Inner Space 2020 (Group C+D): Difference between revisions

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! style="background-color: Blue; font-size: 200%;" align="center" colspan="2"| <span style="color: #FFFFFF;">'''{{INNERSPACE 2020}}'''</span>
! style="background-color: Blue; font-size: 200%;" align="center" colspan="2"| <span style="color: #FFFFFF;">'''{{INNERSPACE 2020}}'''</span>
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|align="center" | [[Image:nfgn.jpg| 350px]]
|align="center" | [[Image:ISPoster.jpg| 400px]]
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! style="background-color:Blue; font-size: 120%;" align="center" colspan="2"| <span style="font-family: Tahoma "> <span style="color: #FFFFFF;">'''Summary'''</span>
! style="background-color:Blue; font-size: 120%;" align="center" colspan="2"| <span style="font-family: Tahoma "> <span style="color: #FFFFFF;">'''Summary'''</span>
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==Overview==
=Theme=


Groups C + D came together to fit up their show: 'Outer Space' on the 10th December and performed it to select staff and the rest of the class.
Due to COVID- 19, our year group was split into 4 groups to learn. For Innerspace, we split our year group in two. Groups C + D came together to fit up our show: 'Outer Space' on the 10th December and performed it to select staff and the rest of the class on the 11th.
 
Our initial thoughts were that we could use nerf guns to stage a battle. This quickly progressed into our final idea of 'Outer Space', a video-game walkthrough with a game tutorial voiceover.


=Technical Stage Department=
=Technical Stage Department=
Line 53: Line 55:
Head Of Flys                [[Tom Sedgwick]]
Head Of Flys                [[Tom Sedgwick]]


Stage Technicians            [[Scotty]], [[Tom Sedgwick]]


[[File:TSedgwick.jpg|100px]] , [[File:Scotty.jpeg|100px]]
[[File:TSedgwick.jpg|100px]]   [[File:Scotty.jpeg|100px]]


'''The Set'''
'''The Set'''
Line 63: Line 64:
'''Masking'''
'''Masking'''


To achieve the set we used two 4x8 legs tied directly on to the LX bars as this meant no need for hanging bars as we only had one day to "fit-Up"
To achieve the set we used two 4x8 legs tied directly on to the LX bars as this meant no need for hanging bars as we only had one day to "fit-Up". We used stage weights to take the creases out and pin them safely at the bottom.
 
The [[AGOS]] has black tabs on a track that go most of the way round the performance venue so we used these as the rest our masking
'''Weekly Break Down'''
 
To help show each member of the team the tasks to be completed and when a document was produced by the Head Of Stage detailing all the activities and would be carrying them out. This would also help with tracking our progress over the fit up to see how we were working with the available time.
 
 
'''Ground Plan'''
 
 
 
'''Legs'''
 
legs hanging off lx bar
 


'''Projection Screen'''
'''Projection Screen'''


Rear Projection screen 9 x 12ft
The projection was the core of our Innerspace project without a doubt. We originally planned Rear projecting onto a cyclorama. However, after numerous talks with the AV department, we found out that the projectors in stock were quite old and may not have the power to pierce the cyc. We booked out the AGOS and tried the projecotr out with the Rear Projection screen 9 x 12ft and decided on this set up.
   
   
'''Equipment'''
'''Equipment'''


Two kit lists were produced for the stage department for this show, One of them was for flys and automation with the other for the stage. Having two lists helped to split up who was needing what equipment and also saved issues if we both tried to makes updates at the same time. The lists have been broken down into section that they should be prepped as and labelled making it easier when fitting up on the stage.
{| class="wikitable"
|+ TSM Kit List
|-
! Masking
! Flying
! Speakers
! Rigging
|-
| 2 Black Legs 4m x 8m
| Paracord – 10m/4mm
| 4 Wire Rope Drifts1m/4mm
| 3 Fall Prevention Petzl Grillon
|-
| 8 Stage weights
| 1 Petzl Oscillante
| 4 x Fall Prevention Harnesses
| 5 x 500mm 1 Ton Slings
|-
| 6 Curtain Hooks / clamps / grips
| Snap Shackle
| 10 1Ton Shackles
|
|}




