06/05/13

I present my project on Friday and i'm pretty sure im ready but my laptop powered down and i have no idea why. Hope it all saved and the lap top is ok because otherwise I'm in trouble.

06/04/13

My presentation is coming together but i have alot i want to say. I have to cut some stuff down but mostly add to it. I have 40 sum slides but 30 minutes to talk and that would be less than a minute per slide. I want to keep it to at most 60 slides because i have alot of pictures and that would be half a minute per slide roughly but some slides will take longer some will take alot less.

05/24/13

This weekend i finsh the powerpoint.

05/22/13

I have noticed how little time I have to finish this now and i really need to get the power point together. I've color coded my reasearch questions and now i'm going through it coloring my data to corrispond with my questions.

Progress

I've always been a builder and i always worked with my father as alittle boy and i've built up my technical and machanical skills. This year in senior research i really had no idea what i wanted to do but i knew i wanted to do something artistic and something that is a physical project. Then i was a sophomore a kid named Cory built the set for thoroughly modern millie and he did a great job. I desided that since I love theatre and building this would be a great way to give back.

I wanted my project to be a hands on experience and eventhough I didn’t have a lot of resources, my real resources is the knowledge base and guidance of Mr. Pinto and Mr. Hirschfelt. When we finished this set we had a physical object that was made and that’s what I wanted in my project, a real, material project that everyone could see and if you saw the fall play, musical, or even short plays you saw my work live. If you didn’t then you missed out. I also wanted to learn skills that were practical rather than just found answers to a question I have. One thing I love about building and especially with a team is the constant stream of ideas running back and forth during a build. Questions are brought up discussed and solved at a quick pace. Unlike teaching where you can’t really see the progress you make every day with your students, I saw what I did everyday and I was glad to be involved in such a big way.

I wanted to get my feet wet in the process of set building and designing so i worked with Hirschfelt on the fall play. We were doing a christmas charol. After my first meeting with gargus i was set oput to draw a blueprint of our stage which is a rough 25ft by 50ft. Quickly after this hirschfelt and I saw how much misalanious stuff was needed. One of the first rules to building anything is if you can use the wheel, why re-invent it? We ended up renting the majority of the peices but our main set was built by Hirschfelt and we quickly came to an agreement on a simple design.

my project was the time machine and I started with a very complicated design requiring many pullies to operate its wheels and clock. When building something it is easy to see how an idea will chanc=ge one put into reality. First I made a chassis using all independent rolling wheels, the shape was much like a wheel barro and the reasoning behind this was to make it possible for a human to push pull and drive this thing. My chassis was made out of 2x3s chosen because thats what i had to work with and 2x4s i deemed alittle bit of overkill for the project. I cross braced the sides to reenforce the cockpit and made a ladder frame, much like an original ford model T. Mrs. Gargus told me that this was set in old London, before cars. So i couldn't base my machine off a car like the delorean time machine from BTTF and i didn't want to make something like what we see in Dr. Who with the phone booth. This had to be original and accourding to the script steam powered. The way i enterpreted this was a steam locomotive, which is the main vehicle to be powered by steam so the design was heavily based off a train. Next for color. In this time period black 1 stage flat was the only color available redily and to me would be the only color to make sense on someone’s homemade time machine. In this time, brass fittings and bronze allows we used in pluming and i used this as my accent color. At first we thought we would use bicycle wheels all around on the time machine. After actually mocking up a real wheel I found that it would be hard to brace each one to my chassis. So I cut a piece of partical board using the wheels as a template and then finding center by measuring from one end to another at 2 points on the wheel and the center of the x would be center. My friend Antonia painted the wheels for me and we decided that these would be double sided so that it could have 2 different looks for the show, we put these on the butterfly nuts so they were easily removed.

After I finished the man structure Gargus gave me a news flash. Turns out that the actor would have to be on top of the time machine. Initially made the machine so that the driver would be inside. Luckily the chassis design was already strong enough without much alteration to handle the new task of a person standing on it. I also had to channel the whole body of the machine. To make our steam effect we decided on dry ice and hot water. The cool thing about this system is the boiling over of the CO2 and then the water runs down the barrel of the machine. My smoke stacks were made out of PVC pipe cut at a 45 degree angle. And a rubber plumbing stopper. I attached them with a bolt running through the bottom and an aluminum can lid as a washer inside and the whole thing was buried in silicone. Because now an actor had to ride on top of the machine no one could operate my time dial or drive the machine so I put a 2x8 on the inside as a seat for a small passenger to ride in and operate the clock. I also needed a driver and even with all this extra weight it was still relatively easy to steer.

Because I’m a hot rodder myself I thought the grill would be a nice touch. This was going to be an actual charcoal grill face but I had a great friend Craig Gallo who is my go to guy for graphics that I had help me make a grill, which I had cut out on the laser engraver. I was limited by the size of the machine.

Now about the clock. The pully system would be way to complicated and I showed the idea to my Dad. After some brain storming we thought that we could use a bike to accomplish this. So Since this will no longer be subject to a rider or the abuses of riding we started cutting up the diamond frame. I kept one arm on the rear hub because it was more than adequate for the torque demands it would have to withstand. One more modification was cutting off one side of the peddle assembly and moving it into the body of the machine so the axle could be operated from the inside of the craft. Lastly, I put on the rear hub from a kiddy bike. I’m sure everyone has had some experience with this style rear hub. When you peddle backwards it stops. This allows the what would be clock to speed up and come to abrupt stops which is the way time travel has always been depicted as. To add just one more special touch. I attached 2 zip ties to the frame of the bike with the excess protruding into the spokes of the bike, giving a ticking sound when spun. I spent at least 300 hours just building this one vehicle. When all was said and done the whole thing was square within .25 of an inch.

After accomplishing making this prop I decided I could handle doing it for my senior research and I could handle being in the musical as an actor as well.

This show was anything goes

Hirschfelt and I were use to working together and we were actually looking at designs for a set way before we even started. We came up with several ideas and pretty soon had a great set. Now in Musical there is one other guy who everyone knows as the set builder and he was my unofficial mentor, Mr. Pinto. Luckily for me, we only had 2 weeks to build the set and this put stress on the build team and allowed it to be extended to include Hirschfelt as well. Since we had such a short time to build I thought why not make it like a set house? I’ve seen tons of episodes of home improvement shows where the strike up a building in a week. And the key is collapsible panels. The whole boat was designed in 5 main pieces.

In the show anything goes the set is always more than one story. On Broadway the set was 3 stories but the theatre was also 3 stories tall. We decided on a single story set. L

Last year Pinto designed the beauty and the beast set to be 7 ft off the ground and believe it or not after he finished he had to cut it down. Which is no easy task.

