Here is a new companion video for my next book, The Prop Effects Guidebook, coming this February. Our technical director, Chris Simpson, built a nice little rig to provide running water for a sink. I have since used it in multiple shows, and am in the process of configuring all of my sinks to be able to connect to this rig.
The book will have some photographs of the rig, but I also filmed this short video to show how it all works.
A Touch of Magic (& Monofilament) – Jay Duckworth and his team tackle the problem of a bookshelf that needs to fall during a scene and then be reset within a six-second blackout. Hint: it involved monofilament.
Here is the third companion video for my upcoming book, The Prop Effects Guidebook, coming this February. The book has a few photographs demonstrating the old “shoot an arrow into the wall” trick, but this video goes into more detail and shows the trick in action.
This is a great trick for Deathtrap depending on how you stage it. I have also used this trick in Wait Until Dark, though that is a knife-throwing gag.
Prop Master Jonathan Drover: ‘One is None’ – The props master for Dirk Gently’s Holistic Agency recently answered questions on Twitter, and the BBC has collected the best responses in this article. Find out how he built some of the show’s crazier props and what medium he likes working in the best.
How NOT to build a HUGE sword prop for cosplay – Cosplayer Otakitty points out all the many mistakes she made while building a giant sword. It’s an interesting twist to the standard tutorial, and a great way to show how prop building is about making choices, and the strength or weakness of those choices are often not apparent until you’re too deep into the project to start over.
I have a new book, The Prop Effects Guidebook, being published this February. It will show you how to do all sorts of magical effects, like the fire effect in the video below.
I first saw this effect in a video from another theater (I forget which one, I’m dreadfully sorry). Our technical director at the time, Chris Simpson, recreated it and we’ve used it in several productions since then. It works best inside of a fireplace or another semi-enclosed area where you can hide all the equipment.