This week I have watched...
"Bronson" by Nicolas Winding Refn
Michael Peterson was sentenced to 7 years in prison in 1974 aged 19 for an attempted armed robbery. He became Britains most notorious prisoner spending an actual 34 years in prison during which he transformed his character into 'Charles Bronson'.
The film is an accurate depiction of a troubled and misguided individual and Tom Hardys portrayal is excellent.
"Persepolis" by Marjane Satrapi
This is an animated autobiographical piece about a young girl growing up in war torn Iran. It follows her struggles with religion, ethnicity, relationships and the oppositions of a muslim life versus a western influenced one.
The animation is simple but effective and very easy to watch. The production involved old fashioned drawn pictures and the quality and life within the drawings really shows through. It was interesting to see all these conflicts through the eyes of this individual and I quite surprisingly enjoyed it.
"Container" by Lukas Moodysson
This avant-garde style film expresses the internal conflicts faced by a male to female transsexual. The imagery is set to audio of a woman whispering random thoughts and feelings. At points they line up and the visual representation of those thoughts is brilliant but alas it is far too long and without direction so therefore loses impact in my opinion but I still liked the styling and concept eg. when the male ventures outside he carries the female on his back yet when in his own space - the container - they co-exist together.
"Antichrist" by Lars Von Trier
This film is disturbing visually and emotionally but I'm glad I managed my way to the end as it was excellently written and directed. The use of sunlight to portray good was clever and the use of many small disruptive situations helped build the tension whilst allowing the characters unawareness of impending strife to remain believable. Some scenes were a little coarse in their content but I understood why that had been decided. Not one for the feint hearted!
Saturday, 10 March 2012
Monday, 20 February 2012
Referencing....
I have just watched:
"The Works: The secret of Marcel Duchamp"
Very interesting insight into the last few works of the man who challenged the entire art world.
Ironic though that his greatest works were influenced by his love for a woman he could never truly have.
The Large Glass
Etant Donnes (Given)
"The Works: The secret of Marcel Duchamp"
Very interesting insight into the last few works of the man who challenged the entire art world.
Ironic though that his greatest works were influenced by his love for a woman he could never truly have.
The Large Glass
Etant Donnes (Given)
Friday, 17 February 2012
End of Unit 2 - Initiating Creative Practice - Beauty and the Beast Production
Audience Feedback & Self Evaluation:
At the end of each show several Squad members (including at times myself) were usually in and around the audience as they were leaving and we were somewhat overwhelmed by the amount of people who actually took the time to find one of us and then wait to tell us how good the show had been and how much they had enjoyed it!
I spoke to several people inquiring as to what was next? and we have had four people ask to join the group just from being in the audience.
We came from a venue where audience members and numbers were restricted as it was a private police members club so we were unsure as to how well we would do for ticket sales etc.
We staged 5 shows in total - one was for two local schools and we actually over subscribed the seating! The other 4 shows were advertised in the local paper, by posters, leaflets, a banner and adverts in the venue and surrounding area. We also completed two promotion days at the local Sainsburys and as a result sold about 80 tickets on the back of that alone which is an amazing achievement. For a new group, in a new area, at a new venue - those kind of figures for ticket sales are just amazing - beyond all my expectations.
Over all the 4 public shows, we were only left with 24 seats unsold.
8 ) - that's me smiling because I couldn't have asked for more!
We did receive some feedback in relation to the show, most of which was positive - the only negative comment was in relation to some sound issues we suffered - we had already identified a problem with the sound which is mainly down to the buildings logistics but we are in communication with the venues staff and are working together towards a solution to ensure this doesn't re-occur next year.
What did I do wrong?
Regardless of two visits to the theatre I failed to remember that there were several steps at the rear of stage right - unfortunately this was the 'good' side of the stage so housed the most entrances and exits by the most amount of characters - normally this wouldn't have been a problem but the cast were so restricted by their enormous costumes, that several of them couldn't even exit from the stage because they couldn't use the stairs.
It led to me having to very quickly restructure most scenes so that characters could exit and relax and also not cause a blockage in the wings! This was a lot to think about last minute and caused some anxiety as to whether the cast would remember all the changes at such short notice.
Now we have worked there I am happier about the layout but should we consider a different venue again I think I would absolutely take photographs and maybe even do a guided tour video for future reference because its amazing what details you can forget!