This set was designed with 6ft 9in legs and we all agreed that once it was up it wouldn’t be taken down.

We also were playing around with several ideas for the walls actual material. We looked at canvas, luon, ply board, even cardboard.

We looked at the weaknesses of last year’s set and one of the major downfalls was the stairs. the rise run and width of the stairs was a major problem. We ended up using 2x8s for all the runners. We were just going to have straight runs of stairs to avoid problems.

Another cool feature that was thought out was the ability to open up the ship with sliding doors acting as the walls and the state rooms being inside the set.

After everything was said and done I showed my design to Gargus. After I gain new understanding of her vision I had to rework this design.

In anything goes the set is a cruise ship and usually this set is depicted with curved staircases. She wanted curved staircases so I once again had a look at these and it turned out that to actually make these properly it would take up so much space that we would only be 2 feet away from the curtain line. I also watched many videos on curved staircases and after seeing so many different methods I decided to build a few in a small scale model. All of which were very unstable and complicated to build so we trashed this Idea. To avoid the problems of making an actual curved stair case I decided that more of an L shaped staircase would be more doable in my time frame and budget. When I say L shaped I mean a straight run of stars one curved landing and then another run of stairs.

It was also known now that we needed more curve somehow, everyone was set of the curved design and I thought it was pretty cool too but I knew it was a challenge. We ditched the sliding door and then built another platform protruding 2 ft downstage of the middle section and this was given a curve. Luon was the wall material. Since luon is a flexible material that is relatively cheap and very lightweight.

My biggest road block was after I auditioned and tried out my directors bought blueprints from another company and these came with blueprints, instructions, videos, and supply lists. They said that they were sorry but there just wasn’t enough time to do this. I thought this was the end of my project but after some figuring we saw that our original design was better than this blueprint so we moved on our original course. And I was again a player in this year’s musical set.

After all this was a modular set and I could start building it almost immediately.

The only problem was that we were trying to find the best deal on materials this took a good month at least. And at the end we did local business at Seneca.  Which everyone felt good about and we saved a lot of money on just lumber initially for the set we only spent $1500. With a budget of $4000.

Then it was just building and I had a good team of band and theatre kids to help us build.

Once we figured out the boat we realized we needed 3 state rooms and a jail the way I figured this one out is by making one 3^rd class room and then allowing the 1^st class room to have double duty with the objects being moved around to represent each characters room. The back side of this room was also made into a jail.

One of the things that bothered me is that this is a cruise ship and there really isn’t a technical jail on a cruise line so after watching the Broadway performance I realized that this would be a storage room with a locking gated door. That’s where we drew our inspiration for this.

These rooms were an L shaped moving platform with the bed acting as a structural member and the top being reinforced with a triangle cut from 3/4^th ply.

I left the artistic touch of the room up to my good friend Meghan and she did an amazing job. She made a template for a patern for the walls and it was totally baroque and fit the time period to a point.  

We drew manythings from the broadway performance. I saw the lights of the ship with where a gated notical light and they were controlled by a dimer and where in time with the music.

Once I saw this we needed them. Luckily, in class I did some research and found some outdoor lights that were perfect the only problem was price which was anywhere from $80-20 per unit. Hirsch went out to Home depo just to see what he could find and we found the last 4 in stock for $12 a piece. When all was said and done we got 2 more in a different color. Although we had both satin black and white versions I had plans for these to be brass, just like naval brass which was the allow of choice on ships until the late 40’s early 50’s. Which then everything switched over to stainless. This was fixed with a quick disassembly and paint job.

When I saw the droadway set it was actually a crème color with brass rivets(which would have never happened in real life but it was beautiful so who cares?) I loved everything about this set and the way the coloreds lights hit it.

At first pinto though it would be stupid to paint the rivets of our boat gold. And at first we were going to just paint these one. But once we noticed that our fender washers we used to hold the luon actually looked like rivets. After some test runs it was too hard to just accent the rivets with spray paint so I had Leo paint them all brass. It didn’t look silly at all and it actually made them visible from the audience

When making a ship, there are always port holes, ours had to be the diameter of 10’’ to be functional. They were used in the blocking. There actually is a tool for cutting out perfect holes but we couldn’t get one big enough for the job. Hirsch brought in a dremmle and we screwed into the center of the panel where we wanted the hole and attached a sharpy with a string and used it to get a circle. After the holes were cut out I made a new template of a circle 13’’ and sprayed the pirimiter to make a brass rim around each port hole.

At first we were going to smoke some plexiglass to get windows but Pinto Turned us on to a much cheaper option, wax paper.

After another meeting between Gargus and Pinto it was understood that we actually couldn’t make the set white anyway because much like my skin tone it would be washed out with the stage lighting. At this point I thought for sure we’d have a crème boat but after some persuation we desided on grey.

Our school colors are blue and grey anyway.

For a railing we needed obviously some curved sections. For the entrance stairs I took a sheet of partical board and drew out my dementions then I mapped out when every pillar was and I thought about how I was going to make my angle and what I should do. Hirschfeld gave this to me because he was tired of thinking about it and writefully so. I ended up just feehanding it and hoping for the best. It came out great and I made the mirror image for the other side. The biggest issue was the top because it was such an enormous curved piece and it just wouldn’t fit on one sheet so I had to approach this one differently. In sections.

So I started by finding my angles that my railing would have to be to meet up with the existing 45* angle on the railing. I believe it was 55*…  Because the partical board is so hard to manage I made my prototype out of luon, which we had a lot of. I mapped out the pillars for the railing and then cut the luon to be a ruff railing I made each of the three sections and whent back to the top of the set to makesure that itfit properly. These luon sections were straight and not curved but they gave me the ruff idea. So I taped every piece together, carefully brought it down and drew it on the partical board, it was 2 pieces after I had the correct sizing I freehanded the curve like before. It fit like a glove and the 2 pieces curve seamlessly came together.

This was just the top of the rail and our original design called for a rope as well. And Hirsh and I agreed on a cheap way to go about attaching this with nails but we desided at the end to bore a hole through each pillar to run a rope through. We put some of our workers on braiding duty and soon we had our rope.

From the very beginning one of the ways we would distinguish our set and hide some waviness was with a navy stripe on the top of the ship. I thought this looked grand and really set the ship off. But Pinto had a great idea and painted the entrance stairs with a navy stripe as well.

The set was almost done but it needed some more stuff. I took a trip to Columbus to buy some stuff, I got a bell and an anchor. The anchor wasn’t actually used for anything but I put the bell on the top level with a bracket that I bet to hold the bell.

As a finishing touch we put red lettering on the stairs for watch your step and on the door of the ship which had the name s. s. American. And a spray painted anchor. This was made with a template cut out of cardboard and if you look closely my initials are hidden inside the insignia.

