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This is 01 audio on channel 1, 0 VU on channel 2, minus 3 VU at line level.

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This is the Dolores Cole Education Foundation, Andre Defoe at Becker's.

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It's a 2385, a Loretta Peterson producer on location for Thea Flom Productions, Tom Fennerty Video.

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This is tone until completion of first minute.

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We need to find out how many more of these really exist.

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Interruption gentlemen, I got a cell phone call.

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I'm glad you told me that.

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Okay, ready, natural.

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Yes.

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Makeup.

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All right.

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The portal.

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Do you have this down too?

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Yes.

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Oh yeah.

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Let me get those papers.

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Thank you.

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Then this is, you can see what the adjustment is.

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Yes.

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And this is two parts.

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Two parts, right.

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This will be separate.

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So you could move the top.

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Exactly.

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And also the sides.

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I think we've got enough additional for masking.

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I have a question about this shadow here.

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When the legs are in this position.

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Yes, that will change of course.

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And these are moved up.

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Do we want to repeat another shadow further up?

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You mean.

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In order, because this is almost two feet of blackness.

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Yes.

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That will be apparent.

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Yes, and sometimes you have too much of it.

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So maybe it's safer to put the paintings and put the shadows on the top.

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So put the shadow all in one place.

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Yes, and after that.

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And when it comes down we'll have to just play it the way it is.

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Yes, because in Tulsa and in Real Joliet that will be entirely different I imagine.

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The Tulsa theater is a much higher.

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They can go a lot higher.

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It's an enormous stage.

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Low trim on Joliet is 23.6.

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And then you have to have some masking.

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So we're painting up almost 30 feet.

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This one.

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Yes, we have all this blank canvas.

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Tony suggested that he first with some white chalk just get some directional lines in there.

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Yes, definitely.

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Because these are really long.

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They're like six foot lines.

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Yes.

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And then it's basically the same technique that you use on the skirts.

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Exactly.

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And highlight and paint in the shadows afterwards.

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Yes.

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And you lose a lot of the black too.

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It really is very light.

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Yes, otherwise it would be too dramatic.

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Yes.

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And let's see, the putti.

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Basically we use these as the sample of the putti.

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And then these can be done in the same way.

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Yes, this is the idea.

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They are more or less white.

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Now how much color do you want to overlay in this room?

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Is there a predominant color, one color that's more important than any other in this room?

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It should be given a kind of a mode of pearl.

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Oh, opalescence.

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Nothing strong, nothing too strong.

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Just a transparent.

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Yes, something very transparent.

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So keeping it sort of blue, green, gray.

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Yes, you see.

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Blue and green and very little pink.

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So on the screen then, after he's got this, he will go over that and do a little wash.

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Oh yes, oh yes.

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It's much too strong now.

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But we have to begin.

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And after that.

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All right.

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And this thing, I don't know if that won't be better to have a jewel.

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I think we have to use a fabric.

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Some kind of fabric already white.

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Well we had talked about taking muslin and dipping it in glue.

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And then putting all the drapery in so that the dry was hard.

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So that the drapery was hard, not even soft.

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So that it would always have the same folds no matter what.

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So that someone wouldn't have to come back and fix it every now and then.

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An idea of something transparent.

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Maybe that will.

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And then you can even do a little painting over that.

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Oh yes.

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I think we'll paint it black like everything else.

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And then build up from that.

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Just build on dimension.

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Exactly.

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But that would be nice to have some kind of effect of relief.

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This part is easy.

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The lower portion of the vanity.

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But the upper swags that go up around the mirror.

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What kind of texture do you see there?

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I think some kind of nylon tulle.

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What it is, it's a deep ruffle.

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A deep ruffle.

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Maybe it's possible to find in a department store.

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We have plenty of fabric here.

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We can do that.

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We can manufacture that.

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Because it can be gathered.