Wednesday's extra gig was nothing like the first one. First of all, there was confusion about check-in. I reported at site A, as instructed in the email, but the gate guard didn't have my name on his list and sent me to site B. I drove over there, found someone to check in with, who asked me if I'd checked in and had a fitting yet. I explained I'd been sent to B from A, so the gentleman found a shuttle driver to take me back to site A for a fitting. We got there in time to meet the costume designer about to leave for B. She told us I was indeed supposed to be at B, not A. Back into the shuttle to B. By this time, the driver and I were getting quite comfortable with each other and he was warming up on the topic of his hometown football team.
Anyway, so once we'd established that I did indeed need to be at B, not A, for a fitting, Kelly came & approved my suit, but I guess my white top was a little too bright for camera, and my jewelry not conservative enough. I got to follow her to her trailer, a mobile costume closet, where she found me a dark purplish top to wear and a pair of very small clip-on hoop earrings. I was then escorted to one of a group of tall director's-style chairs, where Gina fixed my makeup and Adele made my hair presentable. (Because it needed to look decent, of course it looked a disaster.) The production assistant, or PA, let me know I was welcome to help myself to "crafty" - the table of food & drink laid out for crew and cast - but I didn't want to mess up my lipstick or get food in my teeth before going on camera.
More confusion: I was supposed to be one of 2 or 3 "telecom heads". The PA told me I had a line to learn. This was news to me! He gave me his copy of the day's script, showed me the pertinent line, and left me to it. Apparently something changed somewhere along the line and he didn't get the word, as "Telecom 1" got all the lines (all 2 or 3 of them). Not a big deal, of course, as I hadn't expected to have any lines.
When they were ready for me, they took me into the shooting area and had me sit on a stool in front of a green screen. They explained that I'd be a frozen Skype image (scenario was that I was Skyping into a conference call ). Sound was told not to bother recording. They positioned me at the desired angle, set a small laptop in front of me off camera, and started filming. They had me talk a bit, then count down from 100 "with authority". While I did so, they would have me "look over here; now back at the lens. ... Over here again; back at the lens. ... Now look this way. Good. Back to the lens. ... Glance down at the laptop and tap the space bar a coupla times" and so on. After a few minutes of that, they thanked me and that was it.
I went back to the holding room, changed back into my own top, hunted down Kelly so I could return her top and earrings. The crew were just starting to dig into lunch, but I'd already been signed out and didn't feel right sticking around, so I loaded my things into my car and left just 3 hours after I first arrived. My voucher showed my official time as 2 hours & 45 minutes; MUCH shorter than the first gig! It was further away, too, and involved tolls. I joked with the Chief that, by the time I bought myself lunch at a nearby Mexican place (some fabulous grilled-shrimp tacos!), I actually lost money working the gig. That's OK; it was interesting enough to be worth it.
This time they were in an industrial park. Site B is where they were shooting; it was your typical building, with offices and rooms of varying sizes along the front and a HUGE warehouse space along the back. Part of the warehouse space is apparently where they do the actual filming, with the rest being storage and staging area. One wall was floor to ceiling with shelves full of desks! There were also a few partial "buildings" and other architectural elements there. While waiting for them to be ready for me, I wandered over to check out the construction. These pieces were built to last - very substantial floors for the platforms, and 4x4s for some of the uprights. What most intrigued me, though, was the way the walls were built. Theater flats are typically 4' wide and 12' tall, built from 1x4s, with cross pieces (toggles) at the 4' and 8' points. These flats were built with 1x3s, with upright pieces and toggles every foot, so that they looked like 1-foot boxes from a distance. I was dying to ask why they're built that way but didn't want to interrupt anyone. Maybe my Stagecraft instructor would know; I'll have to ask...
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