Inner Space 2020 (Group C+D)

Template:INNERSPACE 2020
Summary
Location AGOS
Year Group RCS Graduate 23
Creative Team
Lighting Designer Anna Athanasiadi, Aisha Oyedepo
Sound Designer Lewis Brown, Gábor Csiszér
Projection Designer Rhia Mitsuhashi
Production Team
Production Manager Lauren Murison
Stage Manager Thomas O'Hear
Lighting Programmer Aisha Oyedepo, Anna Athanasiadi
Head Of Stage Scotty
Head of Flys Tom Sedgwick
Projection Operators Rhia Mitsuhashi, Scotty
On Stage Team
Actors Rhia Mitsuhashi, Scotty

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

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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

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

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