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Posts Tagged ‘Dark Matter’

One of the last things we did before packing it in for the holidays was go on a walk-thru of our standing sets.  Of course, not all of them are quite yet standing (ie. the shuttle, parts of the space station) and those that are still have a ways to go, but our Art Department did a phenomenal job making it presentable for the tour.  The bridge consoles were in, the corridors lit, and there was even some preliminary playback on the screens.  It all looked, in a word, superfantastic.  I snapped a bunch of pics – and have been doing so for weeks now, documenting the ship’s progress.  I’ll hold off on posting them until we’re officially in production  – but there are plenty of other behind-the-scene pics to show you in the meantime…

Alex Mallari Jr. in training with Stunt Coordinator John Stead

(photos c/o Alex Mallari Jr.)

Those of you familiar with the Dark Matter know that the character known as FOUR (aka Ryo Tetsuda, aka Ryo Ishida, aka Slashy McStabberson) isn’t the gunslinging type.  Oh, sure, he packs a sidearm, but his preferred weapon is the katana – sometimes two.  Despite having no formal sword training experience prior to landing the role, under the guidance of our incredible Stunt Coordinator John Stead (more on him in the coming weeks!), actor Alex Mallari Jr. has transformed himself into a twin-blade wielding natural.  Earlier this week, John showed us a video of Alex in training, running through the choreography for the first “training room discovery” scene – a jaw-dropping sequence that perfectly captured the moment as scripted:

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“He stands frozen, eyes fixed straight ahead.  Shuts his eyes.  Beat.  And suddenly launches into action: charging, turning, back-pedalling, leaping, ducking, as the blades whirl and sing around him, slicing through the air.  He makes his way across the room in a remarkable display of swordsmanship, lightning quick reflexes controlling the deadly katanas in a blur of movement…”

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It was unbelievable.

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Check him out on twitter: https://twitter.com/AlexMallariJr

Over the course of series, Alex will use two different “production katanas”.  The first is a super lightweight painted bamboo that, I’ve been told, is all the rage on Hong Kong action movie sets.

LBW testing the bamboo blade.

LBW testing the bamboo blade.

The second is the hero sword, forged of equally light aluminum -

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Here it is c/o of our Props Master, Victoria Klein.

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Our Production Designer, Ian Brock, designed the unique signature symbol that adorns the saya (scabbard) -

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And the blade itself.

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Paul checks the weight.

Anyway, we’re all done for the time being (except for the Art Department, Construction, the cast, and yours truly who will be doing another pass on all the scripts) and look ahead to our January 5th return.  Yesterday, it was one final stroll through the sets and then we locked up for the holidays.  Done and done.

Still, I can’t help but feel like I’ve forgotten something…

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So much for the Christmas spirit.  Today, Akemi did something she rarely ever does.  She actually bought herself something.  The girl hardly ever spends on herself but, this afternoon, she made an exception when she came across a cup emblazoned with the letter A at a local shop.  Being a big tea drinker – and having a name that starts with the letter A – she thought it would be perfect, so she bought it.  About an hour later, she was getting off the subway, when some guy, in an obvious rush, bumped into her, knocking her purchase out of her hand.  The guy didn’t even slow down, jumping into the car and heading off, leaving Akemi to check on her cup – which was, of course, shattered.  Her disappointment was apparently so apparent that a subway employee consoled her with a shoulder pat and some words of encouragement.

Still, in good spirits.  And silly slippers.

Still, in good spirits. And silly slippers.

Well, two more days until we depart for the holidays – which means roughly a week’s worth of ground to cover before we go.  In addition to tomorrow’s early EARLY morning tech survey (which leaves the production offices at 7:00 a.m., meaning I’ll have to leave my place at 6:30 a.m., meaning I’ll probably have to wake up for 5:45 a.m.), I’ve still got to do another pass on scripts for episodes #103, #104, #105, and #106, incorporate Jay’s notes into #107, #108, and #109, and get notes from Paul on #112.  Oh, and then there’s the meetings.  And the camera tests!  Today, Lawren, our VFX Supervisor, showed us some preliminary FTL (fast than light) effects as well as some animatics of the ship – and the missile pursuit.  Very cool.  I’m making a note to keep everything on file so that I can share with you all in time.

Meanwhile, the production offices are embracing the Dark Matter theme…

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I need to place this on my dash, otherwise Vanessa will knock off my side mirror with a baseball bat.

I need to place this on my dash, otherwise Vanessa will knock off my side mirror with a baseball bat.

