was going on at all times. At the start of each new scene I made sure to ask the director which camera each presenter should be looking at, then communicate this with them and annotate it on scripts. One thing I did mess up on was cuing talent next to starting cameras. 

As a floor manager I leaned from last week that the talent need to be able too see me at all times. But on top of this at the start of each scene I should be cuing talent next to their starting camera, not in notes centre of the floor. This not only saves time and running around, but makes sure there eye line is in the correct place. This is something I learned today and was sure to pick up on as rehearsals went on.

The next scene we rehearsed was the finale. This was the section that took the longest. Since we had to get all of our contributors on to the stage, move our cameras with a fast turn around, and still guide the presenters, it was quite the challenge. This is where I was particularly glad for the help of Sonia and Jack. While myself and Sonia took charge of the presenters and guests on set, jack stood behind the set ready to cue on the models. 

This scene had not been blocked or rehearsed before and as such it took multiple different attempts to get it right. At first the director wanted all the models/guests to stand one the catwalk. However it was decided that there was not enough time and space for the talent that was sat not the sofa, to get up and make their way back stage. The next issue was that having all the models on the catwalk and our other talent standing in

the centre did bot look right, and in fact messed with the framing. So we attempted to have all contributors stood on the catwalk but found it to be too crowded. 

To resolve this I suggested that we have two models walk down at a time, then the first two can stand bellow/beside the catwalk, and the other two can stand on it, leaving just enough space for the remaining contributor to walk

down and stand in the centre of the catwalk, whilst the drag act remained in the soft area with the presenters. After a few attempts this seemed to work quite well. I did have to update the models on their positioning every time the director changed their mind. Also initially the presenters were asked to stand (which I would have to cue), but this messed with the framing so I asked them to remain seated.

At one point the presenters venture over to the catwalk and in to the audience, but they do so one at a time. To save me trying to be in two places at once Sonia and I each took charge of a presenter. She would follow one and guide them, while I followed the other, guiding them when to stand, where to move too, and which camera to look at, ensuring no one ever felt lost. Throughout the day I also had to deal with the requests and concerns of the crew. For example cameras were concerned about how they would fit around the audience and that they would be seen in one or two shots. Since today was mostly about blocking I had to use my communication skills to talk to the director then reassure the camera ops that they were being listened to and we were aware of their points but the director was not overly concerned about the minor issues they had raised at this point, however they would anted to them in a later rehearsal. 

Overall today was a great day for developing my communication skills as floor manager. I dealt with a number of requests from both crew and talent, learned how we should block out our scenes and what needed to happen during VT's/SOT. I managed to halt presenters at each stings and work around our audience camera. Whilst today had its fair share of problems, we were able to overcome most of them working as a team with both crew and other floor managers to create a successful rehearsal  The next step will be to do a full run through of the show.

As Live Production: Old To New VT Shoot

As Live Production: Old To New VT Shoot

Today we filmed the Old To New VT for our studio production. Considering a lot of details about this shoot had to be changed quite last minuet we did a great job. And although I was only a researcher I still found it useful to be on this shoot.

This shoot was filmed at the UCA project space at Rochester, that we had booked out in advance. Connor Deamer was our producer, George Wing was our director, Alex Baldwin was lead camera, Alex Hargood was sound and assistant camera, and I filled in where I was needed as a researcher and production assistant.

One of the first difficulties we encountered was conflicting schedules. Today was the only day we could reserve the location, but we had the models booked for a different day. As a result we had to source new models just days before the shoot. We also had a time limit on the location and had to ensure we stayed on schedule.

Fortunately the models turned up on time and with me there to lend a helping hand we were able to set up really quickly. We had a photographer with us to help with the story telling of the shoot. Unfortunately they couldn't get their or Alex H's DSLR to work. Fortunately I brought mine as a backup. I gave them a quick tutorial on how to work it. Since it was a different make than they were used to they asked me for tips on how to get the best photos out of it and how to manipulate the settings. I was able to advise and offer help that would benefit the look of our production. 

The models were all wearing outfits and trends that I had researched in detail before the shoot. I picked the biggest trends from each decade that had returned and shared this information with Connor so he could buy relevant outfits for our models. This was done successfully and they had stuck to the themes I had provided. 

 
For each decade we also had a different lighting, which I helped set up and offered opinions on the rise en scene (for example I pointed out some marks on the wall that I was able to clean up so they didn't detract from the rise en scene).

George Wing had also prepared some props to match each decades trend which really enhanced the quality of the shoot. 

The first trend was from the 60's. The model sat on a stool so that the framing would match that of traditional 60's era photos. The model wore a mod style outfit that I had looked in to.

For 70's we had the model wearing patterned flares and they were surrounded by vinyl records. 

For 80's we had a simple roll neck jumper look paired with a bump bag. We also placed an old style space heater to help emphasise the era. 

For 90's we had the models sporting double denim and camouflage jackets. For this I helped set up a projector to play 90's related videos to make for a cool background. 

We had to dim the lights and blur the projector focus to get this to be effective without drawing attention from the models or causing copyright infringement. But I think it worked really well.

We covered a variety of camera angles (George made sure we covered all the ones on our shot list before seeing if we had time to experiment). We tried to get both tripod and hand held shots for each angle so we had options to work with in the edit. 

Both Alex's had great control over the camera, and although we didn't have a dolly we were still Abel to achieve decent movement and effective pans. Thanks to our mock up VT we knew to leave space for graphics and pop ups. We also were sure to get a close up on each individual item of clothing so we could create a tag for them in post. Although we had a different location to our mock up VT, we were also still able to get some great high and low angel shots by utilising the space around us.

My role today was mostly assisting with tripod and lighting set up's since really the majority of my work was completed beef the shoot. Still I made valuable contributions by helping to arrange props, projector set up (finding clips that fitted the era's I had researched) and I also took a variety of behind the scenes photographs that the promos team could use.

Overall today was extremely efficient and productive. We stuck to our time frame and shot list and even had time to get additional shots. George and Connor were very clear as to what they wanted and were able to communicate this effectively to both camera and models.

Both Alex's had great control over the camera and everyone worked together well. Considering we only organised the models a couple of days before the shoot, they were really professional and responded well to direction. Everyone demonstrated good initiative and problem solving skills, key for adapting a shoot to make it as successful as possible. I was happy to lend a hand and had effective input. The photographer, props, set and lighting design all helped to enhance the story telling and I look forward to seeing the edit for this.