There’s my beloved, manning the camera in his role as director. I limited my input to art direction and occasionally movement coach.
Interesting factoid… the table that the vase and flowers is sitting on is not a real table, although the vase and flowers are real.
It’s a music stand.
Well, a music stand with some strategically placed cut paper to change the silhouette into something more appropriate for the Regency.
What actually turned out to be a bonus was that we could change the height of the table depending on what we were filming at the time. Also, I was able to raise the “feet” of the table above the bottom edge of the shadow screen so it was visible.
Because the light beam widens as it travels from the projector to the screen, even if you are only an inch away from the screen there’s a little well of shadow, that clips the bottom off of images. In this case it was pronounced because we also had a roll of paper on the ground as part of the screen.
Being able to tape the “feet” to the stand gave me the ability to get over that dark area.
There’s still a load of work to do on the Shades of Milk and Honey trailer, but it’s all in Rob’s camp now. Me? I’m going to bed.
I’m looking for a space in which to record the trailer for Shades of Milk and Honey. Ideally it would be 40 feet long, a minimum of12 feet wide, able to get completely dark, and available on May 20th.
Why those parameters? The trailer is using shadow puppetry to take advantage of the period’s fascination with silhouettes. Interestingly, at this point in England silhouettes were called “Shades.” So you could say that the trailer will be Shades of Shades of Milk and Honey.
In any case we’ll be using the style of shadow puppetry called shadow masks pioneered by Larry Reed of Shadowlight Theater out of San Fransisco. And for that we need a space that we can get dark, that’s got enough depth for the light, the screen and the camera. And, preferably, is inexpensive or free. We’d like to shoot on May 20th for four or five horus.
Do you have a space like that in or near Portland? Do you know someone who does? Let me know.
I’ll tell you what’s better: It’s a double-issue. 136 pages of piratical fiction.
I also have to say that I loved working with Sean Markey on making this trailer. He created the original music for it. And if you like the art in this, by James A. Owen, wait until you see the rest of the issue. Every story is illustrated.
Well, the plants are still missing, but we have a bill of lading number now and an idea of where they might have gone. When they were shipped out of Kodiak, Alaska, there are two shipping orders for them. On one of them, the plants would have been put on a full trailer that was heading to another company. The suspicion is that they might have been unloaded at that other company. So, they are still working to track them down.
I finally got to speak directly to the person at the shipping company instead of going through the school. But, and this irritates me, the school didn’t pass on a description of what the crate looked like. It’s distinctive. White corrugated plastic, in an exposed steel frame on wheels. 5′ x7′ x 5′ and weighs 725lbs. I mean, it’s not like they are looking for one more cardboard box in a warehouse. Plus, it had my contact info on it. Argh.
I’m pretty much past hope at this point, but at least knowing how the trail progressed helps. Clearly, if they don’t turn up, I’ll be talking to a lawyer.
(Tor Books — August 21, 2018) Continuing the grand sweep of alternate history laid out in The Calculating Stars, The Fated Sky looks forward to 1961, when mankind is well-established on the moon and looking forward to its next step: journeying to, and eventually colonizing, Mars. Of course, the noted Lady Astronaut Elma York would like to go, […]