After this musical was over one would think my job was done but that was only slightly true.

It took several months to build and just a few days to take down. I first built this thing with the idea of it being a modular set but because of storage issues this was not possible. We were going to save the front fascia to show you in this project but it was ruined during transportation.

What took the most time was transporting everything from the barn of the middle school to the high school and this involved bringing back all the set pieces, the stairs, state rooms, and tool boxes.

Then short plays came along and I used some of these panels for the ship because we use them for everything. Unfortunately I didn’t think this trough and we needed them for short plays. We always build the same general set but we needed these walls to finish. I built 4 of these walls to use on the set. And this had a dead line of 2 days and I took advantage of 8^th period lunch and 9^th period SRS to finish on time. Then when the short plays were over the band concert was in a few days after so we had to take this down quickly as well. I used my lunch period once again to finish on time. And I’d like to thank Tyler Berger for always helping with the build and demolition process.

05/21/13

I have most of what i want to say together. I think i'll start color coding things according to the research question they corraspond to.

Progress

I've always been a builder and i always worked with my father as alittle boy and i've built up my technical and machanical skills. This year in senior research i really had no idea what i wanted to do but i knew i wanted to do something artistic and something that is a physical project. Then i was a sophomore a kid named Cory built the set for thoroughly modern millie and he did a great job. I desided that since I love theatre and building this would be a great way to give back.

I wanted to get my feet wet in the process of set building and designing so i worked with Hirschfelt on the fall play. We were doing a christmas charol. After my first meeting with gargus i was set oput to draw a blueprint of our stage which is a rough 25ft by 50ft. Quickly after this hirschfelt and I saw how much misalanious stuff was needed. One of the first rules to building anything is if you can use the wheel, why re-invent it? We ended up renting the majority of the peices but our main set was built by Hirschfelt and we quickly came to an agreement on a simple design.

my project was the time machine and I started with a very complicated design requiring many pullies to operate its wheels and clock. When building something it is easy to see how an idea will chanc=ge one put into reality. First I made a chassis using all independent rolling wheels, the shape was much like a wheel barro and the reasoning behind this was to make it possible for a human to push pull and drive this thing. My chassis was made out of 2x3s chosen because thats what i had to work with and 2x4s i deemed alittle bit of overkill for the project. I cross braced the sides to reenforce the cockpit and made a ladder frame, much like an original ford model T. Mrs. Gargus told me that this was set in old London, before cars. So i couldn't base my machine off a car like the delorean time machine from BTTF and i didn't want to make something like what we see in Dr. Who with the phone booth. This had to be original and accourding to the script steam powered. The way i enterpreted this was a steam locomotive, which is the main vehicle to be powered by steam so the design was heavily based off a train. Next for color. In this time period black 1 stage flat was the only color available redily and to me would be the only color to make sense on someone’s homemade time machine. In this time, brass fittings and bronze allows we used in pluming and i used this as my accent color. At first we thought we would use bicycle wheels all around on the time machine. After actually mocking up a real wheel I found that it would be hard to brace each one to my chassis. So I cut a piece of partical board using the wheels as a template and then finding center by measuring from one end to another at 2 points on the wheel and the center of the x would be center. My friend Antonia painted the wheels for me and we decided that these would be double sided so that it could have 2 different looks for the show, we put these on the butterfly nuts so they were easily removed.

After I finished the man structure Gargus gave me a news flash. Turns out that the actor would have to be on top of the time machine. Initially made the machine so that the driver would be inside. Luckily the chassis design was already strong enough without much alteration to handle the new task of a person standing on it. I also had to channel the whole body of the machine. To make our steam effect we decided on dry ice and hot water. The cool thing about this system is the boiling over of the CO2 and then the water runs down the barrel of the machine. My smoke stacks were made out of PVC pipe cut at a 45 degree angle. And a rubber plumbing stopper. I attached them with a bolt running through the bottom and an aluminum can lid as a washer inside and the whole thing was buried in silicone. Because now an actor had to ride on top of the machine no one could operate my time dial or drive the machine so I put a 2x8 on the inside as a seat for a small passenger to ride in and operate the clock. I also needed a driver and even with all this extra weight it was still relatively easy to steer.

Because I’m a hot rodder myself I thought the grill would be a nice touch. This was going to be an actual charcoal grill face but I had a great friend Craig Gallo who is my go to guy for graphics that I had help me make a grill, which I had cut out on the laser engraver. I was limited by the size of the machine.

Now about the clock. The pully system would be way to complicated and I showed the idea to my Dad. After some brain storming we thought that we could use a bike to accomplish this. So Since this will no longer be subject to a rider or the abuses of riding we started cutting up the diamond frame. I kept one arm on the rear hub because it was more than adequate for the torque demands it would have to withstand. One more modification was cutting off one side of the peddle assembly and moving it into the body of the machine so the axle could be operated from the inside of the craft. Lastly, I put on the rear hub from a kiddy bike. I’m sure everyone has had some experience with this style rear hub. When you peddle backwards it stops. This allows the what would be clock to speed up and come to abrupt stops which is the way time travel has always been depicted as. To add just one more special touch. I attached 2 zip ties to the frame of the bike with the excess protruding into the spokes of the bike, giving a ticking sound when spun. I spent at least 300 hours just building this one vehicle. When all was said and done the whole thing was square within .25 of an inch.

After accomplishing making this prop I decided I could handle doing it for my senior research and I could handle being in the musical as an actor as well.

This show was anything goes

Hirschfelt and I were use to working together and we were actually looking at designs for a set way before we even started. We came up with several ideas and pretty soon had a great set. Now in Musical there is one other guy who everyone knows as the set builder and he was my unofficial mentor, Mr. Pinto. Luckily for me, we only had 2 weeks to build the set and this put stress on the build team and allowed it to be extended to include Hirschfelt as well. Since we had such a short time to build I thought why not make it like a set house? I’ve seen tons of episodes of home improvement shows where the strike up a building in a week. And the key is collapsible panels. The whole boat was designed in 5 main pieces.

In the show anything goes the set is always more than one story. On Broadway the set was 3 stories but the theatre was also 3 stories tall. We decided on a single story set. L

Last year Pinto designed the beauty and the beast set to be 7 ft off the ground and believe it or not after he finished he had to cut it down. Which is no easy task.

This set was designed with 6ft 9in legs and we all agreed that once it was up it wouldn’t be taken down.

We also were playing around with several ideas for the walls actual material. We looked at canvas, luon, ply board, even cardboard.

We looked at the weaknesses of last year’s set and one of the major downfalls was the stairs. the rise run and width of the stairs was a major problem. We ended up using 2x8s for all the runners. We were just going to have straight runs of stairs to avoid problems.

