Scenic Construction

For Personal Projects

Because the Stage flat was not stable i have had to add an extra piece of wood to the inside of the wooden frame to make them more stable, to add this i had to use two different screws to keep them in place so that the wood inside didn't get damaged.

My next target was to add the fabric to the stage flat, but before I had done this I had to steam the unprimed canvas as it was creased as it was folded in the packaging when doing this I did part of the steaming but also delegated work to two visitors we had that day, which having delegated the work i believe that it went quite faster.

but because the fabric doesn't cover the whole stage flat i had to work out whats best to cover the gaps so after nailing the fabric to the stage flat, myself and the designer looked at using fabric tape so after a trip to hobby craft I could only find cotton tape which would be no good as it needed to be linen tape, but I had noticed that we have matt white tape already at Gloucestershire College, so firstly i had tried a tester which i had painted over on Friday and left over the weekend to see how it would work and after that it worked perfectly to how i needed the paint to look on the tape.

So after adding the fabric to the stage flat i had to prime the fabric so that it can be used as a background for the Level 3's production at the end of the year, I wasn't expecting to be as good as it was after i had used the rollers with paint that had been left over at the college. After doing this I had some help with adding the tape to the flat by Spike Hart (Technician) just keeping it tight as possible then I had painted over it with the same white paint as on the fabric. It had worked very well but you can see that the fabric are not level but its not that big of a concern. 

I was also tasked with attaching a strap to provide a placement of keeping the stage Flat safely away so that it has a place to stay and would not fall on someone if left out while not in use, This strap was attached to the wall using Velcro and a Ratchet strap keeping it tight and secure, 

Joints used - Butt Joints

Techniques used -

• Painting (brush and roller)

• Drilling

• sanding

• tape application 

• screwing

• nailing

• staple gun

• sawing

So first off I had to sand down the wood to make sure that it was safe and that myself or nobody else would get splinters from moving the stage flat  drill holes into the wooden frame creating space to use the power tools to put the screws into the frame, Then fr the application of the fabric I used both a staple gun and nails to keep the fabric flat and tight to the frame, I then went on to using the steamer to steam the fabric to keep out the creases that were on the fabrics, then with the tape application I had help from a member of staff keeping it tight and straight as possible.

Out of all of the materials needed I have already found most of them at the college keeping it sustainable, the only cost figure is the cotton canvas 

HEALTH AND SAFETY IN AN EDUCATIONAL SETTING

Conduct a risk assessment to identify any potential hazards in your drama studio or theatre. The inspection should include items such as:

• • the suitability of staging

  • floor surfaces

  • space

  • portable appliances

  • equipment

  • lighting, props and storage of items

  • suitability of areas for special effects, particularly pyrotechnics or smoke machines

  • assessment of any accessibility issues

• Any incidents or near misses must be reported and recorded by relevant staff members.

Code of Conduct

• Ensure that all students and members of staff are wearing suitable footwear and clothing.

• At the end of a lesson or rehearsal, ensure that all equipment has been rendered safe, any appliances, props, or other items have been stored safely, and all electrical equipment used has been switched off.

Back Stage

• Back stage areas must be kept clear of obstructions. Where this is unavoidable they should be clearly marked and brought to the attention of the staff and students.

• Ensure that all items are put away after use.

• Provide safe storage for costumes, make-up and similar items.

• Restrict access to the back stage areas at all times – especially when the stage is set for a production – and dissuade other students and family members from crowding in.

Electrical

• All electrical and mechanical equipment should be operated by a qualified and/or experienced operative.

• Electrical equipment should be checked regularly and checks should be recorded.

• Any portable equipment should be given a visual check by the user before use.

• Cables should be kept tidy, securely tied, and properly routed.

Stage Lighting

• Stage lighting must be inspected regularly and must meet the conditions set out in the current regulations.

• Any electrical work must be carried out by a qualified electrician.

Fire

• Make sure that staff, students and the audience are aware of emergency evacuation procedures.

• All exit routes must be clearly signed, and any emergency lighting should be operative.

