By Friday the 14th of March I had everything finalised: the actor's agreement, costumes, shooting schedule, props list and signatures for the risk assessment. I called for a team meeting on Friday to discuss the controls that had to be put in place from our Risk Assessment, the props we needed to bring in and the call times for cast and crew.
Al, Jacob and Callam had edited our rehearsal footage with notes for our dancer to follow (video to be posted at a later date). This was sent out to her before the weekend so that she could practice and apply Al's notes to her performance.
Whilst I was after Chris Pinnock for the last signature on our risk assessment I found this on set:
At first I was extremely confused and thought someone else was also building a water set! Turns out Chris Pinnock built it just for our production. It measured out to be just over two meters on each side. He had some recycled wood lying around which is what the frame is made of. He even laid out the second tarpaulin layer I was going to ask him about! When I realised that this was for us, I asked Chris Pinnock if the studio was free for the afternoon and if we could experiment with lighting. That way we could save up to two hours of setting up on Monday.
My experience with lighting is fairly limited as I am only familiar with theatre lighting. This meant I had a lot to learn from the guys, even when what we decided to use is considered "the basics."
Al decided that we should be working with a three-point lighting system as our minimum for all the scenes. This requires using the 2K lights #1, #14 and #21 in the studios. From there we can build up on our layers of lighting. We concluded with the following results for our basic lighting:
With the basics of our lighting planned out, this means we can dedicate 1.5 hours during Monday's set up to figuring out the lighting for fire. This means adding gels and cookies to see what creates the best combination for our fire dance. Looking forward to working on set!
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