Another cool feature that was thought out was the ability to open up the ship with sliding doors acting as the walls and the state rooms being inside the set.

After everything was said and done I showed my design to Gargus. After I gain new understanding of her vision I had to rework this design.

In anything goes the set is a cruise ship and usually this set is depicted with curved staircases. She wanted curved staircases so I once again had a look at these and it turned out that to actually make these properly it would take up so much space that we would only be 2 feet away from the curtain line. I also watched many videos on curved staircases and after seeing so many different methods I decided to build a few in a small scale model. All of which were very unstable and complicated to build so we trashed this Idea. To avoid the problems of making an actual curved stair case I decided that more of an L shaped staircase would be more doable in my time frame and budget. When I say L shaped I mean a straight run of stars one curved landing and then another run of stairs.

It was also known now that we needed more curve somehow, everyone was set of the curved design and I thought it was pretty cool too but I knew it was a challenge. We ditched the sliding door and then built another platform protruding 2 ft downstage of the middle section and this was given a curve. Luon was the wall material. Since luon is a flexible material that is relatively cheap and very lightweight.

My biggest road block was after I auditioned and tried out my directors bought blueprints from another company and these came with blueprints, instructions, videos, and supply lists. They said that they were sorry but there just wasn’t enough time to do this. I thought this was the end of my project but after some figuring we saw that our original design was better than this blueprint so we moved on our original course. And I was again a player in this year’s musical set.

After all this was a modular set and I could start building it almost immediately.

The only problem was that we were trying to find the best deal on materials this took a good month at least. And at the end we did local business at Seneca.  Which everyone felt good about and we saved a lot of money on just lumber initially for the set we only spent $1500. With a budget of $4000.

Then it was just building and I had a good team of band and theatre kids to help us build.

Once we figured out the boat we realized we needed 3 state rooms and a jail the way I figured this one out is by making one 3^rd class room and then allowing the 1^st class room to have double duty with the objects being moved around to represent each characters room. The back side of this room was also made into a jail.

One of the things that bothered me is that this is a cruise ship and there really isn’t a technical jail on a cruise line so after watching the Broadway performance I realized that this would be a storage room with a locking gated door. That’s where we drew our inspiration for this.

These rooms were an L shaped moving platform with the bed acting as a structural member and the top being reinforced with a triangle cut from 3/4^th ply.

I left the artistic touch of the room up to my good friend Meghan and she did an amazing job. She made a template for a patern for the walls and it was totally baroque and fit the time period to a point.  

We drew manythings from the broadway performance. I saw the lights of the ship with where a gated notical light and they were controlled by a dimer and where in time with the music.

Once I saw this we needed them. Luckily, in class I did some research and found some outdoor lights that were perfect the only problem was price which was anywhere from $80-20 per unit. Hirsch went out to Home depo just to see what he could find and we found the last 4 in stock for $12 a piece. When all was said and done we got 2 more in a different color. Although we had both satin black and white versions I had plans for these to be brass, just like naval brass which was the allow of choice on ships until the late 40’s early 50’s. Which then everything switched over to stainless. This was fixed with a quick disassembly and paint job.

When I saw the droadway set it was actually a crème color with brass rivets(which would have never happened in real life but it was beautiful so who cares?) I loved everything about this set and the way the coloreds lights hit it.

At first pinto though it would be stupid to paint the rivets of our boat gold. And at first we were going to just paint these one. But once we noticed that our fender washers we used to hold the luon actually looked like rivets. After some test runs it was too hard to just accent the rivets with spray paint so I had Leo paint them all brass. It didn’t look silly at all and it actually made them visible from the audience

When making a ship, there are always port holes, ours had to be the diameter of 10’’ to be functional. They were used in the blocking. There actually is a tool for cutting out perfect holes but we couldn’t get one big enough for the job. Hirsch brought in a dremmle and we screwed into the center of the panel where we wanted the hole and attached a sharpy with a string and used it to get a circle. After the holes were cut out I made a new template of a circle 13’’ and sprayed the pirimiter to make a brass rim around each port hole.

At first we were going to smoke some plexiglass to get windows but Pinto Turned us on to a much cheaper option, wax paper.

After another meeting between Gargus and Pinto it was understood that we actually couldn’t make the set white anyway because much like my skin tone it would be washed out with the stage lighting. At this point I thought for sure we’d have a crème boat but after some persuation we desided on grey.

Our school colors are blue and grey anyway.

For a railing we needed obviously some curved sections. For the entrance stairs I took a sheet of partical board and drew out my dementions then I mapped out when every pillar was and I thought about how I was going to make my angle and what I should do. Hirschfeld gave this to me because he was tired of thinking about it and writefully so. I ended up just feehanding it and hoping for the best. It came out great and I made the mirror image for the other side. The biggest issue was the top because it was such an enormous curved piece and it just wouldn’t fit on one sheet so I had to approach this one differently. In sections.

So I started by finding my angles that my railing would have to be to meet up with the existing 45* angle on the railing. I believe it was 55*…  Because the partical board is so hard to manage I made my prototype out of luon, which we had a lot of. I mapped out the pillars for the railing and then cut the luon to be a ruff railing I made each of the three sections and whent back to the top of the set to makesure that itfit properly. These luon sections were straight and not curved but they gave me the ruff idea. So I taped every piece together, carefully brought it down and drew it on the partical board, it was 2 pieces after I had the correct sizing I freehanded the curve like before. It fit like a glove and the 2 pieces curve seamlessly came together.

This was just the top of the rail and our original design called for a rope as well. And Hirsh and I agreed on a cheap way to go about attaching this with nails but we desided at the end to bore a hole through each pillar to run a rope through. We put some of our workers on braiding duty and soon we had our rope.

From the very beginning one of the ways we would distinguish our set and hide some wavyness was with a navy stripe on the top of the ship. I thought this looked grand and really set the ship off. But Pinto had a great idea and painted the entrance stairs with a navy stripe as well.

The set was almost done but it needed some more stuff. I took a trip to Columbus to buy some stuff, I got a bell and an anchor. The anchor wasn’t actually used for anything but I put the bell on the top level with a bracket that I bet to hold the bell.

As a finishing touch we put red lettering on the stairs for whach your step and on the door of the ship which had the name s. s. American. And a spray painted anchor. This was made with a template cut out of cardboard and if you look closely my initials are hidden inside the insignia.

05/20/13

I've got so much to say in my power point. I think the way i'll approach this presentation is by telling the story of building the set rather than just stating the questions and answering them periodically.

05/16/13

I've always been a builder and i always worked with my father as alittle boy and i've built up my technical and machanical skills. This year in senior research i really had no idea what i wanted to do but i knew i wanted to do something artistic and something that is a physical project. Then i was a sophomore a kid named Cory built the set for thoroughly modern millie and he did a great job. I desided that since I love theatre and building this would be a great way to give back.