• Any stage curtaining must be flame resistant, or treated with flame proofing solution.

Special Effects

• Carry out a risk assessment for any special effects such as, for example, lasers, smoke machines and dry ice.

• Risk assessment should also ensure that the environment, size of stage or room and proximity to audience is taken into consideration when planning any special effects.

• Make sure that your performers know about any special effects in advance of using them, and that they are aware of where to stand to keep themselves safe.

• Check whether any smoke generated on stage will cause fire alarms to activate automatically where smoke detectors are fitted in the building.

Will strobes or lasers affect any member of your audience who may be sensitive to such effects?

Stage Platforms and Rostra

• Ensure that any stage platforms or rostra are clipped or fastened together securely.

• Make sure that all scenery, including flats, movable scenery, platforms and free-standing scenery is stable and secure at all times. Check this between each rehearsal and performance.

Working at Height

• Any activity that involves working at height must be assessed carefully

• Anyone working at height should use appropriate equipment, positioned safely and correctly, and should be aware of people below – possibly by creating an exclusion zone beneath any work taking place.

Fire Risk assessment for filming in studios

Fire precautions in studios are especially important. A Fire Risk Assessment (FRA) carried out under the Regulatory Reform (Fire Safety) Order will normally be in place for the building in which the studio is situated. This FRA will take into account the fire safety and escape provisions for the studio as a shell unit and will ensure that any onward escape routes are in place and appropriately managed.

The specific risks within the studio itself will be subject to change as new sets, scenes, layouts etc are introduced. The fire safety and means of escape provisions within the studio layout must be suitable and sufficient for members of the production crew, for actors, for talent and for audiences where applicable to be able to make their way out of the set safely so that they can then go on to make use of the escape routes for the building as a whole.

What Can Go Wrong?

Fires Caused by:

• Overheated electrical cables due to overloading circuits or coiled reels

• Incorrect installation or use of electrical equipment

• Damaged, faulty or misused electrical equipment

• Lighting equipment

• Combustible materials too close to heat generating equipment

• Smoking materials, candles and other naked flames

• Special effects

• Production cooking

• Motor vehicles that are brought inside buildings can create the potential for rapid fire development

Persons at risk due to:

• Fire can spread rapidly in untreated set materials

• Fire starting and growing undetected

• Not enough fire exits

• Blocked or restricted exits

• Not knowing how to escape

• Lighting failure in a fire

Legal Requirements

• In England and Wales fire safety legislation is centred on the Regulatory Reform (Fire Safety) Order. In Scotland it is the Fire (Scotland Act) and in Northern Ireland it is the Fire Safety Regulations (NI). 

• All sets within the studio must be constructed and managed to ensure the safety in case of fire for all occupants of the studio, whether they be audience members, talent or production crew members. The safety of personnel within the studio is the responsibility of the Production. 

Studio and Set Materials

Timber

Any timber used in construction must be fire retardant. Any materials used as part of the set, scenery and stage must be:

• Non-combustible material such as metal, masonry etc.

• Timber, hardboard or plywood treated by a process of impregnation which meets the ‘surface spread of flame’ rating of Class 1 (BS 476-7) or Class C-s3.d2 (BS EN 13501-1)

• Timber framing of minimum 22mm nominal thickness

• MDF, plywood or chipboard not less than 18mm thick.

Any plywood, hardboard, chipboard or MDF that does not meet the above dimensions must be branded with a recognised stamp to certify the standard of flame retardancy achieved. Where the stamp is not visible, certificates must be obtained by the set designer / set construction company and retained in the production safety file.

Furniture and Bedding

• All furniture and bedding used in must be treated and tested to ensure that it is fire retardant in accordance with BS 7176.

• Notwithstanding the above, if items were purchased after the introduction of the Furniture and Furnishings Regulations in 1988 and are appropriately labelled then it would be reasonable to use these items for the short durations in which they are put to use even though this is a non-domestic setting.

• Any furniture constructed between 1950 and 1988 will contain highly combustible and toxic polyurethane foam and must not be used under any circumstances unless it is treated to a suitable fire retardant standard.