What did I do right?
The concept behind the animations, the casting, the script in general, the wolves scene and loading sketch and the overall production went wonderfully and I am very pleased with how it all worked out.
What would I do differently?
I would like to have experimented more with some staging and/or scenery but was extremely concerned about time constraints and adding another worry to an already full box of concern with it being an unknown quantity as a venue. I would have insisted the projection be available much sooner so we could have had time to iron out the sizing issues and therefore presented it in the way it was intended - it wasn't horrendous but it could have been so much more.
What have I learned?
Even though I do more and more in advance with every year that passes, there is still always a last minute rush to get everything finished in time - therefore, I have learned never to waste a moment as the more which is done beforehand, the better!
I have also learned that projection as an effect is rewarding but you have to earn it as it is not straight forward and there is a lot to consider.
What skills / knowledge will I take forward?
I have definitely learned from the projection and will therefore place much more emphasis on forward planning and problem solving far in advance of the show should I decide to use it again in the future.
I now have a good feel for the venue and a better understanding of what it is technically capable of offering. I have discovered that we can fly limited backdrops in, there is a second curtain rail and painting the very rear wall is also possible so I will be able to plan far more advanced staging for future shows.
I have also forged good relationships with all the staff and volunteers by remaining professional throughout and as a result they have not hesitated in allowing us back.
In direct relation to the brief of Unit 2 - I feel it is difficult to compare this event with other students path choices as theirs are incredibly fluid and organic whereas mine was deadline driven and extremely structured.
It has therefore actually been quite difficult to evaluate as a 'developing' style or body of work so I feel should be viewed as an overall creative process for a specific purpose instead.
Here's hoping my viewpoint is shared by those that count!
But regardless - the show was great..... 8 )
At the end of each show several Squad members (including at times myself) were usually in and around the audience as they were leaving and we were somewhat overwhelmed by the amount of people who actually took the time to find one of us and then wait to tell us how good the show had been and how much they had enjoyed it!
I spoke to several people inquiring as to what was next? and we have had four people ask to join the group just from being in the audience.
We came from a venue where audience members and numbers were restricted as it was a private police members club so we were unsure as to how well we would do for ticket sales etc.
We staged 5 shows in total - one was for two local schools and we actually over subscribed the seating! The other 4 shows were advertised in the local paper, by posters, leaflets, a banner and adverts in the venue and surrounding area. We also completed two promotion days at the local Sainsburys and as a result sold about 80 tickets on the back of that alone which is an amazing achievement. For a new group, in a new area, at a new venue - those kind of figures for ticket sales are just amazing - beyond all my expectations.
Over all the 4 public shows, we were only left with 24 seats unsold.
8 ) - that's me smiling because I couldn't have asked for more!
We did receive some feedback in relation to the show, most of which was positive - the only negative comment was in relation to some sound issues we suffered - we had already identified a problem with the sound which is mainly down to the buildings logistics but we are in communication with the venues staff and are working together towards a solution to ensure this doesn't re-occur next year.
What did I do wrong?
Regardless of two visits to the theatre I failed to remember that there were several steps at the rear of stage right - unfortunately this was the 'good' side of the stage so housed the most entrances and exits by the most amount of characters - normally this wouldn't have been a problem but the cast were so restricted by their enormous costumes, that several of them couldn't even exit from the stage because they couldn't use the stairs.
It led to me having to very quickly restructure most scenes so that characters could exit and relax and also not cause a blockage in the wings! This was a lot to think about last minute and caused some anxiety as to whether the cast would remember all the changes at such short notice.
Now we have worked there I am happier about the layout but should we consider a different venue again I think I would absolutely take photographs and maybe even do a guided tour video for future reference because its amazing what details you can forget!
What did I do right?
The concept behind the animations, the casting, the script in general, the wolves scene and loading sketch and the overall production went wonderfully and I am very pleased with how it all worked out.
What would I do differently?
I would like to have experimented more with some staging and/or scenery but was extremely concerned about time constraints and adding another worry to an already full box of concern with it being an unknown quantity as a venue. I would have insisted the projection be available much sooner so we could have had time to iron out the sizing issues and therefore presented it in the way it was intended - it wasn't horrendous but it could have been so much more.
What have I learned?