I wanted to get my feet wet in the process of set building and designing so i worked with Hirschfelt on the fall play. We were doing a christmas charol. After my first meeting with gargus i was set oput to draw a blueprint of our stage which is a rough 25ft by 50ft. Quickly after this hirschfelt and I saw how much misalanious stuff was needed. One of the first rules to building anything is if you can use the wheel, why re-invent it? We ended up renting the majority of the peices but our main set was built by Hirschfelt and we quickly came to an agreement on a simple design.

my project was the time machine and I started with a very complicated design requiring many pullies to operate its wheels and clock. When building something it is easy to see how an idea will chanc=ge one put into reality. First I made a chassis using all independent rolling wheels, the shape was much like a wheel barro and the reasoning behind this was to make it possible for a human to push pull and drive this thing. My chassis was made out of 2x3s chosen because thats what i had to work with and 2x4s i deemed alittle bit of overkill for the project. I cross braced the sides to reenforce the cockpit and made a ladder frame, much like an original ford model T. Mrs. Gargus told me that this was set in old London, before cars. So i couldn't base my machine off a car like the delorean time machine from BTTF and i didn't want to make something like what we see in Dr. Who with the phone booth. This had to be original and accourding to the script steam powered. The way i enterpreted this was a steam locomotive, which is the main vehicle to be powered by steam so the design was heavily based off a train. Next for color. In this time period black 1 stage flat was the only color available redily and to me would be the only color to make sense on someone’s homemade time machine. In this time, brass fittings and bronze allows we used in pluming and i used this as my accent color. At first we thought we would use bicycle wheels all around on the time machine. After actually mocking up a real wheel I found that it would be hard to brace each one to my chassis. So I cut a piece of partical board using the wheels as a template and then finding center by measuring from one end to another at 2 points on the wheel and the center of the x would be center. My friend Antonia painted the wheels for me and we decided that these would be double sided so that it could have 2 different looks for the show, we put these on the butterfly nuts so they were easily removed.

After I finished the man structure Gargus gave me a news flash. Turns out that the actor would have to be on top of the time machine. Initially made the machine so that the driver would be inside. Luckily the chassis design was already strong enough without much alteration to handle the new task of a person standing on it. I also had to channel the whole body of the machine. To make our steam effect we decided on dry ice and hot water. The cool thing about this system is the boiling over of the CO2 and then the water runs down the barrel of the machine. My smoke stacks were made out of PVC pipe cut at a 45 degree angle. And a rubber plumbing stopper. I attached them with a bolt running through the bottom and an aluminum can lid as a washer inside and the whole thing was buried in silicone. Because now an actor had to ride on top of the machine no one could operate my time dial or drive the machine so I put a 2x8 on the inside as a seat for a small passenger to ride in and operate the clock. I also needed a driver and even with all this extra weight it was still relatively easy to steer.

Because I’m a hot rodder myself I thought the grill would be a nice touch. This was going to be an actual charcoal grill face but I had a great friend Craig Gallo who is my go to guy for graphics that I had help me make a grill, which I had cut out on the laser engraver. I was limited by the size of the machine.

Now about the clock. The pully system would be way to complicated and I showed the idea to my Dad. After some brain storming we thought that we could use a bike to accomplish this. So Since this will no longer be subject to a rider or the abuses of riding we started cutting up the diamond frame. I kept one arm on the rear hub because it was more than adequate for the torque demands it would have to withstand. One more modification was cutting off one side of the peddle assembly and moving it into the body of the machine so the axle could be operated from the inside of the craft. Lastly, I put on the rear hub from a kiddy bike. I’m sure everyone has had some experience with this style rear hub. When you peddle backwards it stops. This allows the what would be clock to speed up and come to abrupt stops which is the way time travel has always been depicted as. To add just one more special touch. I attached 2 zip ties to the frame of the bike with the excess protruding into the spokes of the bike, giving a ticking sound when spun. I spent at least 300 hours just building this one vehicle. When all was said and done the whole thing was square within .25 of an inch.

After accomplishing making this prop I decided I could handle doing it for my senior research and I could handle being in the musical as an actor as well.

This show was anything goes

Hirschfelt and I were use to working together and we were actually looking at designs for a set way before we even started. We came up with several ideas and pretty soon had a great set. Now in Musical there is one other guy who everyone knows as the set builder and he was my unofficial mentor, Mr. Pinto. Luckily for me, we only had 2 weeks to build the set and this put stress on the build team and allowed it to be extended to include Hirschfelt as well. Since we had such a short time to build I thought why not make it like a set house? I’ve seen tons of episodes of home improvement shows where the strike up a building in a week. And the key is collapsible panels. The whole boat was designed in 5 main pieces.

In the show anything goes the set is always more than one story. On Broadway the set was 3 stories but the theatre was also 3 stories tall. We decided on a single story set. L

Last year Pinto designed the beauty and the beast set to be 7 ft off the ground and believe it or not after he finished he had to cut it down. Which is no easy task.

This set was designed with 6ft 9in legs and we all agreed that once it was up it wouldn’t be taken down.

We also were playing around with several ideas for the walls actual material. We looked at canvas, luon, ply board, even cardboard.

We tore down the short play sets today and this is what i have so far as what i want to say.

We looked at the weaknesses of last year’s set and one of the major downfalls was the stairs. the rise run and width of the stairs was a major problem. We ended up using 2x8s for all the runners. We were just going to have straight runs of stairs to avoid problems.

Another cool feature that was thought out was the ability to open up the ship with sliding doors acting as the walls and the state rooms being inside the set.

After everything was said and done I showed my design to Gargus. After I gain new understanding of her vision I had to rework this design.

In anything goes the set is a cruise ship and usually this set is depicted with curved staircases. She wanted curved staircases so I once again had a look at these and it turned out that to actually make these properly it would take up so much space that we would only be 2 feet away from the curtain line. I also watched many videos on curved staircases and after seeing so many different methods I decided to build a few in a small scale model. All of which were very unstable and complicated to build so we trashed this Idea. To avoid the problems of making an actual curved stair case I decided that more of an L shaped staircase would be more doable in my time frame and budget. When I say L shaped I mean a straight run of stars one curved landing and then another run of stairs.

It was also known now that we needed more curve somehow, everyone was set of the curved design and I thought it was pretty cool too but I knew it was a challenge. We ditched the sliding door and then built another platform protruding 2 ft downstage of the middle section and this was given a curve. Luon was the wall material. Since luon is a flexible material that is relatively cheap and very lightweight.