'''Health And Safety'''
'''Flys'''


insert risk assessments
The show had 1 flown aspect to it, with no counterweight bars to use. The only flown element during the show is a Nerf Gun. It was attached to one of the LX bars using a 1-ton sling, a Petzl Oscillante and a Snap Shackle


'''Pre Show Checks'''
[[Image:nfgn.jpg| 100px]]


With all 4 team members having different tasks during the pre show time everyone had a different list with all moving aspects of the show needing checked fully. Meaning all revolve cues would be run daily before each show to test it as it would be run but also for the operator to get the feel of the control. We also needed to check all flying and automation pieces along with the sliding back wall panel and the various parts to that.
'''Ground Plan'''


<pdf>Seating_and_Desk_Plan.pdf</pdf>


'''Health And Safety'''


<pdf>nfgnRA.pdf</pdf>


==Flys & Automation==
'''Head of Flys & Automation''' Tom Sedgwick
The show had 1 flown aspect to it, with no counterweight bars to use. The only flown element during the show is a Nerf Gun.


insert risk assessments


===Flys Bible===
=Full Venue Plan=


 
<pdf>Innerspace_2020_full.pdf</pdf>
 
===Automation Plot===
 
 
 
===Action Plan===
 
 
 
===Points Plan===
 
 
 
===Points Master===
 
 
 
===Grid Plan===
 
<pdf>Grid_Plan_V3.pdf</pdf>


=Stage Management=
=Stage Management=
Line 138: Line 125:
    
    
Production Manager:              [[Lauren Murison]]
Production Manager:              [[Lauren Murison]]
]


[[Image:LM.jpg|110px]]


The work of the department was based around this RCS’s production (mainly for the sourcing of props and creating risk assessments) and a DVD recording of a different production (blocking, cueing, entrances and exits plots, setting- and running lists). More detail will be given on the RCS production, but example of documents created from the DVD can be found below.


'''Props'''
'''Props'''


Most of the props could be sourced from RCS's own props store or with the help of NTS and Scottish Opera. Church items such as thuribels were previously borrowed for [[Glory on Earth]], so could hopefully be used again. A lot of the church props would makes by the props department anyway.  
[[Image:BNG.jpeg|150px]][[Image:YNG.jpeg|150px]][[Image:Nerf Gun Tiny.jpeg|150px]][[Image:Borgor.jpeg|150px]]
A lot of time was spent trying to think of different ways to make and source things instead of just jumping on the first link and buying it. An example for thinking outside the box, is [[How To Make A Fake Brick]]. Instead of buying a brick or a fake brick, the ASM thought about ways to make one that could be thrown safely while still being safe and made a mock-up of their idea with what they had laying around the house.
 
 
'''Costume'''
 
[[Image:AS.jpeg|150px]][[Image:UnM.jpg|150px]][[File:TV.jpeg|150px]]
 
Most of the props could be sourced from our own team except one random huge burger we found in the back hallway behind the AOGS. Steve said we should use it and so in it went!
 


'''Risk Assessments'''
'''Risk Assessments'''


This was a fairly low-risk production with the main risk being the revolve. Other risk assessments were written for food an liquid, glassware and naked flame.  
This was a fairly low-risk production with the main risk being COVID-19. Other risk assessments were written for the fit-up and general health and safety in the space.


(INSERT RISK ASSESSMENTS HERE )
(INSERT RISK ASSESSMENTS HERE )


'''Other documents '''
'''Other documents '''


=Sound=
=Sound=


'''The Team'''
'''The Team'''
[[Gábor Csiszér]]
[[Gábor Csiszér]]


Line 165: Line 158:




[[File:Lewis Brown.jpg|100px]]
[[File:Lewis Brown.jpg|110px]] [[File:GC.jpg|110px]]


'''The Plan-'''
'''The Plan-'''


For this show the biggest problem faced was getting equal coverage across space in the AGOS. We flew two speakers 2m of the centre stage either side on the LX bars
For this show the biggest problem faced was getting equal coverage across space in the AGOS. We flew two speakers 2m of the centre stage either side on the LX bars.
 