Even though I do more and more in advance with every year that passes, there is still always a last minute rush to get everything finished in time - therefore, I have learned never to waste a moment as the more which is done beforehand, the better!
I have also learned that projection as an effect is rewarding but you have to earn it as it is not straight forward and there is a lot to consider.
What skills / knowledge will I take forward?
I have definitely learned from the projection and will therefore place much more emphasis on forward planning and problem solving far in advance of the show should I decide to use it again in the future.
I now have a good feel for the venue and a better understanding of what it is technically capable of offering. I have discovered that we can fly limited backdrops in, there is a second curtain rail and painting the very rear wall is also possible so I will be able to plan far more advanced staging for future shows.
I have also forged good relationships with all the staff and volunteers by remaining professional throughout and as a result they have not hesitated in allowing us back.
In direct relation to the brief of Unit 2 - I feel it is difficult to compare this event with other students path choices as theirs are incredibly fluid and organic whereas mine was deadline driven and extremely structured.
It has therefore actually been quite difficult to evaluate as a 'developing' style or body of work so I feel should be viewed as an overall creative process for a specific purpose instead.
Here's hoping my viewpoint is shared by those that count!
But regardless - the show was great..... 8 )
Beauty and the Beast - Show Design and Creative Elements....
Things that involved design or creativity from me for the show:
As I am writing the script I always have a video image running through my head of what I expect to see at the end and although this goes through vast changes along the way, it is that video that is my initial 'vision' from which everything else transpires.
For the production of Beauty and the Beast, I was responsible for several specific design/creative aspects though and these included:
Movement Chorepgraphy:
I blocked and then detailed characters movements with and around one another during the entire performance. I feel this falls within the realms of design as the movement must flow naturally, characters must have parts of the stage to relate to ie, it is tradition (origins and reasons why unknown) that stage left is the bad side and stage right is the good side of the stage so I try to stick to this as much as possible. It is also important to create interesting shapes and relate the audience to certain areas by using certain entrances and exits.
Script Direction:
I blocked and detailed characters interaction with each other and the audience during the entire performance. Direction is very important and quite artistic because it is effectively the bringing to life of the written word. How does one convey what they read? I find I work very like Charlie Chaplin, I show the performers what I want them to do - I do not include much stage direction in the actual script. Directing is also something I find impossible to prepare in advance, it is just something that I feel as I watch or listen to the dialogue between characters, I put myself in their place and think about how I would act in that situation.
Costumes:
I worked on original designs for bespoke costumes ordered with 'No Eyed Theatre'. I designed all the other costumes as adaptations of regular clothing. I sourced the clothing for this and worked jointly with a seamstress to their conclusion. I also designed, made and/or sourced all personal props. To convey my vision I used pictures of other Beauty and the Beast costumes plus sketches of any extras I required.
Publicity:
I designed the posters, leaflets and tickets used for the show. I also put together the programme which was sold at each performance and consisted of 12 pages. Within that were the cast pictures also used for the main lobby display - all of which I photographed, edited, arranged and printed for both the programme and display. I use Microsoft Publisher, Adobe Illustrator and Adobe Photoshop to produce these items.
Lighting:
I provided the Lighting Technician with an 'emotional' lighting plan which included colours, moods, atmospheres and positioning. From this a formal technical lighting plan was developed and then rigged, but final plotting per scene was done jointly.
Sound:
I chose all the songs and sound effects used throughout the show. I re-wrote the lyrics for about 4 tracks to make them funnier and more relevant - this works well especially if the track chosen is well known because people will recognise the lyrics are different so tune in and listen - this then makes the songs an extra story telling tool and another way to have fun with the characters. I find the limit for live singing especially within a panto is about two and a half minutes so I used Cool Edit to create the shorter tracks and mixes.
Even with years of experience I still manage to find at least one major problem which for some reason I seem to overlook until the last minute!
During Beauty and the Beast it was a scene change in Act 1 which I hadn't accounted for.
Whilst writing the technical cue scripts for lighting and sound (only 2 days before a paying audience!) It dawned on me that I was using the full stage for scene 3 and then the full stage again for scene 4 with nothing in between and with a complete scene change from one place to another!
Why I had only noticed this now I had no idea but anyway I needed a solution and I needed one fast!