My biggest road block was after I auditioned and tried out my directors bought blueprints from another company and these came with blueprints, instructions, videos, and supply lists. They said that they were sorry but there just wasn’t enough time to do this. I thought this was the end of my project but after some figuring we saw that our original design was better than this blueprint so we moved on our original course. And I was again a player in this year’s musical set.

After all this was a modular set and I could start building it almost immediately.

The only problem was that we were trying to find the best deal on materials this took a good month at least. And at the end we did local business at Seneca.  Which everyone felt good about and we saved a lot of money on just lumber initially for the set we only spent $1500. With a budget of $4000.

Then it was just building and I had a good team of band and theatre kids to help us build.

Progress

I've always been a builder and i always worked with my father as alittle boy and i've built up my technical and machanical skills. This year in senior research i really had no idea what i wanted to do but i knew i wanted to do something artistic and something that is a physical project. Then i was a sophomore a kid named Cory built the set for thoroughly modern millie and he did a great job. I desided that since I love theatre and building this would be a great way to give back.

I wanted to get my feet wet in the process of set building and designing so i worked with Hirschfelt on the fall play. We were doing a christmas charol. After my first meeting with gargus i was set oput to draw a blueprint of our stage which is a rough 25ft by 50ft. Quickly after this hirschfelt and I saw how much misalanious stuff was needed. One of the first rules to building anything is if you can use the wheel, why re-invent it? We ended up renting the majority of the peices but our main set was built by Hirschfelt and we quickly came to an agreement on a simple design.

my project was the time machine and I started with a very complicated design requiring many pullies to operate its wheels and clock. When building something it is easy to see how an idea will chanc=ge one put into reality. First I made a chassis using all independent rolling wheels, the shape was much like a wheel barro and the reasoning behind this was to make it possible for a human to push pull and drive this thing. My chassis was made out of 2x3s chosen because thats what i had to work with and 2x4s i deemed alittle bit of overkill for the project. I cross braced the sides to reenforce the cockpit and made a ladder frame, much like an original ford model T. Mrs. Gargus told me that this was set in old London, before cars. So i couldn't base my machine off a car like the delorean time machine from BTTF and i didn't want to make something like what we see in Dr. Who with the phone booth. This had to be original and accourding to the script steam powered. The way i enterpreted this was a steam locomotive, which is the main vehicle to be powered by steam so the design was heavily based off a train. Next for color. In this time period black 1 stage flat was the only color available redily and to me whould be the only color tio make sence on someones homemade time machine. In this time, brass fittings and bronze allows we used in pluming and i used this as my accent color. At first we thought we would use bycicle wheels all around on the time machine. After actually mocking up a real wheel I found that it would be hard to brace each one to my chassis. So I cut a piece of partical board using the wheels as a template and then finging center by messuring fromone end to another at 2 points on the wheel and the center of the x would be center. My friend Antonia painted the wheels for me and we desided that thwese would be double sided so that it could have 2 different looks for the show, we put these on the butterfly nuts so they were easily removed.

After I finished the man structure Gargus gave me a news flash. Turns out that the actor would have to be ontop of the time machine. Iinitially made the machine so that the driver would be inside. Luckily the chassis design was already strong enough without much alteration to handle the new task of a person standing on it. I also had to channel the whole body of the machine. To make our steam effect we desided on dry ice and hot water. The cool thing about this system is the boiling over of the CO2 and then the water runs down the barrel of the machine. My smoke stacks were made out of PVC pipe cut at a 45 degree angle. And a rubber plumbing stopper. I attached them with a bolt running through the bottom and an aluminum can lid as a washer inside and the whole thing was buried in silicone. Because now an actor had to ride on top of the machine no one could operate my time dial or drive the machine so I put a 2x8 on the inside as a seat for a small passenger to ride in and operate the clock. I also needed a driver and even with all this extra weight it was still relatively easy to steer.

Because I’m a hot rodder myself I thought the grill would be a nice touch. This was going to be an actual charcoal grill face but I had a great friend Craig Gallo who is my go to guy for graphics that I had help me make a grill, which I had cut out on the lazer engraver. I was limited by the size of the machine.

Now about the clock. The pully system would be way to complicated and I showed the idea to my Dad. After some brain storming we thought that we could use a bike to accomplish this. So Since this will no longer be subject to a rider or the abuses of riding we started cutting up the diamond frame. I kept one arm on the rear hub because it was more than adequate for the torque demands it would have to withstand. One more modification was cutting off one side of the peddle assembly and moving it into the body of the machine so the axle could be operated from the inside of the craft. Lastly, I put on the rear hub from a kiddy bike. I’m sure everyone has had some experience with this style rear hub. When you peddle backwards it stops. This allows the what would be clock to speed up and come to abrupt stops which is the way time travel has always been depicted as. To add just one more special touch. I attached 2 zip ties to the frame of the bike with the excess protruding into the spokes of the bike, giving a ticking sound when spun. I spent at least 300 hours just building this one vehicle. When all was said and done the whole thing was square within .25 of an inch.

After accomplishing making this prop I desided I could haddle doing it for my senior research and I could handle being in the musical as an actor aswell.

This show was anything goes

Hirschfelt and I were use to working together and we were actually looking at designs for a set way before we even started. We came up with several ideas and pretty soon had a great set. Now in Musical there is one other guy who everyone knows as the set builder and he was my unofficial mentor, Mr. Pinto. Luckily for me, we only had 2 weeks to build the set and this put stress on the build team and allowed it to be extended to enclude Hirschfelt aswell. Since we had such a short time to build I thought why not make it like a set house? I’ve seen tons of episodes of home enprovement shows where the strike up a building in a week. And the key is collapsible panels. The whole boat was designed in 5 main pieces.

In the show anything goes the set is always more than one story. On Broadway the set was 3 stories but the theatre was also 3 stories tall. We desided on a single story set. L

Last year Pinto deisgned the beauty and the beast set to be 7 ft off the ground and believe it or not after he finished he had to cut it down. Which is no easy task.

This set was designed with 6ft 9in legs and we all agreed that one it was up it wouldn’t be taken down.

05/14/13

Working really hard on the presentation. Have nothing new to report on

05/13/13

So now is the point were i have to figure out what i want to say in my 30 minute presentation. Im just going to write.


I've always been a builder and i always worked with my father as alittle boy and i've built up my technical and machanical skills. This year in senior research i really had no idea what i wanted to do but i knew i wanted to do something artistic and something that is a physical project. Then i was a sophomore a kid named Cory built the set for thoroughly modern millie and he did a great job. I desided that since I love theatre and building this would be a great way to give back.