Sound responsibilities for Inner Space 2020 were split evenly between [[Gábor Csiszér]] and [[Lewis Brown]]. Lewis acting as Sound Designer and being responsible for the show file, script, cue sheet and original music, while Gabor being responsible for the effect, mastering of the track, hardware as well as various flow diagrams and logistical efforts. Sound for this show was really good fun to play about with as the show is a Video Game the line between reality and fiction was blurred, which gives the whole show a very interesting atmosphere. The soundscapes for the various levels took inspiration from various games but most notably Borderlands 2 (sound design by Raison Varner) and Spelunky 2 (sound design by Derek Yu). The PA consisted of two hanging speakers, already installed in the AGOS, two wedges in each wing for performers, and two subs directly below the speakers to enhance the atmosphere and capture some of the deeper sounds in the sound design, especially for The Underwater and Space levels. Cables were managed mainly through patch bays and all levels were amplified and set in the AGOS Control Room. Cues were achieved using a free version of QLab with an Focusrite Scarlett Solo, with a mixer before being put into the patch box.
 
[[File:ThemeLofi.mp3]]
[[File:Theme.mp3]]
[[File:Space.mp3]]
[[File:Jungle.mp3]]
[[File:Underwater.mp3]]
[[File:Dungeon.mp3]]
[[File:Patch1.png]]
 
 
<pdf>Innerspace_Sound.pdf</pdf>


=Comms=
=Comms=
The AGOS has its own comms box which [[Scotty]] and [[Tom Sedgwick]] patched and tested during fit up, 4 headsets and 1 spare
The [[AGOS]] has its own comms box which [[Scotty]] and [[Tom Sedgwick]] patched and tested during fit-up, 4 headsets and 4 belt packs. We used 1 Cue Light to signal to our flyman to fly the gun in as he was positioned on the Catwalk during the performance.


=Lighting=
=Lighting=
Line 187: Line 193:
'''Design'''
'''Design'''


LX Design key features include
When designing the LX design and rig, we encountered an interesting challenge. We tried to work as smartly as we could, keeping the general cover that was already there and only rigging what was absolutely necessary. That gave us some extra time to work through what we had already designed, problem solve whatever came our way and to experiment with the console.
The incredibly steep angles for rigging worked in our favour creating the desired atmosphere.
The combination of Low-light shadowy faces and patterns of colours maintained the mystery and anticipation that a videogame should create.




== Stage Management ==
'''Lighting Plan'''


'''The Team'''
<pdf>LX Layer.pdf</pdf>
 
<pdf>LX_OVERHEADS_dimmer_channels.pdf</pdf>


[[Thomas O'Hear]]
<pdf>Innerspace_Colour_.pdf</pdf>


[[Lauren Murison]]
= Production Photos =




Lauren and Thomas decided early on instead of calling and= act each Thomas would act as DSM and Lauren would assume more of a production manager role
[[Image:nfgn.jpg| 200px]]

Latest revision as of 00:07, 8 December 2020


Template:INNERSPACE 2020
Summary
Location
Year Group
Creative Team
Lighting Designer
Sound Designer
Projection Designer
Production Team
Production Manager
Stage Manager
Lighting Programmer
Head Of Stage
Head of Flys
Projection Operators
On Stage Team
Actors

Theme

Due to COVID- 19, our year group was split into 4 groups to learn. For Innerspace, we split our year group in two. Groups C + D came together to fit up our show: 'Outer Space' on the 10th December and performed it to select staff and the rest of the class on the 11th.

Our initial thoughts were that we could use nerf guns to stage a battle. This quickly progressed into our final idea of 'Outer Space', a video-game walkthrough with a game tutorial voiceover.

Technical Stage Department

The Team

Head Of Stage Scotty

Head Of Flys Tom Sedgwick


The Set

With no budget, our team had to work with what was already in the space. As there were already 3 strips of black dance floor we decided this would be our "performing area/ stage." Due to Covid - 19 restrictions, we had to minimise how many people we had on stage at one time and be aware of our max capacity in the venue. We decided that two of our team would take one act each performing as the "player."