I set it aside in my mind and carried on with the job in hand realising that I needed a track off you tube for sound so I logged on and sat there with the little blinking circle waiting for it to load up....
BINGO! That was it! The answer to my problem - do an open scene change as if its a video loading - I was in that second scene so was available to do it as I think it would have been unfair to drop a complete new thing onto someone else so last minute and considering it was my fault anyway.
The plan - I would hold a loading sign with something to make a red line on the left as I progressed across stage to the right to daft supermarket music - simples!
I found the perfect backing track and printed a self-made sign that night, attached 2 handles to the rear and used a third with wrapping paper innards to construct a roller. Onto that I attached some red 1.5" bouquet ribbon we had acquired from somewhere several years earlier (I never throw anything away!) and wound about 30ft of ribbon onto it then secured it in place with gaffa tape. The first and only rehearsal I had was during dress and my original securing plan didn't work properly so I organised a backstage helper. Therefore the first time I actually did it properly was during the first live performance!
It turned out to be a bit of a show stealer mainly because it was daft and funny but I'm more proud of the way it linked in, was derived from a major problem only to become one of the audiences favourite parts!
Result 8 )
As I am writing the script I always have a video image running through my head of what I expect to see at the end and although this goes through vast changes along the way, it is that video that is my initial 'vision' from which everything else transpires.
For the production of Beauty and the Beast, I was responsible for several specific design/creative aspects though and these included:
Movement Chorepgraphy:
I blocked and then detailed characters movements with and around one another during the entire performance. I feel this falls within the realms of design as the movement must flow naturally, characters must have parts of the stage to relate to ie, it is tradition (origins and reasons why unknown) that stage left is the bad side and stage right is the good side of the stage so I try to stick to this as much as possible. It is also important to create interesting shapes and relate the audience to certain areas by using certain entrances and exits.
Script Direction:
I blocked and detailed characters interaction with each other and the audience during the entire performance. Direction is very important and quite artistic because it is effectively the bringing to life of the written word. How does one convey what they read? I find I work very like Charlie Chaplin, I show the performers what I want them to do - I do not include much stage direction in the actual script. Directing is also something I find impossible to prepare in advance, it is just something that I feel as I watch or listen to the dialogue between characters, I put myself in their place and think about how I would act in that situation.
Costumes:
I worked on original designs for bespoke costumes ordered with 'No Eyed Theatre'. I designed all the other costumes as adaptations of regular clothing. I sourced the clothing for this and worked jointly with a seamstress to their conclusion. I also designed, made and/or sourced all personal props. To convey my vision I used pictures of other Beauty and the Beast costumes plus sketches of any extras I required.
 |
I designed the posters, leaflets and tickets used for the show. I also put together the programme which was sold at each performance and consisted of 12 pages. Within that were the cast pictures also used for the main lobby display - all of which I photographed, edited, arranged and printed for both the programme and display. I use Microsoft Publisher, Adobe Illustrator and Adobe Photoshop to produce these items.
Lighting:
I provided the Lighting Technician with an 'emotional' lighting plan which included colours, moods, atmospheres and positioning. From this a formal technical lighting plan was developed and then rigged, but final plotting per scene was done jointly.
Sound:
I chose all the songs and sound effects used throughout the show. I re-wrote the lyrics for about 4 tracks to make them funnier and more relevant - this works well especially if the track chosen is well known because people will recognise the lyrics are different so tune in and listen - this then makes the songs an extra story telling tool and another way to have fun with the characters. I find the limit for live singing especially within a panto is about two and a half minutes so I used Cool Edit to create the shorter tracks and mixes.
The Beast is preparing for the big dinner date with Beauty - He is being assisted by Cogsworth and Lumiere but he decides nothing suits him with all that fur!
Set to the track of 'Sexyback' by Justin Timberlake:
I’ve got a hairy back (Yeah)
An it don’t matter if I shave or wax (Yeah)
It just keeps growing, baby that’s a fact (Yeah)
I’ll turn around so you can start a plait
(Take him to the barbers)Curly babe (Aha)Or straight, or crimped or just a demi-wave (Aha)All makes me look like I live in a cave (Aha)So now you see why I just have to shave(Take him to the barbers)
Even with years of experience I still manage to find at least one major problem which for some reason I seem to overlook until the last minute!