I wanted to get my feet wet in the process of set building and designing so i worked with Hirschfelt on the fall play. We were doing a christmas charol. After my first meeting with gargus i was set oput to draw a blueprint of our stage which is a rough 25ft by 50ft. Quickly after this hirschfelt and I saw how much misalanious stuff was needed. One of the first rules to building anything is if you can use the wheel, why re-invent it? We ended up renting the majority of the peices but our main set was built by Hirschfelt and we quickly came to an agreement on a simple design. my project was the time machine and I started with a very complicated design requiring many pullies to operate its wheels and clock. When building something it is easy to see how an idea will chanc=ge one put into reality. First I made a chassis using all independent rolling wheels, the shape was much like a wheel barro and the reasoning behind this was to make it possible for a human to push pull and drive this thing. My chassis was made out of 2x3s chosen because thats what i had to work with and 2x4s i deemed alittle bit of overkill for the project. I cross braced the sides to reenforce the cockpit and made a ladder frame, much like an original ford model T. Mrs. Gargus told me that this was set in old London, before cars. So i couldn't base my machine off a car like the delorean time machine from BTTF and i didn't want to make something like what we see in Dr. Who with the phone booth. This had to be original and accourding to the script steam powered. The way i enterpreted this was a steam locomotive, which is the main vehicle to be powered by steam so the design was heavily based off a train. Next for color. In this time period black 1 stage flat was the only color available redily and to me whould be the only color tio make sence on someones homemade time machine. In this time, brass fittings and bronze allows we used in pluming and i used this as my accent color.

05/06/13

Going to interview Hirschfelt this week. I'll see what good information i can pick up from him.

05/02/13

Tonight i'm not really going to do anything for the project. I'm going to see the Wiz because my brother is the Wizard. I will make some interviews for next week. Perhaps Mr. T but definately Mr. Hirschfeld.

04/30/13

I have to finish up the short play set today.  This weekend I'm going to see a competing high schools performance of The Wiz, see how they did on there set. Also have been working really hard in music theory and Calculus. This friday I'm going to Georgian Court for placement testing. I have a booked week.

Progress

Tomorrow I will upload my videos and pictures and start organizing my pressentation.

04/26/13

Interview.

How long have you been doing this?

What are you're first steps when making/designing a set?

What is the hardest part?

What was your most difficult project and why?

What was your favorite set?

When building the set, to reflect the show where do you draw inspiration or creativity?

Have you ever built a set for a new show?

If so where did you're ideas come from?

How does size and lighting limit you or are they unlimited?

Does this prevent from curtain shapes or colors being used?

What was the coolest Broadway magic you ever made or saw?

Whould you mind telling me how it works?

Do you have special effect experience?

When putting a multiple story set together how do you go about reenforcing it?

What matterials do you like to use?

What is your average cost of building a set?

How much time goes into one set?
 So on ans so on

04/25/13

I have a new job. Mrs. Gargus needs a new set for the short play. Only problem is that it has to be built in 2 days. Hirschfelt and I will try to do this but he is pressed for time and I though that after musical i would have more time too but turns out i was wrong as well. Lets get this thing done!

04/24/13

I am at a stand still for a while on my project. I have to help my friend Sam with his movie for the SRS project this weekend. And Next weekend after that is my friend Eric's concert. I will start trying to make interviews to help answer my questions from another point of view.

04/19/13

The set is completely taken down. Everything material is done. Now all I have to do is research regarding set making. I have to do interviews of builders, workers, designers and so on. Hopefully i can check out aome local musicals and see what that's all about. I'm thinking i might be able to score getting on a plan with my school to help build next years sets. If anyone is out there doing the same thing as me I'd love to share ideas.

04/18/13

On Tuesday we tore the entire set apart. It came apart quite quickly. The stairs and the main frame will be reused thankfully. Everything else has to be thrown out. Today we take the frame down. If we have any luck, this will be acomplished in a few ours with some help from my friends. Up to this moment I have 2 responces of no and have yet to recieve a yes.

04/16/13

Tear down begins. I can't get much help but we are only spending a few hours there today.

04/15/13

Musical is over. Both cast were fantastic and both shows went extremely well. Everything held up just the way I thought they would.

Today we are taking back all the chairs and music stands.

Tomorrow we strike the set. It should only take a few days

We also found a buyer for our state rooms which makes this easy. I'm hoping we get a good price.

04/12/13

SHOW TIME!!!!!!

04/08/13

Spent all spring break on this. We are still not done but we are close. I couldn't have gotten this far along without the help of my friends. We are just one week from show time. I have one more rehearsal. I have to take a home depo run after school to get a few things. hopefully I'll be done with the boat after today and then I'll finish up all other stage pieces.

04/02/13

Progress

Put in a really late night and we have a functional frame.

03/25/13

So set has not been moved. I don't know why. It's still sitting right where I left it. I am not amused. Now I really have my work cut out for me.

03/22/13

We move the set Sunday. We built the last of the stairs, minus one bracket. We were only one short. Car's tire went flat today. Big pain.

Progress

03/21/13

We are at a stand still right now. We need more wood and We can't move forward with the project till we get it. The janitorial staff was suppose to move our set to UES today but they never knew of this. Now it's up to us to do it on the weekend. I'm not free Saturday. So much to do, so little time.

03/19/13

Today we build stairs for the set. It was alot of figuring to get the math right. Hopefully everything goes swimmingly.

03/18/13

I'm going to make a post that is unrelated to my project. I performed in the coffee house this weekend and I thought to myself all the things I'll do next time to make it even better but then I relized that was my last coffee house.

In the coffee house I figured out how to reflect a show with a set and how to make a set for a budget by putting on "The Phantom of the Opera" for forty of my own dollars. I had dry ice and chains and candles and of course a boat.

             Building from 2D to 3D

Most of my week was spent making the boat which was a combonation of the slay from The Christmas Carol, Garbage bags, cardboard and wood scraps I found throughout the school.

              To answer how to reflect a show

You have to actually see Phantom to understand but basically it is a mysterious and dark story.

Every performance I've ever seen has been accented by blue light. This is what I used. I also made use of the skeletol structure of our Anything Goes set as a base for the underground river in the desired scene from Phantom. I also used fog to set the mood

                Building for a budget

I used Kitty litter buckets that I cut down to 9 inches and put a garbage bag in for my smoke to come out of. I also put a candle on top to hide it.

I bought about 15 candles (battery powered)

2 cans of flat black spray paint
17 pounds of dry ice

total being roughly $40

A Magician never reveles his secrets so before I give everything away I'll upload the video later this week.

3/14/13

I'm working on a slight side project for the coffee house. There will be lights, fog, and a boat. I'm sure all will go as planned. Now I need to find dry ice.

Progress

03/12/13

Staying till 8 to work on the set!

