This is 01 audio on channel 1, 0 VU on channel 2, minus 3 VU at line level.
This is the Dolores Cole Education Foundation, Andre Defoe at Becker's.
It's a 2385, a Loretta Peterson producer on location for Thea Flom Productions, Tom Fennerty Video.
This is tone until completion of first minute.
We need to find out how many more of these really exist.
Interruption gentlemen, I got a cell phone call.
I'm glad you told me that.
Okay, ready, natural.
Yes.
Makeup.
All right.
The portal.
Do you have this down too? Yes.
Oh yeah.
Let me get those papers.
Thank you.
Then this is, you can see what the adjustment is.
Yes.
And this is two parts.
Two parts, right.
This will be separate.
So you could move the top.
Exactly.
And also the sides.
I think we've got enough additional for masking.
I have a question about this shadow here.
When the legs are in this position.
Yes, that will change of course.
And these are moved up.
Do we want to repeat another shadow further up? You mean.
In order, because this is almost two feet of blackness.
Yes.
That will be apparent.
Yes, and sometimes you have too much of it.
So maybe it's safer to put the paintings and put the shadows on the top.
So put the shadow all in one place.
Yes, and after that.
And when it comes down we'll have to just play it the way it is.
Yes, because in Tulsa and in Real Joliet that will be entirely different I imagine.
The Tulsa theater is a much higher.
They can go a lot higher.
It's an enormous stage.
Low trim on Joliet is 23 .6.
And then you have to have some masking.
So we're painting up almost 30 feet.
This one.
Yes, we have all this blank canvas.
Tony suggested that he first with some white chalk just get some directional lines in there.
Yes, definitely.
Because these are really long.
They're like six foot lines.
Yes.
And then it's basically the same technique that you use on the skirts.
Exactly.
And highlight and paint in the shadows afterwards.
Yes.
And you lose a lot of the black too.
It really is very light.
Yes, otherwise it would be too dramatic.
Yes.
And let's see, the putti.
Basically we use these as the sample of the putti.
And then these can be done in the same way.
Yes, this is the idea.
They are more or less white.
Now how much color do you want to overlay in this room? Is there a predominant color, one color that's more important than any other in this room? It should be given a kind of a mode of pearl.
Oh, opalescence.
Nothing strong, nothing too strong.
Just a transparent.
Yes, something very transparent.
So keeping it sort of blue, green, gray.
Yes, you see.
Blue and green and very little pink.
So on the screen then, after he's got this, he will go over that and do a little wash.
Oh yes, oh yes.
It's much too strong now.
But we have to begin.
And after that.
All right.
And this thing, I don't know if that won't be better to have a jewel.
I think we have to use a fabric.
Some kind of fabric already white.
Well we had talked about taking muslin and dipping it in glue.
And then putting all the drapery in so that the dry was hard.
So that the drapery was hard, not even soft.
So that it would always have the same folds no matter what.
So that someone wouldn't have to come back and fix it every now and then.
An idea of something transparent.
Maybe that will.
And then you can even do a little painting over that.
Oh yes.
I think we'll paint it black like everything else.
And then build up from that.
Just build on dimension.
Exactly.
But that would be nice to have some kind of effect of relief.
This part is easy.
The lower portion of the vanity.
But the upper swags that go up around the mirror.
What kind of texture do you see there? I think some kind of nylon tulle.
What it is, it's a deep ruffle.
A deep ruffle.
Maybe it's possible to find in a department store.
We have plenty of fabric here.
We can do that.
We can manufacture that.
Because it can be gathered.
