The reason I have not replied is because I expect this is a full
stage effect that's huge in comparison to anything a LeFlame or anything else might produce into projection much less
effect. Those fireplace flame effects are what I have most
practical experience with. Stuff such as the flame pots used on the last
Sting tour, much less my own
Fluorescent Starter
effect on
halogen lamp flicker
effect in a fire place or refrigerator as needed. Your wall of flame seems quite the challenge to surmount. Quite the challenge indeed, and one if done well enough, is right on the scale with the Black and White debate to do properly if I understand it right. That is if this is to be done on a huge scale.
Figure so far we have a full
stage cyc with a
scrim downstage of it to mask the
effect and
ground row so far. Effects are placed on the
cyc and
scrim to make it flash, patterns
swatch between themselves as if leeping flames
etc. Ok, that's all normal but listen to the requested design.
"about the
effect of bushfire on bush animals", "for kids awareness
etc", and "I want to create a fire
effect on
stage too"
In other words, it's presumed that some action will be going on
down stage of the
effect so the
effect needs to be whole
stage. It's also given that the
effect is about the effects of fire on the animals - presumibly from the animals perspective given that it's during the fire. And it's for the kids so it needs to be larger than life such as the first time any of us saw "Bambie." That movie drew us in, it made friends with us and wowed us, than the fire came. Things changed. Not immediately, they just became frighteningly different from the prestine norm. Than all of a sudden, htll broke loose and that was it. Horror took over and what remained was ash and sorrow.
Somehow Jeremy needs to project the green of the countryside and the animals in say a Bambie like pretine meadow. When suddenly the wind starts blowing, the animals catch wind of it and start running. The sky turns ominus and the flames leap to the ceiling. I presume all of this is larger than life also such as from the
ground hog's perspective.
Anyone ever see African Puppet theater? Just a sort of rear projection
screen really with bright lights or light shining on it. Than the puppet masters and they were did their thing with shadow
play. Excellent to watch from the rear, and even better from the front. I would advise looking into this type of production to see how it's done. This could be a really good alternative means and one that will be spectacular.
My opinion. This all depends upon budget and exactually what needs to be going on
down stage of the proposed
cyc of course, but what if you could do this
effect, the action on
stage in a shadowplay or if nothing else, entirely from behind the
scrim as the first goal so you have control over how much
effect people are able to see verses what's masked or faded out of being seen? That way, not only is your fire taking place in the upstage/mainstage but it's also giving you the
downstage part of the
cyc and
apron presumibly to create this
effect with.
Verious groundrows in colors for the scenery, perhaps even on lever arms so they can sway with the
stage hand activated brush in the wind. When lit by the
down stage (given the
scrim is in the way of
house lights), such colors can pop out especially if UV paint and black lights highlight parts of it. Say
clear or translucent white UV paint. Perhaps even some
wing and
drop type folliage pulled in on two or three linesets. A fan on
stage in a gentile breeze to stur them up slightly.
Lighting as if from a sunny spring day provided by
cyc and boarder lights, and
wing boom base side lighting bars. Every thing bright, nice and warm. From the front of
house and two to three sets of folliage patterns, comes some folliage that's set to be close to but not exactually at the same postion so they can slow
fade between patterns and make the
image on the
scrim have some movement. Say a nice lime green
gel but only on 30% so the bright lights and talent upstage still pop
thru the
scrim. But with a sort of mist between them and the audience caused by the
scrim being partially lit. Something that might also be of use is some vertically mounted
cyc lights just before the precinium which will
taper the
image shown
thru the
scrim some from the edges, and perhaps some
box boom mounted or 1st
house electric mounted lekos with similar lighting and a soft focus to narrow it down some without drape. Colors such as a warm amber light from the sides as if the sun will not let the dew -
scrim allow too much of the
stage area to be seen. This will sort of
taper what is allowed to be seen upstage, and what a picture it will be all brightly lit and fancy and all. The trees, the Brush, Characters moving about
etc. Perhaps a
bit of
haze in the air also, plus a wee touch of
fog to take care of the edges of the scenery that hit the
stage deck. As it comes wallowing down
thru the
scrim, it will be a good
effect.
Than dim the fans up and have the scenery start to act is if a flag in the wind. Do the groundrow movement thing and boost the sunlight
intensity by at least 15% on a fadeup timed with the action of the animals catching the wind. Than the beautifully done soft clouds in the blue sky goes grey and dark. Than that greyness adds a
bit of hot amber, orange and red at a low
level and one that’s flickering across some cloud patterns. Not the whole
scrim yet, but more like lightning reflected from below the clouds. Pulsing slowly and building.
Stage lights from one side of the
stage to another follow along with the
haze. Sun still pokes
thru at this
point for moments of amber and greenery, but the building
smoke is also seen. From the opposing side of the
stage, the blues start to pulse and
build at opposing levels. They stay on slightly longer.
This all reverses it’s rate and duration between the bright flashes of amber sunlight growing less and less, with the corresponding night time blues building, and the ambers and flames pulsing and taking more and more of the
stage and
cyc. During this time, the lighting just upstage of the
scrim starts a fad out in lighting the scenery from the front. Since the flame effects are assumed upstage of the scenery, such scenery is now black with fire just upstage of it creating shadows that pulse. The lighting on the
scrim also fades down to out, except that of the
cyc and surround lights that
switch to red and pulse yellow and red very sedately but dispersed. Flame lights become supplemented by yellow, orange and red strobes (go light on the red) that go off in bursts of flashes than die away. Perhaps two or three flashes, than a few more that are dimmed in
intensity as the
effect dies away. Such flashing alternates as to location on the
stage in starting at the side the fire comes from, than with time the whole
stage becomes one burst that stays for a moment that’s matched by all upstage fire lights even sun lights at full. A moment later, the
scrim gets this burst of flame sun and anything bright and blots out the upstage that’s in a
fade down to black. All hanging scenery at this
point is quickly pulled. All lights upstage,
downstage and
FOH dies. Perhaps just a
bit of a few shin busters in white and blue alternating and at a very low
level from the
FOH and
stage to light the
fog at a very low
level and by it also the
haze in the air.
This stands for a few moments, 4.... 5.... 6.. . even 7 moments in giving the
effect two more moments than is comfortable. Than the normal sunlight starts a morningish up
fade. Slow and to the rear of all scenery so it stays black. High and center at first with the oranges and fire yellows helping it punch
thru the
haze - but only lightly. The main
effect is the sun, and the blackness of the scenery. Nothing from
FOH. This needs to be a completely different look and without being washed out by the
scrim. High up, tight and dark the scenery.
If time for a conclusion, low blues that have become gone when the sun comes out can come up on a slow upfade followed by the greens and yellows lighting the shrub on
stage all on a slow upfade to simulate the grasses and perhaps the trees growing again.
Anyway, that’s my design statement. It of course would necessitate sound effects, perhaps even music such as in Bambie for this
effect that I would endever to do given the rather
broad description.
I would make use of black lights and similar things to make things pop more, and a lot of lighting positions to create mood with.
You can see it’s all just a synopsis of intent, without many specifics. That’s the art of it. Hopefully it’s an idea of concepts that’s more important than the gear available where art is concerned.