Masking

To achieve the set we used two 4x8 legs tied directly on to the LX bars as this meant no need for hanging bars as we only had one day to "fit-Up". We used stage weights to take the creases out and pin them safely at the bottom. The AGOS has black tabs on a track that go most of the way round the performance venue so we used these as the rest our masking

Projection Screen

The projection was the core of our Innerspace project without a doubt. We originally planned Rear projecting onto a cyclorama. However, after numerous talks with the AV department, we found out that the projectors in stock were quite old and may not have the power to pierce the cyc. We booked out the AGOS and tried the projecotr out with the Rear Projection screen 9 x 12ft and decided on this set up.

Equipment

TSM Kit List
Masking Flying Speakers Rigging
2 Black Legs 4m x 8m Paracord – 10m/4mm 4 Wire Rope Drifts1m/4mm 3 Fall Prevention Petzl Grillon
8 Stage weights 1 Petzl Oscillante 4 x Fall Prevention Harnesses 5 x 500mm 1 Ton Slings
6 Curtain Hooks / clamps / grips Snap Shackle 10 1Ton Shackles


Flys

The show had 1 flown aspect to it, with no counterweight bars to use. The only flown element during the show is a Nerf Gun. It was attached to one of the LX bars using a 1-ton sling, a Petzl Oscillante and a Snap Shackle

Ground Plan

Health And Safety


insert risk assessments

Full Venue Plan

Stage Management

The team

Stage Manager: Thomas O'Hear

Production Manager: Lauren Murison


Props


Costume

Most of the props could be sourced from our own team except one random huge burger we found in the back hallway behind the AOGS. Steve said we should use it and so in it went!


Risk Assessments

This was a fairly low-risk production with the main risk being COVID-19. Other risk assessments were written for the fit-up and general health and safety in the space.

(INSERT RISK ASSESSMENTS HERE )

Other documents

Sound

The Team

Gábor Csiszér

Lewis Brown


The Plan-

For this show the biggest problem faced was getting equal coverage across space in the AGOS. We flew two speakers 2m of the centre stage either side on the LX bars.

Sound responsibilities for Inner Space 2020 were split evenly between Gábor Csiszér and Lewis Brown. Lewis acting as Sound Designer and being responsible for the show file, script, cue sheet and original music, while Gabor being responsible for the effect, mastering of the track, hardware as well as various flow diagrams and logistical efforts. Sound for this show was really good fun to play about with as the show is a Video Game the line between reality and fiction was blurred, which gives the whole show a very interesting atmosphere. The soundscapes for the various levels took inspiration from various games but most notably Borderlands 2 (sound design by Raison Varner) and Spelunky 2 (sound design by Derek Yu). The PA consisted of two hanging speakers, already installed in the AGOS, two wedges in each wing for performers, and two subs directly below the speakers to enhance the atmosphere and capture some of the deeper sounds in the sound design, especially for The Underwater and Space levels. Cables were managed mainly through patch bays and all levels were amplified and set in the AGOS Control Room. Cues were achieved using a free version of QLab with an Focusrite Scarlett Solo, with a mixer before being put into the patch box.


Comms

The AGOS has its own comms box which Scotty and Tom Sedgwick patched and tested during fit-up, 4 headsets and 4 belt packs. We used 1 Cue Light to signal to our flyman to fly the gun in as he was positioned on the Catwalk during the performance.

Lighting

The Team

Aisha Oyedepo

Rhia Mitsuhashi

Anna Athanasiadi


Design

When designing the LX design and rig, we encountered an interesting challenge. We tried to work as smartly as we could, keeping the general cover that was already there and only rigging what was absolutely necessary. That gave us some extra time to work through what we had already designed, problem solve whatever came our way and to experiment with the console. The incredibly steep angles for rigging worked in our favour creating the desired atmosphere. The combination of Low-light shadowy faces and patterns of colours maintained the mystery and anticipation that a videogame should create.


Lighting Plan

Production Photos

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