Logos
Well-Known Member
I've just come back to CB after a gap of maybe two years and dvsDave asked me a question about the puppetry work I've been doing.
Here's a description. Actually if anyone has any suggestions I'd love to hear them as I am new to this and still exploring.
The first type of production I've been doing is fairly straightforward booth puppetry with hand puppets. It's a matter of scaling down full stage lighting. I find myself using birdies a fair bit and because, in this country at least, birdie barn doors cost more than the lights, I've been using blackwrap to make barn doors for them. I'd kind of like to get hold of the small fresnels you guys call I think inkies but have so far been unable to.
The second type of production has been far more challenging. It's a sort of scaled down Bunraku puppetry where two or sometimes three operators move the puppets. Sometimes we do this on stage level and I have to create very precise corridors of light so the puppet can be seen but the black clad operator is almost invisible. Until I started doing this I thought I understood what precision focusing was all about. I'm using zoom profiles with shutters and then fitting them with barn doors to kill the final spill. Seriously a 10 millimetre difference in the way a barn door is set can make a difference.
It's great, I'm almost 60 and suddenly I'm learning again every time I work with these guys and the shows.
Here's a description. Actually if anyone has any suggestions I'd love to hear them as I am new to this and still exploring.
The first type of production I've been doing is fairly straightforward booth puppetry with hand puppets. It's a matter of scaling down full stage lighting. I find myself using birdies a fair bit and because, in this country at least, birdie barn doors cost more than the lights, I've been using blackwrap to make barn doors for them. I'd kind of like to get hold of the small fresnels you guys call I think inkies but have so far been unable to.
The second type of production has been far more challenging. It's a sort of scaled down Bunraku puppetry where two or sometimes three operators move the puppets. Sometimes we do this on stage level and I have to create very precise corridors of light so the puppet can be seen but the black clad operator is almost invisible. Until I started doing this I thought I understood what precision focusing was all about. I'm using zoom profiles with shutters and then fitting them with barn doors to kill the final spill. Seriously a 10 millimetre difference in the way a barn door is set can make a difference.
It's great, I'm almost 60 and suddenly I'm learning again every time I work with these guys and the shows.