Inner Space 2019

Inner Space Race
Logo by Darren Wilson Summary Performance Date Thursday 28th of January 2016 Performance Time 1:30pm - 7:45pm Venue New Athenaeum Course BA Production Technology and Management Production Team Production Manager Ewan Sullivan Deputy Production Manager Hannah Henderson Designer Louise Chan Stage Supervisor Darren Wilson Assistant Stage Supervisor Erin Johnstone Head of Flys Noah Dates Stage Manager Lea Meloee Deputy Stage Manager Nina Madriz Assistant Stage Manager Zeni Bollok Assistant Stage Manager Julia Daniczek Assistant Stage Manager Rhiannon Mitchell Sound Designer Corey Jackson Production Sound Engineer Conor Brown Sound nr.2 Stuart Henderson Lighting Designer Mark Sillett Production Electrician Louisa Craig LX Programmer Nicholas Ruebenacker LX Team Ross Hunter Head of AV Ryan Worrell Head of Marketing Hayley Grogan Photography Ruby Noble

About

"Inner Space Race is a virtual experience in real life. Complete with maze, coins and ghosts, Inner Space Race puts two competitors head to head in a Pacman like points race". The project was executed by the PTM1 class of 2021 (RCS Graduate 21) in the New Athenaeum Theatre Jan 29th – Feb. 1st with performances on Thursday Jan. 31st.

Design

The design was created by Louise Chan with help from Lea Meloee and Darren Wilson. We decided to alter the original Pacman game to suit our needs and venue specifications which evolved into a race between 2 separate players collecting coins within 1 minute. It was decided that we would have 3 different methods of earning points. First being basic coins worth 1 point, second were stars worth 5 points and mystery planets that would all have different values. The total value would be calculated at the end of the race.

We adapted a space theme early on in the process and decided on centring a lot of the colours and design around UV paint which would help to bring out each of the elements within the race.

The shape of the maze went through numerous configurations before settling on the final shape which made use of the black masking we had in stock, used as our main frame for the race. The use of masking meant we needed to figure out a way to keep them upright as well as covering the other side and also maintaining the texture that would allow velcro to stick. As a result we decided to cover the structure that the technical stage department had made a plan for (see below), with legs and tabs. This allowed us to attach our coins with Velcro which meant resetting was easier as well making it quick and easy for players to collect. And because of the material of the tabs and legs it meant we did not have to deface them by pinning or gluing the other half of the Velcro onto the maze wall.

A total of 210 coins were made in total spread between the 2 teams. These were made out of 10mm EVA foam that were cut into 90mm octagonal shapes that served as our basic coins that players would collect. They were first primed with white paint then sprayed in UV paint and finally a design that separated the 2 colours for access to the colour blind, were stencilled onto each coin. Velcro was then hot glued to the back completing the coin ready to use for the race. The stars and planets were created in a similar manner however they were made out of mounting board.

The ghosts were to be played by 2 members of the crew. Clear umbrellas were decided on as the main shape of the ghost, with glow tape creating the face of the ghost and lining the spokes of the umbrella. Which allowed for crew members to navigate and 'wear' the ghost easily throughout the maze whilst also maintaining visibility.

After different discussions with stage management we settled on an idea on how players would collect the coins. Simple tote bags were purchased and altered so that they would be able to clip around the waist and tightened or loosened based on the players preference. A total of 4 were made which meant players could have 1 on either hip allowing them to collect coins in a more ergonomic fashion. A ghost along with the octagonal motif was stencilled onto each bag as a simple design.

Production Management

The Production Management team consisted of Production Manager, Ewan Sullivan, and Deputy Production Manager, Hannah Henderson.

Production Management was in charge of inter-departmental health and communication, establishing and leading meetings, creating team positions, enforcing correct codes of practice and deadlines, scheduling, budgetary decision making, and staff communication.

Schedule

Technical Stage Management

The Technical Stage Management Team consisted of Stage Supervisor Darren Wilson, Deputy Stage Supervisor Erin Johnstone and Head of Flys Noah Dates.

The technical stage management team were responsible for creating the structure of the maze layout. To do this the team looked into different ways of rigging the hard masking flats on their vertical side to create the walls of the maze. In the end we came up with a method that used Kee Clamp base plates and vertical pieces of scaff pipe to hold the hard maskers upright. Barrel clamps were used to attach the maskers to the scaff pipe.