During Beauty and the Beast it was a scene change in Act 1 which I hadn't accounted for.
Whilst writing the technical cue scripts for lighting and sound (only 2 days before a paying audience!) It dawned on me that I was using the full stage for scene 3 and then the full stage again for scene 4 with nothing in between and with a complete scene change from one place to another!
Why I had only noticed this now I had no idea but anyway I needed a solution and I needed one fast!
I set it aside in my mind and carried on with the job in hand realising that I needed a track off you tube for sound so I logged on and sat there with the little blinking circle waiting for it to load up....
BINGO! That was it! The answer to my problem - do an open scene change as if its a video loading - I was in that second scene so was available to do it as I think it would have been unfair to drop a complete new thing onto someone else so last minute and considering it was my fault anyway.
The plan - I would hold a loading sign with something to make a red line on the left as I progressed across stage to the right to daft supermarket music - simples!
I found the perfect backing track and printed a self-made sign that night, attached 2 handles to the rear and used a third with wrapping paper innards to construct a roller. Onto that I attached some red 1.5" bouquet ribbon we had acquired from somewhere several years earlier (I never throw anything away!) and wound about 30ft of ribbon onto it then secured it in place with gaffa tape. The first and only rehearsal I had was during dress and my original securing plan didn't work properly so I organised a backstage helper. Therefore the first time I actually did it properly was during the first live performance!
It turned out to be a bit of a show stealer mainly because it was daft and funny but I'm more proud of the way it linked in, was derived from a major problem only to become one of the audiences favourite parts!
Result 8 )
N.B. I am available for private parties for a small fee!
Thursday, 16 February 2012
Beauty and the Beast Set Build Challenges.... No.3
The wolves scene!
Obviously in the Disney film production, Beauty escapes from the Beasts castle in an attempt to get back to her father. She ends up lost in the forest and is set upon by vicious wolves.
Just as she is about to become lunch, the Beast shows up and fights them all off and saves Beauty.
I wanted to stick to this simple story line as much as possible as the children would instantly recognise it because of the film, it gels the beginning of their relationship and because I thought it would be great to try and recreate this particular scene live on stage.
I decided that black puppetry was probably the best way forward but making 6 to 8 wolves bodies realistic and operable seemed almost impossible so I threw that piece of paper away and started again.
Finally I decided that just showing their eyes would suffice - and if they were red and evil to boot then that would be fabulous!
I went searching for materials and came across rear bicycle lights - perfect!!
They were about the right size, they were red and battery operated and most importantly they were £1 a pair!
I emptied the rack and set to work...
Firstly I tried tracing paper, then lighting gels of varying colours - different materials and different thicknesses all to try and mask the rectangular shape into an eye shape and to try and diffuse the fact that the light emitted from 3 central individual LEDs.
After many attempts I ended up cutting the shape of an eye out of a strip of black gaffa tape with a craft knife, then placing that over the entire light face.
It was okay but because you could still see all 3 LEDs it still lost the eye shape somewhat.
So I tried covering the LEDs directly to push the over spill light out of the gap, instead of the direct light - this seemed to work so I stuck a thin strip of gaffa across each one.
You can see each step of the process below:
Initially I had expected a blacked-out member of the chorus to be able to operate one pair with each hand but on testing the gaffa elements, it became obvious that that is exactly what it would look like so I then set to work designing an extension they could hold which would have the eyes mounted inside and which could block the lights entirely if necessary, and allow them freer and more unrestricted movement.
A simple box surrounding the lights and deeper than the light box itself seemed the quickest option. The light box backs were secured in place and a 2ft MDF pole was attached to the rear. This now allowed 4 chorus members to operate 8 wolves in total across the whole stage and as an effect was not easy to figure out.
Once all 8 sets had been constructed we tried out the effect on stage - now our only problem was in lighting the lead character (Beauty) without showing the puppeteers behind.
That proved harder than first expected but after several attempts (the video below shows an early trial) I decided to go with her carrying the miniature Lumiere which glowed - she placed one of the glowing candlesticks underneath her chin at all times and this sufficiently lit her face throughout this scene.
Once the Beast entered and the wolves began to withdraw to the rear of the stage we used an ultra violet blue gel on the follow spot to light both characters.
