The journey continues on day three, only this time the robot arrives with Matt and we begin working with a more developed Mrs Alving.
The previous day was spent with lighting designer, Kris Chainey; rigging, focussing and programming lighting states.
This is the first opportunity during this lab that we've had all the elements to work with in unison: the robot, the avatar, the dancer and actors, along with sound, lighting and the virtual and real world set design and prop elements.
The actors are refining their blocking as Gorkem and Kim work with Stephanie to draw her into the action and give her more purpose in the real world.
During rehearsals, Kris joins us and polishes the stage lighting states. Tanja joins us again to bring the real world set elements together. The set pieces are painted white and the carpet is taped down to soften the noise of the robot's movement across the floor.
As the day progressed there appeared to be a number of frustrations that are holding us back; with so many voices and ideas and changes that are becoming distractions, and removing us from the dramatic context of the play.
Some of the team want to pull apart and focus on their retrospective elements: lighting, sound, avatar, voice commands of Mrs Alving, set and costume.
Gorkem insists that we should chip away at the scene step by step in unison and fix the problems as we go. The crew sit to discuss the best way to move forward.
While the crew convene to discuss what needs to be worked on as a whole, such as:
- Stop / Start
- Camera angles
- Solving screen problems
- Stephanie's purpose
- Setting tableaus ...
The remainder of the day is a continuation of bringing all the elements together.
There are issues with line / voice recognition and the movements of Mrs Alving's robot in response to dialogue that Matt is attending to.
Canada is becoming more expert at the remote controls of the 3D world and the costumes / make-up / lighting and set design are all coming together. The scene is run over and over again and the flaws are closing.