#Takes the cast crew and format of the series and dials it all up to 11 with paranoid conspiracy thrills and extra nudity and graphic

[wixelt]

Stargate: “Hoag” - Mass X’over Idea

About this time last year, I started watching Stargate with my dad. We watched the original movie and SG-1. And Atlantis. And the SG-1 movies. And Universe. And Origins.

We finished the franchise somewhere about a third of the way through 2020, though with how this year’s been it feels like that was years ago, now. And for a lot of the time we were watching it and for at least a little while after it, I had a thought that wouldn’t go away and that I kind of liked.

Namely that I wanted to write a Stargate fanfic of some kind, possibly even a crossover. A mass crossover, in fact. As with most of my fan-fiction thoughts, no matter the work, they eventually fell onto my pile of half-started ideas. I’m awful at keeping to things and not getting distracted by “new shiny” ideas like some kind of fanfic magpie, even when I like the idea.

That said, this was a concept I really liked, so i’m going to share the basics of it now, as far as I got with it. Maybe it will inspire someone else, or maybe i’ll come back to this someday.

Regardless, though here’s the notes:

- Post-Universe, the war with the Lucian Alliance is still going, and despite the slightly dire situation things were headed toward last we saw, the SGC’s winning. The LA are on the back foot, and is starting to break into smaller factions. One of the larger LA factions decides to cut their losses and make a run for it, their space fleet making a beeline for the Supergate the Ori Army built to link the Milky Way and Alteran Home galaxies, having either deciphered or stolen the codes required to dial it. The SGC puts together an attack force to intercept the faction at the gate and stop their escape. The fleet is accompanied by several characters from existing series.

- The battle’s one sided, but the LA faction continues to make a run for the gate. And then it happens. I’m undecided on the details, but a mix of weapons fire on the ships trying to pass through and other circumstances - in much the same way as that classic episode of SG-1 - causes the open Supergate to “jump tracks”, the destination shifting to somewhere not in the Alteran Galaxy. A side effect of energy on this scale causes all ships in the vicinity to be pulled through.

- Emerging on the far side, the surviving ships exit through what seems to be another Supergate, albeit of less refined design. Later study will show it to be Ancient, instead of Ori. This lesser design proves unstable, leading to the SGC fleet being forced to destroy both it and their crippled ships to force a ceasefire with the LA ships, stranding a cast of both old and new faces wherever they’ve ended up.

- As for where they’ve found themselves, it’s the Hoag’s Object galaxy, they eventually discover. For those unaware, this is a real ring galaxy more than 600 million light-years from the Milky Way (~200 times further from Earth than the Pegasus Galaxy). It’s a galaxy for which we have a low understanding of the mechanics behind its formation - which sparked my interest as the ideal location for a Stargate series with an underlying mystery beyond just “get home”, in the tradition of Atlantis and Universe. It’s a fun place to read and speculate about.

- The base of operations for the “Hoag Expedition” as they try to contact Earth (a challenge when their arrival method and much of their equipment has been destroyed), is the “Spire”, an automated Ancient outpost which is, as the name implies, a massive pointed tower in space. The story behind it, as the cast discover, is that the Ancients were very interested in what was causing Hoag’s Object’s structure, and sent a large automated seeding ship to the galaxy, with the intent that it would automatically drop Stargates on various interesting worlds and other locales - similar to the Destiny - also seed a few worlds with human life, as was their MO to an extent, then take up a preset location and convert itself into a stationary... station, that would serve as the Ancient’s home once they were ready to arrive - a local Supergate also being constructed as one of the projects they were intending to test alongside their studies in Hoag. Like Destiny, though, they never arrived. The Spire was dispatched late in the Ancient’s time, likely around about when they were fighting the Wraith in the Pegasus Galaxy. After that, they focused on ascension, and the Spire lay forgotten, its systems waiting for a crew that wasn’t coming.