• Any furniture that pre-dates 1950 will not contain polyurethane foam and may be used without additional treatment to the upholstery or covering.

Curtains, Drapes and wall-hangings

All curtains and drapes used within sets must be fire retardant. Any materials used as part of the set, scenery and stage must be:

• Non-combustible material

• Inherently flame retardant fabric

• Durably treated flame retardant fabric

• Fabrics rendered and maintained flame retardant by a non-durable process provided that it is re-applied as appropriate in accordance with the manufacturer’s instructions

• Appropriate certificates must be obtained by the set designer and retained in the production safety file

• Some flame retardant treatments may cause dermatitis or irritation to sensitive skins. It may therefore be permissible for sheets in contact with naked skin not to be treated provided that the sheets are kept clear of all potential ignition sources throughout the production

• Wallpaper and any synthetic substitute must be pasted to a flame-resistant surface in a manner which excludes any air space between the material and the surface to which it adheres

• All carpets must conform to BS 4790 (Hot Nut Test)

• Carpets may only be attached to a substrate which conforms with BS 476 Part 7 Class 1 and must be firmly fixed. They should not be used in the vertical plane (other than standard stair risers) unless fire tests have shown that they can be safely used in this way

• Floor paints must be, and (as far as practicable) other paints should be, water based.

Polystyrene

• The use of polystyrene block scenery should be avoided whenever possible. Decorative items and props made of expanded polystyrene must be enclosed by a non-combustible skin of, for example, plastered scrim, Artex or Rosco Foamcoat and care taken that this skin is maintained undamaged.

• The specification for polystyrene light reflecting boards used during filming and stored within the set should be consulted to confirm that the items conform to Class 1 fire retardancy. Where light reflection panels do not meet this standard they should be kept sufficiently away from light units with a high temperature and should not be left unattended when in use.

MEETING MINUTES

Meeting 1 19.01.24

Agenda:

1.  Present design brief 1 and discuss

2. Present design brief 2 and discuss

3. Present design brief 3 and discuss

4. AOB

Present: SF, JJ, SG, MC

1. SF presented the design idea that is needed for a forthcoming Musical Production: 

Josh, can you please design from this guidance and build the following: 

• 1x large theatre flat (Traditional rectangular style, with canvas cover- fireproof material) 

• This is needed for multi-use in a musical theatre performance (Our House). 

• Between 7 and 8 foot tall 

• Between 5 and 6 foot wide 

• Needs to be able to fly, or stand if required. 

• Suitable for painting for back-drops and for use as additional wing space in the Black Box Taylor Theatre 

• Sustainable prop than can be used in future productions and uses recycled materials where appropriate. 

• Needs to be stored effectively in the theatre space. 

2. SG presented the design idea that is needed for a forthcoming filming project, which will then be a live show:

Misty, could you design and build from the following guidance:

• A rectangular structure, similar to a British red telephone-box, which will represent the external façade of a spacecraft (think very similar to the Tardis, Dr Who) 

• Must be usable for filming and for a future stage production version of the story 

• Needs to be able to be handled by actors and be easily movable by a small team or individual (on wheels preferred) 

• Needs to be able to take the weight of one main actor 

• Between 6-7 feet in height 

• Height to be linked to the main actor measurements. 

• Wooden structure for main body and suitable for painting – Keep structure light by using alternative materials for walls 

• Think sustainability, use recycled materials where able.

• Gadgets and attachments that represent controls and includes lighting 

3. MC presented the design idea that is needed for a forthcoming filming project, which will then be a live show:

Sam, could you design and build from the following guidance:

• A control consul for a sci-fi film set spacecraft (think very similar to the Tardis, Dr Who) 

• Must be usable for filming and for a future stage production version of the story 

• Needs to be able to be handled by actors and be easily movable by a small team or individual. 

• Between 4 and 6 foot wide 

• Height to be linked to the main actor measurements. 

