Inner Space 2025: Difference between revisions
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|'''Deputy Stage Manager''' <div style="text-align: centre;"> [[Devin Jamieson]] </div> | |'''Deputy Stage Manager''' <div style="text-align: centre;"> [[Devin Jamieson]] </div> | ||
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|'''Assistant Stage Manager''' <div style='text-align: centre;"> [[Mary-Jane McNally]] </div> | |'''Assistant Stage Manager & Paperclip Lead''' <div style='text-align: centre;"> [[Mary-Jane McNally]] </div> | ||
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|'''Lighting Designer''' <div style="text-align: centre;"> [[Abby Wills]] </div> | |'''Lighting Designer''' <div style="text-align: centre;"> [[Abby Wills]] </div> | ||
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|'''Production Sound Engineer''' <div style="text-align: centre;"> [[Cameron Peden]] </div> | |'''Production Sound Engineer''' <div style="text-align: centre;"> [[Cameron Peden]] </div> | ||
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|'''Lighting Technician & Operator''' <div style="text-align: centre;"> [[Milla Rais Tamosiunas]] </div> | |||
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|'''Sound No.1''' <div style="text-align: centre;"> [[Sophie Harwood]] </div> | |'''Sound No.1''' <div style="text-align: centre;"> [[Sophie Harwood]] </div> | ||
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|'''Sound No.2''' <div style="text-align: centre;"> [[Julia Coulthard]] </div> | |'''Sound No.2''' <div style="text-align: centre;"> [[Julia Coulthard]] </div> | ||
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|''' | |'''Designers & Assistant Stage Managers''' <div style="text-align: centre;"> [[Emily Lumley]] | ||
[[Sal Quinlan]] | |||
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Latest revision as of 17:17, 27 January 2025
Overview
Inner Space 2025’s prompt was Game Show. Multiple fictional game shows were considered before we decided to think outside the box and make a show about the production team doing a turn around between game shows. Our show is called ‘Studio C27’ - named because it is in the Chandler Studio and we are the class of 2027.
Inner Space 2025 |
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Production Manager | |||
Deputy Production Manager | |||
Stage Manager | |||
Stage Supervisor | |||
Head of Sound | |||
Head of Lighting | |||
Production Team | |||
Deputy Stage Supervisor | |||
Stage Technicians | |||
Deputy Stage Manager | |||
Assistant Stage Manager & Paperclip Lead | |||
Lighting Designer | |||
Lighting Programmer | |||
Production Electrician | |||
Deputy Production Electrician | |||
Sound Designer | |||
Production Sound Engineer | |||
Lighting Technician & Operator | |||
Sound No.1 | |||
Sound No.2 | |||
Designers & Assistant Stage Managers |
Design Team
Technical Stage
Sliding Gauze Doors
For our game show set we wanted to create a set of two sliding doors out of the gauze hard maskers that had been initially created for the show in the chandler prior to our Inner Space (A Christmas Carol). We designed a system to do this using truss and track that had been inspired by the performer flying rig used in the show After Life. This consisted of two lines of Unibeam track on either of the bottom facing truss poles connected to scenery carriers (100kg) that had been attached to the top of the wooden frame of the maskers.
When testing the track it was easy enough to create a system where both carriers on the same track line moved in opposite directions, but since we wanted the two flats to be able to cross behind/in front of one another we needed them to be on separate tracks whilst moving simultaneously on a single operating line. To do this we - instead of using a return pulley - used an additional pulley at the end of each track to send the line in two right angles between the two track lines and then back on itself.
We used 10m of truss and 2x9m of track in order to give the flats enough room to travel the distance we would like, attach all the necessary accessories, and have some extra room for error.
As the height of our flats were a bit short of the distance from the stage floor to the rigging points overhead, we were left with a roughly meter long gap between the bottom of the flat and the floor. In order to cover this distance and give ourselves some adjustability in the height, we added some extra rigging between the scenery carriers and the flats. We used an eye bolt to a 1 ton shackle on both the carriers and the flats connected by a turnbuckle. Then we would connect the truss to the cross bars in the theatre using fixed 90 degree scaff clamps. We did a draft layout in Vectorworks and calculated that this plan would take us to roughly 70mm off the ground, with some room for error either way thanks to the turnbuckle.
In practice, we changed the way the truss was rigged to the crossbars in the theatre: Rather than using clamps, we used 1m strops, in order to make rigging easier. Although the truss was rigged as close to the bar as possible, it was still lower than planned, so we moved the eyebolts on the gauze flats down by 20cm, so that these now hung from the sides rather than the top, and we could still fine tune the heights and level using the turnbuckles.