I think the end result worked excellently and just to dot my I's, I asked the puppeteers to lean forward like animals during the scene because any small glimpse of their bodies just looked like the wolves bodies when in this position.
The video doesn't really do it any justice and the camera was struggling with such low light but its enough for you to get the jist 8)
Obviously in the Disney film production, Beauty escapes from the Beasts castle in an attempt to get back to her father. She ends up lost in the forest and is set upon by vicious wolves.
Just as she is about to become lunch, the Beast shows up and fights them all off and saves Beauty.
I wanted to stick to this simple story line as much as possible as the children would instantly recognise it because of the film, it gels the beginning of their relationship and because I thought it would be great to try and recreate this particular scene live on stage.
I decided that black puppetry was probably the best way forward but making 6 to 8 wolves bodies realistic and operable seemed almost impossible so I threw that piece of paper away and started again.
Finally I decided that just showing their eyes would suffice - and if they were red and evil to boot then that would be fabulous!
I went searching for materials and came across rear bicycle lights - perfect!!
They were about the right size, they were red and battery operated and most importantly they were £1 a pair!
I emptied the rack and set to work...
Firstly I tried tracing paper, then lighting gels of varying colours - different materials and different thicknesses all to try and mask the rectangular shape into an eye shape and to try and diffuse the fact that the light emitted from 3 central individual LEDs.
After many attempts I ended up cutting the shape of an eye out of a strip of black gaffa tape with a craft knife, then placing that over the entire light face.
It was okay but because you could still see all 3 LEDs it still lost the eye shape somewhat.
So I tried covering the LEDs directly to push the over spill light out of the gap, instead of the direct light - this seemed to work so I stuck a thin strip of gaffa across each one.
You can see each step of the process below:
Initially I had expected a blacked-out member of the chorus to be able to operate one pair with each hand but on testing the gaffa elements, it became obvious that that is exactly what it would look like so I then set to work designing an extension they could hold which would have the eyes mounted inside and which could block the lights entirely if necessary, and allow them freer and more unrestricted movement.
A simple box surrounding the lights and deeper than the light box itself seemed the quickest option. The light box backs were secured in place and a 2ft MDF pole was attached to the rear. This now allowed 4 chorus members to operate 8 wolves in total across the whole stage and as an effect was not easy to figure out.
Once all 8 sets had been constructed we tried out the effect on stage - now our only problem was in lighting the lead character (Beauty) without showing the puppeteers behind.
That proved harder than first expected but after several attempts (the video below shows an early trial) I decided to go with her carrying the miniature Lumiere which glowed - she placed one of the glowing candlesticks underneath her chin at all times and this sufficiently lit her face throughout this scene.
Once the Beast entered and the wolves began to withdraw to the rear of the stage we used an ultra violet blue gel on the follow spot to light both characters.
I think the end result worked excellently and just to dot my I's, I asked the puppeteers to lean forward like animals during the scene because any small glimpse of their bodies just looked like the wolves bodies when in this position.
The video doesn't really do it any justice and the camera was struggling with such low light but its enough for you to get the jist 8)
Beauty and the Beast Set Build Challenges.... No.2
Beasts Transformation!
I wanted to try and keep the magic of the Beasts reveal as much as possible, but when your budget is £0 that becomes quite challenging!
I had seen some illustrations by an IA colleague - Shaun Duke - which were fabulous, and having had conversations with Isaac Priestley (also and IA colleague) regarding using projection for special effects, I decided to approach the problem from an animation viewpoint and get both chaps involved in the process.
Although I already had the initial concept in my head, I allowed the boys to give their input and we worked well as a team. I arranged a venue, equipment, cast and costume for early January and collected them to start the filming. We had agreed on filming the movement of the Beast in full costume, from above, in a fluid motion from a lying down fetal position, up into the air, arms outstretched and facing the front as if suspended on a cross.
It took several attempts, change of start and end positions and a new camera angle to get the correct shot but we got there eventually after about 4 hours!
Once in that final position we filmed removal of fur from each leg and arm one by one, then finally his headpiece.
The footage was then edited together into a final single piece and run through rota-scoping software so that the image went from real to animation. Then Shaun added effects so that each limb would magically change from Beast to human in time with some dramatic incidental music until he became entirely human again and drifted back down into a standing position.
The finished product is as the video below:
I was really pleased with the end result but none of us had envisaged the extent of problems that would follow!
