Foam Cannon Barrels

Last week, I showed off some giant champagne bottles I made, and mentioned that they would act as the barrels of some cannons I was also building at the Santa Fe Opera. Today, I will show you the actual cannon barrels I made. We needed four cannons, so that meant four barrels.

Bandsaw Cutting Jig
Bandsaw Cutting Jig

I made the barrels out of foam to keep them lightweight; the Santa Fe Opera runs their shows in repertory, so any savings in weight is much appreciated by the running crew, who have to move all the props from the basement to the stage on a daily basis. I whipped up a quick jig for the bandsaw to cut the corners from the blocks of foam I got. This meant less time turning, less dust, and it allowed the foam to actually fit on the lathe.

Turned barrels
Turned barrels

I designed a full-size template of the shape of the barrels based on the designer’s sketches and my own research. I could also use this template as a pattern on the lathe to make all four barrels exactly the same as each other. Turning foam on the lathe is fun and easy, but it makes a gigantic mess.

Coating and sanding
Coating and sanding

After the barrels were taken off the lathe, I began the long and laborious process of coating and sanding them. The designer wanted them to look like smooth brass without any distressing, so they needed to be absolutely flawless. I used Aqua Resin, which provided a sandable hard coat with far less toxicity than Bondo. I spent nearly a week just coating and sanding all these guys.

Drilling straight through
Drilling straight through

I built a jig so I could hold the barrel and a cordless drill perpendicular to each other. This provided a pilot hole for the trunnion I would add; the trunnion would be a piece of PVC pipe which would hold the cannon on the carriage and allow it to pivot up and down.

Hole
Hole

With the pilot hole drilled, I switched to a hole saw that was closer to the size of the PVC pipe. You can see in the photo above that I have an extra long pilot bit on the hole saw. This bit was long enough to pop out the other side of the barrel so I could be sure that the hole saw would exit in exactly the right place.

Finished Barrels
Finished Barrels

I pushed the sections of PVC pipe through the hole and capped off the ends to make them look like a solid bar. I also added some lauan rings to the ends of the barrels to help reinforce them when they were standing up.

Painted Barrels
Painted Barrels

With the barrels finished, I handed them off to the painters, who gave them the great brass paint treatment that you see above. In a few days, I’ll post about how I built the carriages to these cannons, and you can see pictures of the final piece.

Friday Links on Display

It’s another Friday, and another September. This always seems like the busiest time of the year for the whole entertainment industry. Some of you may have gotten a four-day week this past week, but for most of us, it was an eight-day week. So take a seat, relax, and enjoy these links for a few minutes:

Huffington Post has an interview with props master Peter Bankins. Bankins has been a prop master in film for the past 25 years, working on movies such as Young Guns, Grumpier Old Men, Erin Brockovitch and many more.

On the other side of the pond, Farfetch has a short photo essay called “Our Day With Thomas Petherick“. Petherick is a young prop maker and set designer working mainly on fashion photography shoots.

Bill Doran and his wife created a fairly detailed set of armor and weapons from the video game Skyrim for this year’s Dragon Con. He details the lengthy build process as they fashion parts out of wood, EVA foam, Worbla, resin and more.

Finally, here is a familiar face; I was displaying some of my props at last month’s Burlington Mini Maker Faire. Coffey Productions was going around filming the various exhibits, and shot this video of me talking about my props and my book. Check it out!

Giant Champagne Bottles

With this summer’s season at the Santa Fe Opera at an end, I can begin to show off some of the props I’ve built there. First up is a giant champagne bottle.

We needed four champagne bottles of a very specific size; they were going to be the barrels of cannons that I would also build. Nobody manufactures champagne bottles that large, so we had to make them. Since we would vacuum-form them from plastic, I began by making a solid foam bottle.