- Some of the first things the expedition discover on arrival are tied to the local gates. Firstly, they can’t dial home. Even when they work out where they are relative to Earth, they can’t calculate what the 8 symbol address required to dial would be (for reasons made harder by the second point). There’s no indication what the address would even consist of, given there’s no “dial Earth” address in the Spire’s database - presumably the Ancients didn’t know where they’d end up dialing from, and no-one ever arrived to clarify. Secondly, while the local gates are Pegasus-era 3rd generation Stargates, they have a different color palette - being purple rather than blue, because I like purple - as well as a completely different set of symbols. These symbols are determined to be a very symbol numeric system set up in 5s, presumably because the gate seeding was automated and chose a structured visual system. I actually created a guide for this system. As might be obvious, this gate network has more symbols them any other - to account for Hoag’s Object being a larger galaxy - featuring 41 non-Point of Origin options:

- As I mentioned before, however, I wanted this to be a mass crossover, which is where the Ancients’ MO of seeding human life comes in. Like the Pegasus Galaxy, you can still have those human cultures, but how far out Hoag’s Object is - as with Stargate Universe - allows for more alien cultures as well. Which naturally lets you drop pretty much any non-Earth (or otherwise, in some cases) setting into this concept amid other, more original planets and have it turn up as the expedition does what Stargate does best: explore new worlds. RWBY? No problem. Avatar? Eeyup. Fairy Tail? Definitely. Madoka Magica? Trickier, but even with that being set on Earth the Incubators have to come from somewhere, right? MLP? Simple, if the Equestria Girls world is considered the local side of the mirror and Equestria another reality. Heck, you could even throw in something as out there as Hermitcraft and probably make it fit.

- And yes, I did briefly play around with gate addresses for a few of the above places, too, but didn’t get very far due to waning inspiration (the above symbol system itself was already my 5th or 6th attempt to make something workable). I did include my meta-logic for choosing the symbols, though:

- There were other ideas I had for this whole thing, too. I played around with the idea of writing this on a forum thread on somewhere like SpaceBattles or Sufficient Velocity, and maybe I still could one day, where other people could write in the setting too if I got enough traction (always been a big fan of interactive and/or collab ventures). Also played with the concept of a story-line of two Goa’uld “brothers” who had left the Milky Way in centuries past in search of new pickings, finding Hoag’s Object and setting themselves up as gods over multiple worlds (one of which may have been RWBY, if that gives you an idea of where that was probably going), but that fell apart once I started questioning how they got to Hoag’s Object when the Spire and its gate hadn’t been touched before the SGC arrived.

All that aside, though, this idea is out in the open now. If someone wants to play around with it, they can. Or if people want to ask what i’d do with various settings or features, i’m happy to give it some more thought to get the creative juices pumping again.

For now, though, enjoy! :)

[jgmulticameraroduction]

Roles and responsibilities of multi camera production

When it comes to jobs within a TV studio, there are two categories in which they fall under. Those being the floor staff and the gallery staff.

Floor Staff

The floor staff are the jobs that are more hands on with the actual production, by this I mean that they are present on set alongside the talent/actors involved.

Director- when it comes to the staff who work hands on in the foreground of the production, no one is more crucial than the director. A television director is usually responsible for directing the actors and other filmed aspects of a television production. The role differs from that of a film director because the major creative control usually belongs to the producer. In general, actors and other regular artists on a show are familiar enough with their roles that the director's input is confined to technical issues. The director is responsible for all creative aspects of a production. The director typically helps hire the cast (and possibly crew). The Director helps decide on locations, and creates a shooting plan. During shooting, the director supervises the overall project, manages shots, and keeps the assignment on budget and schedule. Though directors hold much power, they are second in command after the producer. The producer usually hires the director (unless the director is also the producer). Some directors produce their own television programs, and, with formal approval of the funding studio, enjoy a tighter grip on what makes the final cut than Directors usually have. 

Production Designer- The production designer is responsible for the production's visual appearance.They design, plan, organize, and arrange set design, equipment availability, and control a production's on-screen appearance. The set designer collaborates with the theater director to create an environment for the production—and communicates details of this environment to the technical director, charge scenic artist and property master. Scenic designers create drawings and scale models of the scenery. The set designer also takes instructions from the art director to create the appearance of the stage, and design its technical assembly. The art director, who may also be the production designer, plans and oversees the formation of settings for a project. They must be well versed in art and design styles, including architecture and interior design. They also work with the Cinematographer to accomplish the precise appearance for the project.

Set Designer- The scenic designer collaborates with the theater director and other members of the production design team to create an environment for the production, and then communicates details of this environment to the technical director, production manager, charge artist, and property master. Scenic designers create scale models of the scenery, artistic renderings, paint elevations, and scale construction drawings to communicate with other production staff. 