• Wooden structure for main body and suitable for painting 

• Gadgets and attachments that represent controls and includes lighting and be interactive 

A general discussion followed to clarify points of detail

4. JJ asked about a possible trip to the scrap store and other DIY shops for materials. This will be agreed through teams arrangement

Next meetings with designers to be carried during process informally 

11.03.24 - Meeting Minutes

Present: Sam Gwilliam, Josh Jarvis, Charlotte Rich, Misty Coates, Sonia Friend 

Agenda:

1.Apologies

2. Designers briefs clarification and updates/ Actions

3. Progress check and updates/ Actions

4. A.O.B

1. No apologies received

2. General discussion on the design briefs and progress so far. MC reported that her design had been finalised and agreed (with designer Sam) with a variation from original brief. the walls have now become fabric based for weight and balance . SG mentioned that he had redeveloped the shape of the structure (agreed with designer Misty), and is making it taller and more narrow than original drawing for balance and design purposes. JJ is keeping to original stage flat design.

3. SG has completed lower wheel base and framing and plans to add flourishes using recycled electricals on Friday of this week. MC has completed full frame and undercoat and is awaiting a second delivery of paint to complete painting. The topper piece should be completed by Friday. JJ has completed construction of his flat, canvas is attached and primed. He is planning to do a first test paint of Our House logo today and send a copy to the directors for input.

4. JJ raised the Risk assessment, which needs to be updated by all 3 constructors. This will be arranged for this afternoon and for Thursday of this week: He suggested they remember to include fire risk (curtain material, wood, paint etc.), dust inhalation, power tools and tripping) MC needs a trip to the scrap store for a few pieces of cardboard and foam and tiles (Action: Spike Hart , technician)

18.03.24

Meeting Minutes

Present: Sam Gwilliam, Josh Jarvis, Misty Coates, Sonia Friend

Agenda:

1.Apologies

2. Designers briefs updates/ Actions

3. AOB

1. No apologies received

2. General discussion on the design briefs and progress so far. MC reported that her build of the phone box had been completed and was ready for use. SG has signed off on the project and approved if for use in the production. SG has completed his build of the consul and MC has signed off on the project and approved if for use in the production. JJ has completed Flat structure and has done some test painting designs . It will need to be painted over in white to act as a back wall in the sci-fi filming production.

3. College format risk assessment to be finalized by 19th March. Filming to be scheduled after lunch today.

Designer brief meeting:

Josh Jarvis (5226623)

12.03.24

 JJ and SF

Agenda:

1.  Looking at Flat so far and plan next steps

2. AOB

1.Flat build is complete. 

• Sides need to be painted and any loose sides of cloth need to be nailed down. 

• Try a first draft of design painting for Our House musical (should include at least logo of musical, with road sign, heart). 

• Show designs to Sharna and Nicki (directors) for feedback and final decision

2. No AOB

Evaluation:

I believe that my stage flat was very practical in the performance as the use of light reflects off of the stage flat, but i do believe that the weakness of the stage flat is that it does not stand up properly and has to be lent on something so that it is up straight but seeing as that wasn't in the brief i did not have to think properly how it was supposed to stay up straight, I think that the durability of the project has worked very well as it can be provided as a Backstage area, a backdrop or even a divide for a performance.

The use of the set by the performers was to be a backdrop and within this purpose i believe that the stage-flat worked very well as the SC-FI ship wall, the reason for this is that if  they did not use the wall i believe that the set would not look as packed together and the space would look way too big for the performance. 

Within the backstage the set has now received its own space and area so that the Stage flat isn't lying around in random areas and in this it has a strap that is placed around it and tight against the wall. 

I have had some great feedback about the practicality and use of the stage flat, most of the feedback is about how you can now paint on the flats to use as backgrounds as they have canvas on them whereas our stage flats at the college before had not had this and were only able to be used as dividers.

Many improvements could have been made if I had more materials but because in the brief the piece was supposed to be sustainable and practical for use in the theatre I was not able to do so, if I were to make any improvements I would want to add more wood the flat to make it even stronger than it already is, I would also add wheels to the stage flat to make it easier to move.

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