03/11/13

I have to make a new first question for my project because 'how to build a weight bereing set is narrow and has already been answered. Unfortunately I don't have many ideas at the moment but we'll see when I have some time to ponder. Today my father is calling about the sailor suits and hats. We are hoping to rent these costums but if we need to buy we will do that too but for the right price. We are not going to get officer caps because they are way too expensive for what we're doing. AND ANTONIA MADE A PERFECT CUT ON THE SET! We are not working on the set today.

The picture on the top of this is the idea. The middle uniform is a vietnam era naval sailor uniform. They are just like the ones from WW2 but made from a heavier material. That's what we're going to be wearing.

I just found some pretty sweet lights online. Hopefully they will work with our set. Push-on lights are good too.

03/07/13

Work schedual has just been put together. We have set deadlines for everthing. We want the general frame all put together by next sunday.

03/06/13

Yesterday, we built the platform frames. They were pretty easy to put together. We are done for this week now. I have grey cast rehearsal now and the Band concert is tomorrow night and this weekend it thes-fest. We will begin construction again next week.

03/05/13

I've got some stats that I have to upload. Hirsch and I found then lowest price for wood and it's being delivered to the school this afternoon. It's going to be a late night building this thing. We hope to cut the wood for the main frame of the second story today. We'll see how far we get in one week because we have alot to do in alittle time. The band concert is this thurseday and I'm commited to thes-fest this weekend so Saturday is off the table. It's tough. Unfortunately there really isn't any good time to do this thing.

02/28/13

I watched the production of Anything Goes today. The dance was amazing. I thought the acting needed work though. There set was amazing. It could transform and it had port windows and at least a hundred rivets. It was all ivory colored and beautiful. I loved it. I need to make a few changes to our set now. Even the doors were perfect, it looked like a stamped steel door just like on a ship. It was so grand, it had to be at least 2 and a half stores tall. I loved everything about it. I wonder what the budget was on that thing?

02/26/13

Today we have to make a survey. I don't need one for my project obviously because I'm making a set. I would ask questions like, do you like wood? Not good servey material. So I desided to make a survey for my fellow cast members. This would not really be helpful to me though and I probably won't need to use this.

1. Are you aware of the current set design?

yes or no

2. Are you happy with the set?

(Picture of set design)

yes or no

3. What has been the most difficult part of working with the set?

a. The size
b. second story
c. the stairs
d. blocking and dancing

4. Did you like last years set for Beauty and The Beast?

yes or no

5. Would you be willing to help build the set this year?

yes or no

02/25/13

That's part of my project. The time machine for A Christmas Charol.

02/21/13

"The brick walls are not there to keep us out. The brick walls are there to give us a chance to show how badly we want something. Because the brick walls are there to stop people who don't want it badly enough. They're there to stop the other people." -Randy Pausch

The question is how well do I deal with brick walls? Lets put it this way, I've never let a brick wall stop me if I know I can go through it. I don't think a person should aim for an impossible task or a goal that is too easily accomplished, but a person should go for something that they know they can do. A person has to know what they can do. I have encountered problems with the fall play set. My whole project, a time machine. Not too easy, I can't just get a flucks capaciter and Delorean sports car, Doc. I had to build this thing from scratch. It had to be life size. It had to be "steam powered," well, look it anyway. I produced a pretty cool machine I have to admit. When I was almost finished with the chassis it turned out that it had to be shortened and channeled.* Turned out that the driver also wasn't sitting in it, he had to stand on top of it, Luckily my design was already strong enough to do this with minor alterations. But now my ex-bicycle time twisting clock was no longer functuional from the drivers seat. I ended up putting a person inside it to drive the clock face. I realized after these modifications I had little time left for details. I ended up having my friend Craig cut out the grill on the lazer engraver and my friend Antonia paint the mock wheels. I'll upload a picture later.

*channeled-height was cut down.

02/20/13

Materials still need to be ordered. Besides that nothing new in the project. Adds for the Musical are due tomorrow, music theory test, and have to memorize lines and music. That this all for today.

02/14/13

Who and What to Ask in an Interview???

Being a theatre kid myself, I usually just improve an interview but these would be the main points of my interviews

Actors/Set Crew

1. What do you like in your set?
2. What set did you like the best?
3. Do you always feel safe with a set?
4. How soon do you rehearse with the set?
5.Are you responcible for any scene changes?
6. What is most challenging about working with a set?
7.What was the hardest set to work with?
8. If you were to work with my set, what would you like/dislike?
9. What would you want changed?
10. I think before these questions we should start with some questions about them and there acting. Filler, unrelated to sets

Set Designers

1. What is the biggest challenge in making a set?
2. What was your most difficult set?
3. What is your average budget?
4. What was your favorite set?
5. What are you working on now?
6. How did you start in this feild?
7. What was your first experience in this?
8. What do you think of what I'm doing?
9. How often do you have to work?
10. Do you like this carreer, would you do it all over again?

In my area of study, I don't need many different people, just a few perspective

Today, I talked to Hirsh, we have to get fire retardent lumber for the set. But we found a fire retardent paint additive that might do the trick. I have to do some research on this. Hopefully, I'll have some time after school for this.

02/13/13

Today I learned interviewing skills. Pretty straight forward. I interviewed my friend David to harnes my newly found skills. He is making a video game for his senior research. He has his work cut out for him, he wants to do it all by himself minus the sound track(which one of his friends is helping him with). The general idea of this game is that it's a snow ball shooting game. I could tell you more but I want to cover a few more things

I was talking about my srs with shtino and we got talking about set design and 'Broadway magic." Shtino showed me a video from the Grammy. One of the bands was performing and it started raining.

I also had a meeting with Hirsh and Pinto and we covered alot of stuff. I'll go into more detail tomorrow. Right now it's time for homework.

02/12/13

1. How to make weight bereing sets?
*study structures in real life
*interview construction workers
*work on a site
*share ideas with other workers

2. What is the process to create a set from 2D to 3D?
*Talk to Broadway builders
*Watch a special on this.
*Study with some mechanical engineers
*Build a model

3. How can a set reflect a show?
*Watch some shows
*Read scripts
*Draw inspiration from other sets
*Talk to set design crew

4. How to make a set for a budget.
*Look at what goes into a set
*Interview construction team and designers
*Share ideas with experts
*Subscribe to a magazine specializing in this and read.

02/11/13

1. How to make weight bereing sets?
2. What is the process to create a set from 2D to 3D?
3. How can a set reflect a show?
4. How to make a set for a budget.

NEW AND VERY IMPROVED but still crappy.

02/08/13

1. What makes a great set in the aspect of size to function?
2. What are some ways to make weight bereing sets?
3.What makes a set work well with its show?
4. Can I do this?

Research questions are what narrow down your study. They help to keep one on task when working on a long term project like this. They keep your mind on the mission. They allow one to have a straight forward question to answer, so one knows where they're going to go.