It’s opening weekend here at the Santa Fe Opera! Two of our five operas open, the first tonight, the second tomorrow. It has been quite the hectic schedule, and we still have three more operas to open before July is out. Nonetheless, there is always time to read fun articles about props; here are a few that came out this week:
In “The Art of Animatronics: How Old School Movie Magic Compliments CGI“, Jim Nash looks at how practical effects are still being used despite the pervasiveness of computer-generated imagery. He points out how the technology that controls animatronics has gotten more sophisticated over the years, and how practical effects can sometimes be preferred for budgetary reasons. And the article has pictures of dinosaurs.
As if to reiterate the points in the previous article, the Stan Winston School blog has an article about the making of the Spinosaur forÂ Jurassic Park III. Even with the advances in CGI since the first Jurassic Park movie, the third one still built a 12-ton, 1000-horsepower “puppet” version of the Spinosaur for many of the scenes. The iconic fight scene between the Spinosaur and the Tyrannosaurus Rex was mostly achieved by having several tons of robots crashing into each other. CGI simply enhanced it.
For a step back in time, Tested has a great article on the robot shark technology inÂ Jaws.Â The mechanical shark in that film arguably ushered in the age of animatronic creature movies through the 80s and 90s. It’s a great look at how the shark was made, with some nice photographs as well (it looks like the shape of the shark was achieved with plywood!).
Here are the last of my Legend of Zelda props I made last month for a local theatre group. I previously posted about the Master Sword, and some rupees; you can find out more about this project in general at those links if you are interested.
The last prop, which is actually three items, are the spiritual stones. These are various colored gems in gold settings. They have names, too: Kokiri’s Emerald, Goron’s Ruby, Zora’s Sapphire.
As with the rupees, I cut the shape of the stone out of a piece of wood, vacuum formed two halves out of acrylic, and glued them together (painting the inside before gluing, of course).
Starting with Goron’s Ruby, I used some reference images from the video game itself to lay out a full scale drawing of the stone’s setting onto some 3/4″ MDF.
I made most of the cuts on the table saw (my nifty cross-cutting jig lets me safely cut arbitrary angles on small pieces). The bevels were also cut on the table saw with the blade set at an angle.
Since the emerald had a sort of “wrap around” design, I cut the pieces individually and glued them on one at a time to achieve an exact fit. It was a bit tricky getting all the angles right, but it gave the nicest result.
Because the shape of the sapphire is trilaterally symmetrical, I used my compass and bevel gauge to make sure all three parts were drawn the same.
It had to be cut out with the jigsaw and cleaned up by hand with files. Some further shaping was done with the Dremel.
Once finished, the pieces just needed to be primed and painted. The emerald was painted with the stone already attached. For the others, I painted the settings first, and then the stones were glued in (so I didn’t have to mask anything).
Of course, it always helps to take cool photographs of your props. One day, I’ll get around to posting a quick tutorial on photography.
Yes, I built this exact same cast iron park bench seven years ago. I even used the same research image you see in the link. I couldn’t build it the same way, though. The first time around, I used a lot of found pieces and details which I did not possess this time. I also needed to build three matching benches, which warranted a different approach then building a single one. I was building and buying all the props for Elon University’s production of Cloud 9, and the whole second act takes place in an English park; the director was keen on basing it off of Kensington Park.Â We decided to cut and carve the ends on the scene shop’s CNC router.
First I built the seats themselves with some stand-in legs and arms. I arranged some slats I had cut into a shape that was comfortable to sit in, than I screwed them together onto supports which kept the whole thing sturdy. The stand-in legs held it all up at the correct height so they could rehearse with the benches while we worked on the real ends. The idea was that when the real ends were ready, we would just unscrew the fake legs and pop on the real ones without having to take apart and reattach all the original slats. This also ensured that the curve and depth of the seat they were using in rehearsal would be exactly the same on the performance benches.
I began by making a line drawing of the bench in Inkscape, an open source vector graphics editor. I drew three layers; the first was a line showing where all the inside “holes” should be cut and the second showing where the outermost profile should be cut. The third layer showed where all the engraving would go. Rather than cutting all the way through the plywood, the router would only cut partway down, and it would use a v-shaped cutting bit (this technique is known as “v-carving”).
With the drawings finished, I gave them to the Natalie Hart, the scene designer (also my wife), to import into AutoCAD. I’m sure you can use the Inkscape drawings directly, but I have no experience with CNC file formats, and Natalie has already successfully used her CAD drawings on the CNC machine. The curves I drew in Inkscape turned into a series of many tiny lines in AutoCAD; this meant when they printed, they looked like many tiny lines rather than a single smooth curve. The curves she redrew in AutoCAD printed as smooth curves, however. I’m not sure I will use Inkscape again to draw for a CNC; if I find myself using the CNC a lot in the future, I may just spring for one of the less-expensive CAD drawing programs out there.
The final piece of the puzzle was getting the drawings into PartWorks, which is the CNC machine’s software that generates the instructions it uses in cutting. Our production manager/lighting designer Bill Webb happily took that on, since the machine is second-nature to him by now. In about three hours, we had all the pieces we needed for all three benches.
You can see in the photograph above that the CNC left a lot of cleanup work to do. I experimented with a number of abrasive flap and wire wheels to see if there was a quick way to sand the whole thing, but it ended up requiring hitting every nook and cranny with a Dremel tool.
We had taken measurements off the rehearsal benches and put them into AutoCAD so the CNC parts would line up exactly with the existing structure. For the inside of the end, we only printed the bottom half and attached it to the outside part. This gave a bit of a lip for the existing bench seat to rest on, while also providing a lot of surface area to screw into from the side. It also helped line up the bench seat to the ends at the correct height.
The faux-verdigris paint treatment was developed by one of the students (good job, Vee Bland!). Natalie and I painted them up, and I quickly assembled them so they would be ready mere minutes before photo call.
Naturally, I would have loved to play around with the software and the drawing to develop a more realistic carving, as well as spend some time learning to run the CNC machine on my own. The time frame on this production was just too intense; 15 days between the first day of rehearsal and opening night, and these benches were but a small part of all the props and furniture I had to build and acquire. Still, it gave me a good idea of how I can integrate CNC fabrication into my prop work when it can come in handy.
It’s Friday once again! I hope everyone was able to finish their taxes!
Last week there was a great newspaper piece on James Blumenfeld, the prop master at the Metropolitan Opera. The operas they put on are among the largest in the country, so it is fascinating to read what it takes to organize and corral all those props.
Here is another great newspaper piece on Torontonian prop maker Chris Warrilow. He runs a prop rental and fabrication shop, but hisÂ specialtyÂ is custom stage combat swords. The article has some great information about stage weapons.
You can view the entire “Fundamentals of Machine Tools” (1996) published by the US Army. This is the manual used to train Army members in the use of powered machines for making and repairing things out of metal.
Here is a homemade carving pantograph; you trace your pattern on one end, and the Dremel on the other end carves it into a piece of wood. The commercial kits I’ve seen for this always look so cheap and flimsy.
Trinculo’s Attic is a new theatrical electronics firm founded by Ben Peoples. They have books and products to help you get miniature electronics into your props projects, like flickering LED candles, or making props move on their own. He has some workshops coming up soon too if this is an area you are interested in learning more about.