Blank and pattern
Blank and pattern

I drew out half the shape at full-scale on a piece of plexiglass. We have a duplicator on our lathe, which allows us to rough out the shape by directly following a pattern like this. I also got the block of foam ready. This piece was so wide, it barely fit on the lathe; I had to take most of the attachments off and round off the foam by hand before there was enough room to put the attachments back on.

Turning foam
Turning foam

As you can imagine, turning a block of foam this large creates quite a bit of debris. I am still finding bits of foam in my clothes to this day.

Splitting the foam in half
Splitting the foam in half

To vacuum form this piece, I only needed half of the bottle. I built a box so I could hold the bottle straight. The top of the box reached the exact middle point of the bottle, so when I ran a hot wire along it, it sliced the foam bottle directly in half.

Vacuum formed half
Vacuum formed half

I mounted the foam onto a board and drilled holes all around the circumference, as well as holes in the concave portions to ensure the plastic would be sucked all the way down. I also coated the foam with Aqua Resin and sanded it smooth. I posted a video a few weeks ago showing the vacuum forming machine in action; check it out if you want to see how I made the piece in the photo above.

Painting the halves
Painting the halves

With a successful pull on the vacuum former, this project was turned over to the crafting department, and my work on it ended. They began manufacturing clear plastic halves like you see above, and spraying them down with green dye to match the color of a real champagne bottle.

Finished bottles
Finished bottles

They glued the halves together and added some labels and gold foil to complete the look. The final bottles were over four feet tall.

 

 

Friday Link-o-Rama

I’m light on words this week because we are in the middle of tech for my first show at Triad Stage, but enjoy these links:

Set decorator Stephenie McMillan passed away this week. She got her start working on films in 1984, with her most notable credit as the set decorator on all eight Harry Potter films. Check out this interview with McMillan from last year to learn more about her work and her process.

If all the glues and adhesives out there are confusing to you, Design Sponge has an “adhesives 101” for you. It does a good job breaking down the major types of glues available and what they are useful for. Of course, you should always test the specific glue you want to use first, but this guide is helpful to give you a place to start.

Check out this massive behind-the-scenes photo gallery of the first Alien movie. The models and miniatures used on that film are incredible.

Kamui Cosplay has a detailed look at how she created some fantasy armor from World of Warcraft using Wonderflex, Worbla, Friendly Plastic, PVC and EVA foam.

20000 Objects in Opera Property Room, part 6, 1912

The following is the final portion of an article which first appeared in the New York Sun in 1912. You can catch up on the first part, the second part, third part, the fourth part and the fifth part.

When the [property man] was asked what is the hardest part of his work he sighed and said he thought it was clearing the stage after an act and getting it ready for the next one. In theatrical and ordinary musical companies the chorus and supers are required to go to the property room after the things they are to carry and to return them there when they are through. But this isn’t the custom in grand opera.

No matter how much truck has been in use, guns, spears, swords, garlands of flowers and any number of smaller things, everybody just dumps what he or she is carrying, throws it down wherever it happens to fall and rushes off to the dressing rooms. Immediately carpenters strike the scenery and others begin to set it for the next act.

In the midst of this turmoil the property man must gather up the things left lying around by the members of the company before they can proceed to put out the new set of props. What care and quickness this entails can be understood by studying some complicated scenes, as the first two in “The Girl of the Golden West.”

In each of these over 100 properties must be correctly placed before the curtain goes up. Actual count of those in the second act runs away up beyond a hundred and includes such a wide range of things as a papier mâché pappoose, furniture, draperies, toilet articles, dishes, tinware, white slippers, white cotton gloves, pack of playing cards, whiskey bottle, candles, matches, trunks, a washing hanging on a line (or it looks like it, at least), and so on. These not only have to be put on but got off too. The latter is generally accomplished by rapidly dumping all small articles into clothes baskets. They can be sorted out later if necessary.

This article was originally published in the New York Sun, February 25, 1912, page 16.

Making and finding props for theatre, film, and hobbies