I had made a gauze from butter muslin and dyed it black with pen ink...
The plan was....
The Beast would supposedly die on rear stage left and whilst the audiences attention was drawn elsewhere, the projection would start on top of the actor and the black screen (As above - which can't be seen when there is no white light) would be slid on just in front of him so he was then free to exit and get changed whilst the scene continued with the projected image taking his place.
The initial image used was a real photo of the start position lying down on the floor so looked very realistic. When the audiences attention was brought back to the screen there was now only a small follow spot on Beauty so in the darkness the projection looked amazing.
Once the animated character was revealed and came back down to a standing position, the real actor would be positioned directly behind it and then with an explosion of white light the screen would be slid off and the projection would dissipate directly onto the actor and therefore effecting he had gone through the transformation.
Although we had measured the distance from where the projector would sit to where the screen onto which it would be projected would be placed, what none of us had considered was the distance the image would travel from the lying down position up to the mid-air position and then back down to standing whilst being the life size of the actor - which was a huge six foot seven inches!.
Therefore when we came to test it the week of the show it became apparent that in order to keep it at that scale we had a serious problem because we either cut his head off once the image was in mid-air so it could start on the floor - or to fit the mid-air image on he would end up looking like he was on his knees instead of standing at the end.
The last resort was to reduce the size of the character so the entire video would fit on the 8ft screen....
... but when the actor stood behind it, the top of the image of himself only came upto his chest!
Plan G! 8) next we tried repositioning the projector - very limited on options - not one worked, so
Plan H! next we tried repositioning the gauze screen - we had it all over the place - we even tried closing the curtains and then opening them to reveal the screen immediately behind but it just wasn't working at all.
Time for a brew.....
...several in fact ..... 8 /
.... and a good coat of looking at!
Eventually with the start of the first show looming ever closer we had to make a huge compromise - we had to project it onto the main curtains.
This was not the best practice by far but considering the circumstances we weren't left with many other options.
We tested the curtains to ensure we got as flat a surface as possible - I quickly reset the cast and the lighting plot for the last scene (People were beginning to arrive for the first show!)
We ran two test runs and it seemed okay so that was that - done and dusted!
The end result was sufficient, the last petal of the rose falling (look on the left) and Beautys excellent acting helped sell the scene massively!.....
- I learned a lot through this saga but can't wait to take it forward to the next venture in SFX projection!
I wanted to try and keep the magic of the Beasts reveal as much as possible, but when your budget is £0 that becomes quite challenging!
I had seen some illustrations by an IA colleague - Shaun Duke - which were fabulous, and having had conversations with Isaac Priestley (also and IA colleague) regarding using projection for special effects, I decided to approach the problem from an animation viewpoint and get both chaps involved in the process.
Although I already had the initial concept in my head, I allowed the boys to give their input and we worked well as a team. I arranged a venue, equipment, cast and costume for early January and collected them to start the filming. We had agreed on filming the movement of the Beast in full costume, from above, in a fluid motion from a lying down fetal position, up into the air, arms outstretched and facing the front as if suspended on a cross.
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| Setting an elevated filming position so the action was done safely on the floor |
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| Raising the actors head so his face etc could be seen clearly |
Once in that final position we filmed removal of fur from each leg and arm one by one, then finally his headpiece.
The footage was then edited together into a final single piece and run through rota-scoping software so that the image went from real to animation. Then Shaun added effects so that each limb would magically change from Beast to human in time with some dramatic incidental music until he became entirely human again and drifted back down into a standing position.
The finished product is as the video below:
I was really pleased with the end result but none of us had envisaged the extent of problems that would follow!
I had made a gauze from butter muslin and dyed it black with pen ink...
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| The gauze having been dip-dyed, drip drying on my washing line 8) |
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| Black pen ink - £2.85 cheap as chips! |
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| 8ft square wood edged black gauze screen |
The Beast would supposedly die on rear stage left and whilst the audiences attention was drawn elsewhere, the projection would start on top of the actor and the black screen (As above - which can't be seen when there is no white light) would be slid on just in front of him so he was then free to exit and get changed whilst the scene continued with the projected image taking his place.
The initial image used was a real photo of the start position lying down on the floor so looked very realistic. When the audiences attention was brought back to the screen there was now only a small follow spot on Beauty so in the darkness the projection looked amazing.