A1- In television and live event production, the A1 is the primary audio engineer responsible for the technical design and operation of associated sound systems. Generally speaking, the A1 supervises all audio crew members during build, rehearsal, and show phases of any production. Ultimately, the A1 will have routed, recorded, and mixed all sound sources heard during the program broadcast.

A2- The A2 helps get microphones or other audio devices to the right place or the right person An audio assistant  positions and interconnects audio devices, such as microphones and intercoms, from the television production truck to the venue. Typically, larger productions use two or more A2′s.

Boom Operator- The boom operator is part of the sound crew, and an assistant to the sound engineer or production sound mixer. The boom operator's main responsibility is microphone placement, sometimes using a fish pole with a microphone attached to the end and sometimes using a boom. The fisher boom is a piece of equipment that the operator stands on that lets him precisely control the microphone at a greater distance from the actors. They also place wireless microphones on actors when necessary. The boom operator strives to keep the microphone boom near the action, but away from the camera frame so it never appears on screen. They work closely with the production sound mixer, or sound recording expert, to record all sound while filming including background noises, dialogue, sound effects, and silence.

Camera Operator- As the head member of the camera crew, the camera operator uses the camera as instructed by the Director. They ensure the required action is correctly filmed in the frame, and must react instinctively as the proceedings take place

Cinematographer- The cinematographer or director of photography regulates lighting for every scene, frames some shots, chooses lenses, decides on film stock, and strives to match the project's visual appearance to the director's vision. However, the cinematographer does not usually move the camera on the set, as this is usually the exclusive role of a camera operator.

Floor Manager- The floor manager represents the director on the studio floor, and gives instructions and direction to crew, cast, and guests. It is closest to the role of an assistant director, as the job frequently entails barking orders to keep production on schedule. The floor manager is always in direct contact with the director via talk back in the gallery. The floor manager also checks that the floor is clear and safe for the performance, checks that scenery and set pieces are ready, turns on appropriate lights, makes announcements to staff and audience, helps maintain quietness and order, calls cues, and prompts talents as required.

Assistant Floor Manager- An assistant floor manager sets the stage, prompts contributors on the studio floor, and ensures that everyone knows their place in the script. This frees the floor manager for other duties. They often oversee a team of runners. Increasingly, assistant floor managers are asked to help design and prepare props, and help set and reset action on the studio floor.

Camera Control Unit Operator- A Camera control unit operator controls the Camera Control Unit which is a series of camera remote controls for exposure, white balance, contrast to regulate the picture quality between multiple cameras.

These are the primary roles that the floor staff of a production undertake in order to help create a high quality production.

Gallery Staff

The gallery staff are the ones who work behind the scenes, remotely controlling cameras, switching footage feeds, etc.

Character Generator operator- The character generator Operator prepares and displays digital on-screen graphics and lower third graphics on the character generator that were created by the broadcast designer.

Graphics Coordinator- The graphics coordinator decides what graphic content should be displayed on air such as on a full page (a full-screen graphic) or a lower third (a bar graphic in the lower third of the screen). The GC should not be confused with the Duet operator, who usually operates the Duet and is part of a television crew, or a Broadcast designer who physically creates the graphics.

Television Director- Unlike the film counterpart, a director in television usually refers to the gallery (or control room) director, who is responsible for the creative look of a production through selecting which shots to use at any given moment. The director views the action on the studio floor through a bank of screens, each linked to one of the cameras, while issuing instructions down to the floor manager. They also control the gallery area, calling for sound rolls, digital on-screen graphics and video rolls video tape recorder. Some directors also work more closely with on-camera talent and others also act as both producer and director. 

Video Control Operator- A video control operator controls the video console to regulate transmission of content everything from test patterns to live and recorded telecasts. Video control operators view the action on set through video monitors and set switches and observe dials on the video console to control contrast, framing, brilliance, color balance, and the fidelity of the transmitted image. They monitor the program to ensure broadcast technical quality, and review the program to determine that the signal functions properly and is ready for transmission on schedule. Video control operators and videotape operators are used only in television productions recorded on videotape because of the growing use of broadcast automation with video servers.