Static flats
For the finished show, there were two large hard masking flats rigged next to the sliding doors. This were hung slightly downstage of the track, using rope passing through grommets at the top and tied to eyes at the bottom. These were hung a couple of inches off the ground, then footed and fixed to the floor using pin hinges, thus keeping the lines in tension. A further couple of masking flats were used, supported by french braces fixed to the floor.
Practical Cue Lights
To show the ‘behind the scenes’ aesthetic we’re trying to create we wanted to have a practical set of ‘cue lights’ seen above the set of the stage. We came up with the design of a wooden box with internal shelves to store 2 birdies. The front panel would have two circular holes cut out, screwed in behind each of which was a gel frame to change the colour of the lights to red and green respectively. The birdies were then screwed down to the shelves on the inside.
We left the box without a back panel in order to create some amount of ventilation for the lights, while also allowing the cabling to come out of the back.
The rigging points needed to be put in at the box’s centre of gravity so that the uneven weight of the box’s wouldn’t cause the box to hang at an angle. We used M10 T-nuts and eye bolts to create these points, locked off with a nyloc.
The internal shelves proved to be a tad flimsy once the birdies were put on so we used metal L brackets to further secure them to the inside of the box. As an additional measure, safety’s were attached to the birdies through screw eyes on the inside of the boxes.
As a further protection from heat the inside of the boxes were coated in flambar PE6.
In practice, the weight and distribution of the birdies and extension cables did move the centre of gravity backwards, so the front of the cue light boxes did end up tilting upwards slightly. It would have been better to set the position of the eyebolts with all the LX gear in place, if time allowed.
Trucks
The production required four trucks for set elements (podiums/armchair/sofa) to be quickly moved around on stage. We reused two smaller trucks from A Christmas Carol, and constructed two larger trucks from steeldeck, scaff poles and wheels. It was a challenge sourcing the wheels for these, as we required four similar wheels per truck, with at least 2 of those braked. We did eventually manage 2x sets of four wheels, all braked - the smaller set had plastic or aluminium spigots that only fitted securely with a specific internal diameter of scaff pole, which were found through much trial and error (this is the truck pictured). The reused smaller trucks were not braked, and the performer blocking avoided placing performers on those trucks.
The trucks were tricky to push around as was required for the choreography of the show, as people had to bend low to push them from the base. Some had pieces of furniture placed on them, which were restrained by screwing blocks into the top of the truck to locate the feet of the furniture without screwing into the furniture. These trucks could then be pushed by pushing the pieces of furniture. Another smaller truck had two bases for scaff poles screwed into it, and a couple of removable poles were brought on to maneouvre that truck when needed.
Stage Management
Props Management
The props list for Inner Space 2025 includes a variety of items essential for both the game show and talk show segments, as well as transitions. The Stage Management team is responsible for sourcing, preparing, and organising these props to ensure they are functional and consistent with the production’s aesthetic.
Props List:
- Cue Cards: Designed to match the signage for continuity. To be printed and laminated by the design team.
- Buzzers: Made with reused materials by Isla
- Flowers and Vase: Sourced from the props department
- Whiskey Glasses and Bottle: Located in the props department
- Clipboards: One found in production office and one borrowed from Hamish
- Headsets: Some real and functional, while others will actually be headphones and similar substitutes
- Lint Rollers: Brought in by the team
- Makeup Brushes and Accessories: Personal brushes for hygiene reasons
- Other Items:
- Three fake scripts for talk show guests
- Chillaxing outfits for cast transitions
- Spare Hard hats
Speciality Props
Several unique items are required for the production's specific moments and sequences:
- Massive Wire: Used during the power outage scene for visual impact made
- Teleprompter: Essential for both the game show and talk show settings.
- Costume Rail and Truck/Perfume Trolley: Used in transition scenes with ASMs.
- Large Cue Lights: For functional and visual elements during technical sequences made by the Technical Stage Department
- Flight Cases, Armchairs, Coffee Table, Sofa, Carpet: Sourced from the props department and around campus to create the talk show set.
- Trophy: Update the existing 3D-printed and wooden trophy with a new logo mad by the stage management team.
- Podiums: Constructed podiums using painted cardboard around wheeled trolleys for mobility.