Once the animated character was revealed and came back down to a standing position, the real actor would be positioned directly behind it and then with an explosion of white light the screen would be slid off and the projection would dissipate directly onto the actor and therefore effecting he had gone through the transformation.
Although we had measured the distance from where the projector would sit to where the screen onto which it would be projected would be placed, what none of us had considered was the distance the image would travel from the lying down position up to the mid-air position and then back down to standing whilst being the life size of the actor - which was a huge six foot seven inches!.
Therefore when we came to test it the week of the show it became apparent that in order to keep it at that scale we had a serious problem because we either cut his head off once the image was in mid-air so it could start on the floor - or to fit the mid-air image on he would end up looking like he was on his knees instead of standing at the end.
The last resort was to reduce the size of the character so the entire video would fit on the 8ft screen....
... but when the actor stood behind it, the top of the image of himself only came upto his chest!
Plan G! 8) next we tried repositioning the projector - very limited on options - not one worked, so
Plan H! next we tried repositioning the gauze screen - we had it all over the place - we even tried closing the curtains and then opening them to reveal the screen immediately behind but it just wasn't working at all.
Time for a brew.....
...several in fact ..... 8 /
.... and a good coat of looking at!
Eventually with the start of the first show looming ever closer we had to make a huge compromise - we had to project it onto the main curtains.
This was not the best practice by far but considering the circumstances we weren't left with many other options.
We tested the curtains to ensure we got as flat a surface as possible - I quickly reset the cast and the lighting plot for the last scene (People were beginning to arrive for the first show!)
We ran two test runs and it seemed okay so that was that - done and dusted!
The end result was sufficient, the last petal of the rose falling (look on the left) and Beautys excellent acting helped sell the scene massively!.....
- I learned a lot through this saga but can't wait to take it forward to the next venture in SFX projection!
Beauty and the Beast Set Build Challenges.... No.1
Chips Trolley!
Chip was played by a 10yr old boy who was effectively just a tea cup so following on from other stage productions I designed a trolley that could house him comfortably whilst still giving the right effect.
I purchased a regular 1980's catering trolley from a charity shop in September for £5 -
... then cut out all the middle of the shelves but left the structure on 3 sides. The base plate was then strengthened, extended and superior castors added, before it was boarded out and decorated to look like open shelves.
Then to cover up the character from the rear I designed a 'tight' curtain that allowed easy access to get in and out of the trolley but also closed off the entire rear so that nothing could be seen.
One of our backstage staff (Susan) who is studying a Design for Performance degree at Edge Hill University worked with me on this particular bit as I have excellent design but few sewing skills! 8)
We cut strengthened black felt to size allowing for just a slight gather, rolled over the sides to make a passage big enough for net curtain elastic wiring to go through. I attached hooks to the rear of the trolley top and bottom on both sides, and eyes to both ends of each piece of wire. It worked without fault!
The initial build was a collaboration between myself and Chips father, Brian and we were both really happy with the end result! The guys who made the big costumes bought the trolley off us as they liked it that much and it is now being used for Salford Universities production of the musical.
Chip was played by a 10yr old boy who was effectively just a tea cup so following on from other stage productions I designed a trolley that could house him comfortably whilst still giving the right effect.
I purchased a regular 1980's catering trolley from a charity shop in September for £5 -
... then cut out all the middle of the shelves but left the structure on 3 sides. The base plate was then strengthened, extended and superior castors added, before it was boarded out and decorated to look like open shelves.
Then to cover up the character from the rear I designed a 'tight' curtain that allowed easy access to get in and out of the trolley but also closed off the entire rear so that nothing could be seen.
One of our backstage staff (Susan) who is studying a Design for Performance degree at Edge Hill University worked with me on this particular bit as I have excellent design but few sewing skills! 8)
We cut strengthened black felt to size allowing for just a slight gather, rolled over the sides to make a passage big enough for net curtain elastic wiring to go through. I attached hooks to the rear of the trolley top and bottom on both sides, and eyes to both ends of each piece of wire. It worked without fault!
The initial build was a collaboration between myself and Chips father, Brian and we were both really happy with the end result! The guys who made the big costumes bought the trolley off us as they liked it that much and it is now being used for Salford Universities production of the musical.
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