Video tape operator- The video tape operator cues and prepares video inserts into a program. A VT operator sets up and operates video tape equipment to record and play back the program, reads the program log to ascertain when to record the program, and when it airs. They also select sources, such as satellite or studio, for the program, and select the video recording equipment to use. They are heavily used in sports programming, and in all video taped productions, including television news programming, and sometimes sitcoms, they are also responsible for action replays and quickly editing highlights while a show is in progress. As the title suggests, video tape operators only work in video taped production. Although, VTR operator's still work on digital productions. It is a name that has just stuck to the playback operator. They can also be on set editors to give the director and director of photography the ability to see how what they shot cuts together.

These are the primary roles in regards to both floor and gallery staff. Every member of staff needs to work perfectly with each other, for the process to go off without a hitch everyone must be well coordinated and well timed or else the production will go wrong. 

[daleisgreat]

Major League

Last weekend I made it to one of my two annual summer treks out to catch a Minor League baseball game and while getting swept up in the spirit of watching a live baseball game it reminded me that is has been a couple years since I have seen a baseball film. Longtime readers here may recall it was almost an annual tradition to recap one here during baseball season. While making our way out after the game it suddenly clicked that 2019 marked the 30th anniversary of my favorite baseball film, the original Major League (trailer) from 1989. For the first time in the five and a half years after starting this blog I will have to break my rule and watch a DVD/BluRay from my collection that I have already viewed and is not in the backlog box, but trust me it is worth it and I am long overdue for another viewing! I have a unique history with this film frachise. The sequel in 1994, Major League II was the first film I saw in the series and I specifically recall my dad taking me to it at the theaters when I was 11 and super gung-ho into baseball, baseball videogames and baseball cards! Needless to say I fell in love with the film and its diverse range of flamboyant long-shots help what would seem like the helpless Cleveland Indians make it to the World Series. My dad saw how much I loved the movie and shortly after it hit video he went to a friend I recall he told me had what seemed like an infinite supply of movies on tape. I remember he took me there once and I was too young to realize it then, but looking back he was the local go-to guy who hooked everyone up with bootleg VHS tapes filled with a few movies on them in super low quality SLP playback. My dad got this guy to make a tape that contained what would wound up being 11 year-old Dale’s four favorite movies at that time in the first two Major League films and both Wayne’s World movies. I cannot tell you how many times I watched that tape all the way through, except that it was well into the double digits.

That tape was how I originally saw the first Major League and I was blown away by how much better it was than the sequel that I already cherished. Who was this Wesley Snipes fellow who is a vastly superior Willie Mays Hayes compared to Omar Epps in the sequel? After misplacing that tape after several years, the original Major League was one of about ten VHS tapes I bought before I was able to save up to buy my first DVD player. I snatched up the bare-bones original DVD release of the film the week it came out, and bought it again several years later when it got a ‘Wild Thing Special Edition’ jam packed with extra features and a killer slipover turf cover! A couple years after that in 2009 Paramount re-released the Wild Thing edition on BluRay, but without the turf cover I adored so I made sure to save my DVD turf cover and slip it over the BluRay in my collection like any diehard Major League fan buying the movie for the fourth time on home video would! I still love the old timey song, Randy Newman’s “Burn on” being used in the opening of the film to set up the sad state of the Cleveland Indians in 1989. The opening montage brilliantly interspersed newspaper clipping about the owner passing away and how his widowed wife, Rachel Phelps (Margaret Whitton) cut most of their top talent and replaced them with has-beens and long-shots in hopes of tanking the team enough to move them to Miami. Shortly after that is a great start of spring training scene introducing the dynamic cast of hopefuls such as the Mexican League wash up Jake Taylor (Tom Berenger), California Penal League pitching sensation Rick Vaughn (Charlie Sheen), surprise walk-on Willie Mays Hayes (Wesley Snipes), superstitious slugger Pedro Cerrano (Dennis Haysbert) and stock market guru Roger Dorn (Corbin Bernsen). They are managed by former Dunlop Tire specialist Lou Brown (James Gammon).