- Set Dressing: Incorporate items such as a carpet, coffee table, and sofa to enhance the talk show set.
Cue and Rehearsal Preparation
- Safety Checks: Verify all props with hazard tape, flashy lights, and large wires are safely and securely integrated into the performance.
- Risk Assessments: Writing and updating various risk assessments throughout the project
Rehearsal Notes
- Technical Transitions: Smooth rehearsals for scenes involving power outages, chaotic strikes, and technical sequences.
- Set Changes: Practice rolling and positioning large set pieces like costume rails and armchairs.
- Coordination: making sure the coordination looks natural but not unrehearsed
Lighting
Lighting was vital for this project as gameshows are known for their strong emphasis on bold dramatic lighting keeping and to a colour scheme. Studio C 27 also has a lot of black outs and power faults best communicated by the preprogrammed flickering of lights. It transitions through the various phases, from the bright chaos of a gameshow to the eerie suspenseful power outages, culminating in the stylish glamour of a late-night talk show.
Act 1: Afternoon Gameshow Vibe
The lighting reflects the vibrant energy of a 70s-style gameshow.
- Opening Sequence: Bright, colourful, and dynamic, with spinning gobos and a fast-moving intensity chase. Dominant colours include blues, yellows, and oranges, highlighting the playful atmosphere.
- Audience Interaction: Flash audience lights at 40% during cheers and applause to enhance engagement.
- Question/Answer Transitions: Use blues for anticipation, red flashes for incorrect answers, and a green flash for the correct answer. Smooth transitions between colours maintain the polished gameshow aesthetic.
- Winning Celebration: Heavy, colourful movement with bouncy ballyhoo effects and rainbow chases, emphasising the joyful chaos.
Act 2: Backstage Striking Sequence
The transition from the gameshow to the strike sequence is seamless but deliberate.
- House Lights Up: A practical, warm wash mimics real backstage lighting, creating an authentic atmosphere as the crew strikes the set.
- Working Together Over Comms: Subtle lighting effects (e.g., slow dimming and brightening) reflect the clockwork efficiency of the crew.
Act 3: Choreographed Chaos
This act captures the studio’s infamous power issues and the resulting mayhem.
- Hazard Signs & Power Surge: Projections of hazard signs combined with flashy lights and spinning teleprompters create a sense of disarray. A dramatic power surge is marked by a flash of white light and a loud sound effect.
- Power Up Sequence: A row-by-row light activation simulates the studio "rebooting."
- Rig Check: Lights flash through various fixtures in a chaotic sequence, culminating in an "exploded fixture" with a bright flash, then fading into a functional working light state.
- Soundcheck "Disco": Fun, retro-inspired lighting, with a rainbow CMY chase, accompanies the crew’s brief dance sequence.
Act 4: Transition to Talk Show
As the production transitions into a more glamorous setting, the lighting becomes moodier and more sophisticated.
- Busy Preparation: Lighting mirrors the ebb and flow of onstage activity, with warm washes becoming progressively darker and more focused. Flickering effects foreshadow the ongoing technical issues.
- Talk Show Preset: Old Hollywood-inspired lighting (pinks, purples, and NYC-inspired tones) sets the mood. The talk show sign flickers to life, evoking vintage neon lights.
Act 5: Talk Show Chaos and Finale
The final act begins with polished talk show lighting before descending into chaos with a climactic blackout.
- Talk Show Intro: Fun, moving lights highlight the host’s entrance. The sequence culminates with movers settling on the presenter, followed by a slight fade to focus attention.
- Audience Applause: Audience lights flash at 40%, while tracking lights follow the guest to the couch.
- Blackout: A sudden snap to darkness as the power fails again.
- End of Show: The finale features harmonious purple and pink lighting, highlighting the set and providing a visually pleasing conclusion.
Projections
The show features use of projections to create both show's large background logos and the hazard signs
Sound
Design:
For my speaker placement I wanted to create a very 360 degree experience for the audience. I did these by positoning my speakers around the chandler at different positions and sections of the venue to help me direct sound and be very specific.
Inspirations:
For the main sound scapes, music and sound effects I was inspired by different types of media and theatre.
NTS - The Fifth step
NT- People, Places and things
Music & sound scapes:
I was inspired by artists such as Aphex Twin and Alison GoldFrapp
I used Pro Tools and my associated plug ins to help me create music for different sections
I used Multiple Plug Ins to help me create the full show, these were used with not very complicated music composition but the actual control of the synths and attached effects helped make up for that.