In preparation for the week the TSM team were required to create various documents.

- 1:25 scale ground plan of the maze
- Equipment list
- Risk assessments File:Innerspace production manual.xlsx
- TSM schedule
- Fly plot

Stage Management

The Stage Management team consisted of Stage Manager Lea Meloee, Deputy Stage Manager Nina Madriz and Assistant Stage Managers on Book Zeni Bollok, Julia Daniczek and Rhiannon Mitchell.

The main responsibility of the stage management team was to enforce a smooth execution and running of the performance. For this particular production, that meant paying extra attention to audience interaction and the calling of the performance.

This production was an interactive experience, requiring the audience to take an active part in the performance. Due to the nature of the performance the stage management team organized and monitored the audience interaction carefully. Measures were taken to ensure the audiences safety (see risk assessments). Each player was allocated a host to guide them before the game, in between games, and after the game. They would answer any questions and provide further explanation if required.

The cues for the game itself were visual and given by the audience as they picked up stars and planets or were caught by ghosts. There were two players in the maze at once and no two players would navigate the maze the same way. The nature of the game, namely the unpredictability of the players, called for two people to be calling the game, one for each player. The DSM or the ASM on book and the spotter (the second person calling the game) were situated on either flyfloor allowing them a full view of the maze. The prompt book was created by DSM Nina Madriz.

During the performance, stage manager Lea Meloee coordinated crew-members involved in the running of the performance. Crew-members were situated in R1, outside R1, on both flyfloors and in the wings of stage right and stage left. This was done to further enforce and ensure a smooth execution and running of the performace.

Risk Assessments: File:SM RA InnerSpaceRace.xlsx
Extended SM-team rotations: File:Extended SM-team InnerSpaceRace.xlsx
Performance schedule: File:Performance schedule InnerSpaceRace.pdf
Prompt book:

Sound

For the sound team on the Inner Space 2019 our biggest challenge was getting sound to every part of the maze. To do this we chose to hang 6 D&B E3 Speakers overhead on counterweight bars 5 and 28. Our control position was in the up stage left wing however because the maze was placed in front of our position we had no line of sight into the maze. We worked alongside LX and Stage management to come up with an effective cueing system. The sound design of the show was based of the video game Pacman with an outer space twist. when players collected certain items a certain sound would be played depending on what item they had collected.

Equipment

6x D&B E3

1x D&B D6 Amp

1x focusrite Scarlett

1x MacBook Pro with QLab

1x Ipad

4x 10M NL2 Speakon

2x 20M NL2 Speakon

3x 10M XLR

1x Shure SM58

Lighting

The lighting team's responsibility was to ensure there was a good amount of lighting to illuminate the stage as well as provide an artistic flare to the proceedings of Inner Space 2019. The lighting design team consisted of Mark Sillett (Lead Lighting Designer), Ryan Worrell(Lighting and Video Design) and Nicholas Rübenacker (Lighting Designer and Programmer). We took the collaborative lighting design approach because we felt the ethos of the project was working together to create something amazing. Our PLX (Production Electrician) was Louisa Craig and our LX Crew was Ross Hunter. We could not have ran this department without them they were absolutely valuable to the team. Their duties included ensuring all fixtures were booked, addressed and ready to be operated as well as working as an effective team within the LX department to ensure that any issues with electrics and lighting were dealt with quickly and efficiently. They completed this to a very high standard. Attached are all of the LX paperwork from this project.

Kit Used

10 Altman PAR 64 MFL

10 ETC Source4 Fresnel

20 ETC Source4 PAR MFL

8 Martin RUSH PAR 2 RGBW Zoom

4 Martin MAC TW1

4 ADJ UV COB Cannon

1 GrandMA lite

AV

AV had two important jobs in this production. First, to make the training video and second to make the timer and graphics for the in game display. The creation of these was done in blender, a 3D modelling software. It was then rendered, which had a total render time of 13 days and 15 hours. Once rendered, the videos were edited together with prerecorded audio and music that was made in Mixcraft7. The finished edit was then exported and loaded into QLab to be used during the performance. The finished video can be seen below:

Training Video

The timer and other game graphics were much simpler to make. These were all 2D graphics and were animated inside Adobe After Effects. These animations were projected onto the BP screen from a 6000-lumen projector from the AV store.