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Adorning the walls of the cafeteria

Adorning the walls of the cafeteria

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Please note our strict no Facebook, no twitter, no photo policy.

Bon Appetit!  Please note our strict no Facebook, no twitter, no photo policy.

One more day for our Dark Matter Holiday Toy Drive!

And one more day for our Dark Matter Holiday Toy Drive!

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I’ve only been working with her a couple of weeks and I already a huge, HUGE fan.

“Why?”you may ask.

Well, why don’t I just let her a few samples of her work answer that question…

Choices for the GA (Galactic  Authority) emblem

Choices for the GA (Galactic Authority) emblem

Choices for some of the multi planetary (corporate) logos

Choices for some of the multi planetary (corporate) logos

"Caution" sign in English and our version of intergalactic Esperanza

“Caution” signs in English and our version of intergalactic Esperanto

Personally, I always find red goes a long way toward implied danger.

Personally, I always find red goes a long way toward implied danger.

The galaxy is full of danger - often clearly marked.  We opted for the one on the right.

The galaxy is full of danger – often clearly marked. We opted for the one on the right.

She also designed our future currency – but those pictures are on my other laptop.  Do remind me to show you next time.

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Kyle - our master of ceremonies

Kyle – our master of ceremonies

The plan was to make my dough the day before, allow it to chill overnight, and then wake up early Monday morning and bake my cookies so that they could be fresh and warm for the 10:00 a.m. cookie exchange.  In retrospect, a late decision to test-bake a batch probably saved my ass.  Given the size of my kitchen, the single baking pan that came with the apartment, and the fact that I had to bake 13 dozen cookies, I probably would have had to wake up at 4:00 a.m. to be ready in time.  As it was, I was baking until bedtime last night.

78 cookies later and I'm ready for bed.

78 cookies later and I’m ready for bed.

This morning, I was the first one to present my Drunken Uncles (TM Lawren Bancroft-Wilson and/or whoever actually came up with the Drunken Uncle name) at the first annual Dark Matter cookie exchange.

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 Akemi included a tag with each bag of cookies.  A nice touch, I thought (note the careful attention to red noses).  And then I saw the little tags on the cookies presented by our 1st Assistant Art Director and Graphics Maestro Roxanne Borris:

Pretty awesome, no?

Pretty awesome, no?

We gathered in the production office where we laid our cookies out for the photo op -

Two of our bakers M.I.A.  Note my endearingly natural smile.

Two of our bakers M.I.A. Note my endearingly natural smile.

After which we helped ourselves to the cookie selection – 12 half dozen varieties.  I sample every one of them.

Lunch!

Lunch!

And then shut my office door and napped until it was time to go home.

Can’t wait until next year!

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We are officially in prep on episodes #101 and #102 of Dark Matter.  The train has left the station and is barreling down the tracks.  There’s no turning back now. We’re making a t.v. show!

As we creep ever-closer to our first day of shooting, the days grow longer, the pace more frenzied, and the meetings just keep on coming…

The Art Department meeting

The Art Department meeting

Production Designer Ian Brock and his team guide us through ongoing and upcoming construction and builds.  The corridors, now textured and painted, are looking awesome.  Following a small adjustment to the layout of the forward consoles, work has resumed on the bridge’s walls and monitors.  The ship’s lower deck section is pretty damn impressive, with its dark blue metallic multi-level look. And we finally signed off on our shuttle (the Phantom Class Marauder) which will start coming together in the coming weeks.

The Concept meeting

The Concept meeting

Holy Smokes, it’s really happening!  The various department heads gather to cram themselves into our conference room and discuss the game plan for our first two episodes.  For those of you not familiar with production – or who may be new to this blog – the concept meeting is the very first meeting of prep week.  The 1st A.D. (assistant director), in this case Brandon Tataryn who I’ll be introducing you to in the coming weeks, goes through the script to ensure everyone knows what, if anything, will be required of them in each scene.  For instance, Costumes should have an idea for what our crew will be wearing when they first come out of stasis, while Props should know how many guns we’ll need for the final shootout.

The Stunts/SPFX meeting

The Stunts/SPFX meeting

SPFX stands for Special Effects, and that includes everything from squib hits to explosions, sparkage to steam.  Our stunt coordinator, John Stead (another guy I’ll be introducing you to in the days ahead), has his work cut out for him as he’ll be choreographing a few big throw-downs, from the opening bridge fracas to the longer and more involved 4 on 1 encounter with the ship’s “security protocol”.  Then, in episode #102, things get real down and dirty – and bloody! – on the planet.

