Evgenia Kalyabina

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Greedy Pig 21.01 – 24.01. Constraction, set dressing and on-set experience

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Thursday 21.01

Due to lectures on Unit 7 we were able to come to LCC only in the evening and we had quite a few things to work out still. Our production designer was really worried about the seems between the flats being really visible and we decided to use gum tape to cover those and then we would have to re-paint the seems and we run out of paint! So we couldn’t do it that evening and the next day the set was to be filmed – ther was a lot of pressure and we just had to be very quick next morning.

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Ok, the other thing we did that day was putting the carpet to cover all the floor – I’m not really sure how that carpet was looking on camera in the end, it wasn’t perfect in my opinion, but still better then using the actual studio floor though.

The other thing we had to deal with the last minute was the lettering which Adele (the director) insisted on. I personally think that the lettering stating that the room in the Greedy Pig Show reception room had to be there from the very beginning of the design because it would make sence! Well, for some reason Rufus thought that this woudn’t work and was refusing to think about making the sign untill that last day. Fortunatelly we had one more flat we already recovered from plaster which was much smaller than the actuall wall flats so we painted it black, adding black laser cut letters (I’m still wondering why it had to be black on black)and drilled some holes we could fit fairy lights in (behind the letters) so they would be visible.

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I was actually very surprised of how the whole set looked by the end of the day as it finaly started to come together after 4 days of work.

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Friday 22.01
Finishing the reception room set and dressing Adele’s flat

The very first thing that I had to do in the morining was painting over the seems once again. Making gradiend once again wasn’t really that hard to be honest. The problem this time was actually that the colour of the new pod of paint we bought was more like dark grey rather then black and we had to paint over some bits of the wall so it wasn’t that obvious.
We put the lamshades that I previously made on the walls and Rufus and Virginia (our production designer from LCC) placed the furniture.

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The lights actually made the place come alive. I don’t really know how the whole place worked on camera because I was not present for the filmimg that day because Alekko, Sara, Virginia and I went to Adele’s flat where the next fiming was to take place next day.

So, noone from our Art Department team liked Adele’s flat. That place is very depressing and small. It was not easy to work there. I was really lost when we were doing that. The thing is that I don’t think that everytning was organized properly when it came to bringing things to the flat. We just had to deal whith what was there and noone actually thought that that is the best location for the scene (however, from the very start Adele kept insisting on Rupert’s flat in the script being based on her flat). Well, I have mixed feelings about set dressing now. Either this is not the job for me or it was just that particular set I din’t know what to do about.

So pretty much that was it…

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And this is what we tried to do with it…

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Saturday 23.01. Back to LCC. Building TV studio, props.

 

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What we were doing that day was pretty much improvising. The TV studio set was supposed to have 2 chairs (presentor’s and Rupert’s) with 3 TV screens behind it. The props that we needed for the actual show were the trolley with the blow torch machine, maggot lasagna, tray and the gasoline tank to actually burn the dog in the end. So, the screens were made of green screen fabrick stretched on stands we painted black. We also had to finish making the machine and borrowed some wires and bought some tape (seems to be solution to everything!) and we just played around with the construction.

Sunday 24.01 On set

On staurday we were kicked out of the studio at 5 so we could not finish the set and we had to do it really quickly on sunday morning. The green screen fabric we cut for the screens was really creased and I was the persom who did the ironing that morning. Then we rolled out the carpet again to cover the studio floor that we had not time to clean before. Some more problem solving – the green fabric didn’t stretch properly so we had to come up with ideas of how to flatten it quickly.

We did some finishing touches on the torture trolley figuring out the lay out for the instrument on the trolley and adding some more wires to it.

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I guess the funniest thing that day was to keep an eye on our special stars of the show – maggots. The day before Alekko and I bought them form the fishing shop and it turned out that they have to be kept refrigerated so 2 containers of maggits spent a day in our fridge.

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There was a lot of work to be done for that scene. The person who played a homeless guy in the scene was really convincing spitting lasagna (of course a good one, cold, but real) which we (art department) had to clean up before next take. Well, actually, I think that the most weird thing that I had to do in my life happened that day – when I had to tie Andrew (the actor) down with leather straps and chains. Generally, turned out that the Art Department on set acts more like slaves in a funny way as it was always – “Art dept, clean it”, “Art dept, fix it”, “Art dept, make that happen”. It was interesing.

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And at the end of the day I replaiced Janka trying to keep an eye on continuity but I think I failed. The thing was that the actors changed the script the last minute and were mostly improvising in the scene with the dog. I was absolutely lost and I don’t really think that that script change was working. The stand-by job turned out to be much harder than I expected. Janka was really good at it though and I’d love to work with her on set in the future as I think I can learn so much from her on the matter.

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