For a film that is a little over an hour and a half it does a bang-up job at managing to capture the feel of a whole baseball season from spring training all the way up until the post season. Like most sports movies, it has a predictable format, but the journey there is well worth the ride as we see early season struggles with this unique clash of styles not gelling whatsoever to all of a sudden the team eventually starting to click and gain momentum before having a one game playoff against their heated rival, the Yankees, to get into the ALCS in a thrilling final act of the film. Throw in a supplemental arc of Jake chasing down his old flame Lynn (Rene Russo) for some breathing room between all the heavy doses of baseball and it adds up to establishing one of the most tried and true formulas in sports films. I love how all the on-the-field action is shot as it not only captures well choreographed baseball, but also captures the unique characteristics and mannerisms from this bombastic roster. Hayes has his vintage batting stance swivel, Taylor taunts opponents behind the plate to throw them off their game, Pedro has his rituals in order to hit homers and overcome the dreaded curveball and Vaughn has his trademark frames and “Wild Thing” walk-on song. Combine all this with unforgettable commentary from the loveably quotable Harry Doyle (former ball player and hall-of-fame announcer Bob Uecker) in the press box. On top of that is a memorable original score that kicks in at all the right moments in montages and especially in the final game with powerful beats hitting at the precise moment in Jake Taylor’s pivotal at bat to close out the game!

Time flies as I cannot believe it has already been 30 years since the first film in the franchise just as I am still shocked MLB allowed an R-rated movie featuring its brand to make its way out into the public. Major League is filled with the players drinking and smoking in the clubhouse (and press box), dropping nonstop F-bombs and all other kinds of colorful language throughout. In the commentary David Ward stated he did this to originally capture the spirit of the players in the clubhouse, and regretted it after the fact when he was confronted by many people saying they wanted to take their kids to see it, but did not because of the language. I am guessing that is why the sequels dialed it down to a PG-13 rating. David Ward is joined by producer Chris Chesser on the commentary and the two are primarily subdued as they state after a few lulls that they were taken in again by watching the movie for the first time in many years. Lulls aside, the duo have a fair amount of production facts to share from Milwaukee being a great host city primarily filming in to having to reshoot the ending after the original failed in test screenings. The original twist ending is part of the rest of the fair amount of extras. There are three main behind-the-scenes features that make up most of the bonuses. Just a Bit Outside is a must-see 12 minute extra interviewing Bob Uecker on his evergreen quotes and how he landed the role. Major League Look at Major League is a 14 minute bonus interviewing MLB players on what the film meant to them and their favorite moments and lines and reflecting on how spot-on some of the movie is in actual baseball. Finally, My Kinda Team is the featured bonus clocking in at 23 minutes of cast and crew interviews nearly 20 years after the film released and reflecting on training for the film and many other fascinating anecdotes from the production. All three are recommended viewing for any Major League enthusiasts.

30 years later and Major League holds up splendidly! It and Field of Dreams came out within a year of each other and are likely the catalysts for many other fondly remembered baseball films that hit over the next several years like The Sandlot, Rookie of the Year, Little Big League, A League of Their Own, The Scout and naturally, Major League II. All these years later and Major League remains one of my all-time favorites and I can only give it the highest of recommendations! Other Random Backlog Movie Blogs 3 12 Angry Men (1957) 12 Rounds 3: Lockdown 21 Jump Street The Accountant Angry Video Game Nerd: The Movie Atari: Game Over The Avengers: Age of Ultron The Avengers: Infinity War Batman: The Killing Joke Batman: Mask of the Phantasm Batman V Superman: Dawn of Justice Bounty Hunters Cabin in the Woods Captain America: Civil War Captain America: The First Avenger Captain America: The Winter Soldier Christmas Eve Clash of the Titans (1981) Clint Eastwood 11-pack Special The Condemned 2 Countdown Creed Deck the Halls Die Hard Dredd The Eliminators The Equalizer Dirty Work Faster Fast and Furious I-VIII Field of Dreams Fight Club The Fighter For Love of the Game Good Will Hunting Gravity Guardians of the Galaxy Guardians of the Galaxy Vol 2 Hercules: Reborn Hitman Indiana Jones 1-4 Ink The Interrogation Interstellar Jobs Joy Ride 1-3 Man of Steel Man on the Moon Marine 3-6 Metallica: Some Kind of Monster Mortal Kombat National Treasure National Treasure: Book of Secrets The Replacements Reservoir Dogs Rocky I-VII Running Films Part 1 Running Films Part 2 San Andreas ScoobyDoo Wrestlemania Mystery The Secret Life of Walter Mitty Shoot em Up Skyscraper Small Town Santa Steve Jobs Source Code Star Trek I-XIII Take Me Home Tonight TMNT The Tooth Fairy 1 & 2 UHF Veronica Mars Vision Quest The War Wild Wonder Woman The Wrestler (2008) X-Men: Apocalypse X-Men: Days of Future Past