The VFX/Graphics/Playback meeting

The VFX/Graphics/Playback meeting

Oh, yeah!  We’re a scifi series, and that means stunning visual effects.  A familiar face from our Stargate days, Lawren Bancroft-Wilson, is on hand to supervise sequences like “the missile pursuit” and those FTL jumps and exits.  And, of course, graphics and playback are going to be key to telling our story and ensuring the show maintains that cool, SF visual style.

Remember this?

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And this?

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Next week  = more meetings and mayhem!

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We’re heavy into prep on episodes #101-102 and, with the commencement of principal photography about a month away, sets are coming together nicely.  Our ship, The Raza, has come a long way in the past couple of weeks.  The corridors have been textured with faux-grate flooring, pipes, vents, and grills, its walls painted in metallic hues, sliding doors installed; the quarters are coming to life, the sub-level cargo hold and walkways finished, and the bridge…the window are in, front AND top, and the consoles went in today.

Meanwhile, work is being completed on the shuttle (the Phantom Class Marauder) interior design.  We’ve gone back and forth on its various elements – width, depth, seating layout, windows, and location of the door – and are in the process of finalizing the look.  I wanted something similar to the puddle jumper in terms of layout with a little more of the depth of the SGU shuttle.  Ultimately, I think we’ll also incorporate an element of the SG-1 cargo ships with its sectioned cockpit and separate hold.

Anyway, I contacted Stargate Production Designer James Robbins, who has been doing some fabulous design work for us on Dark Matter (Can’t wait to show you his work on The Marauder, the space station, and the various cruiser, destroyer, and shuttle class versions of the Ferrous Corp, Mikkei Combine, and Galactic Authority ships!), and asked him about the dimensions of those smaller Stargate ship designs.  He sent me the following which I thought were too cool not to share with you -

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As James points out, the dimensions are from our VFX department and may not reflect what was actually built.  80 feet long for the SGU shuttle seems a bit much, but the 40 foot length of the Atlantis puddle jumper sounds about right.

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Takes you back, no?

Many thanks to James for digging these up from the archive!

Prep continues with non-stop meetings.  Today, it was the concept meeting followed by visual effects, playback, and impromptu hair meeting, stunts, and special effects.  Tomorrow, it’s an Art Department review, props, paints, another hair meeting, and not one but TWO gun meetings!

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Remember that guy back in the day?  The one with all the connections?  The one who could get you and your friends in anywhere, no matter how popular or exclusive the place?  Well, that guy now works on Dark Matter.  His name is Zachary Beckwith and he is our Locations Manager.  If you’re looking for somewhere to shoot that alley gun battle or forest sword fight or palace betrayal, he can get you in!

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We had our first official Dark Matter locations scout the other day, lead by Zach who scheduled a grand tour of not one, not two, but three locations (plus a fourth the following day) in addition to arranging transport and snacks!  Pictured above, Exec Producer’s Bodyguard Alison Hepburn and Assistant Production Manager Robbie David prepare for departure.

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One of the most important attributes of a successful writer-producer is flexibility.  Sometimes, that wild west town you scripted for your original comic book is unfeasible – or simply way too expensive for single, even double episode use – so you have to start considering alternate settings.  If you were shooting, say, in Vancouver, you could go with a tent village or quonset huts – but if you’re shooting in the Toronto area, it’s far smarter to take advantage of what the area has to offer.  In this case, a stones throw from T.O. (assuming Superman threw the stone) is Hamilton, home to a plethora of industrial settings.

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With the right builds and set dec, an area like this can be transformed into a part of a mining community or even a space station.

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Animal prints suggest a local wildlife that will add character to any futuristic set.  Space raccoons?

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These walk-thrus also offer much in the way of potential props.  I could see things thingamajig sitting in our cargo hold.

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Love the look of this place with its catwalks and ladders, offering great multi-level scope for shootouts.

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A bit of a fixer-upper.  Would take a while to clear.

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I quite like this look for the final battleground.

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Heading outside to check out the exteriors.

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It would look quite different once we were done with it, but this alleyway offers a great look for our crew’s encounter with Captain Salehi and co.

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A lot of these places offer tons of character in the way of unfathomable equipment.

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Another great look.

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Thinking ahead to the salvage op on the abandoned freighter in episode #105.  Looking for low ceilings, cramped corridors – and this place has it in spades.

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Again, loving the multi-level gun stations.  A possible reactor room?

Decisions, decisions…

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