As Christmas approaches, check out our best bits!

As Christmas approaches, check out our best bits!

With Christmas now fast approaching, the Footprint team have taken a brief moment to reflect on a busy year. We’ve been fortunate to work on some fun and very enviable project briefs in 2017 – a few highlights of which we’d like to briefly share with you now. Thank you to all of our clients, colleagues, and collaborators for your continued support. For those new to Footprint reading this, we look forward to meeting you soon, and to us hopefully creating immersive, memorable experiences together in 2018! 2017 has seen Footprint bring to life a healthy mix of Audience Experiences and creative production for global events (along with some very local ones too!), leading theatre stages, film and TV sets, festivals, brands and retailers, offices and homes. Aside from our day to day work we have been delighted to see our Footprint Xchange events and talks programme go from strength to strength (a separate review will follow!), with thanks to your continued support and a fabulous group of speakers. Thank you all. We are also very proud in recent weeks to have secured a Knowledge Transfer Partnership (KTP) with London Southbank university. This important Government funded initiative has been over 18 months in negotiation, and will see Footprint, the University, and a number of our clients work in partnership to explore exciting developments in integrated physical and digital experience. Watch this (immersive) space…! From our Studio and Workshops we have brought to life a stellar selection of installations; from superbly imaginative briefs from our friends at Merlin Entertainments (including Shrek’s Adventure), exhibition stands at EdExel, to oversized Bus Shelters for the Freee Art Collective...
Technical Theatre Developer Position

Technical Theatre Developer Position

Are you able to use creativity and imagination to explore what could be achieved when we incorporate multimedia and digital arts technology into physical set and/or prop design?   Are you artistic in your approach to story-telling?   We have a unique and exciting opportunity to work with Footprint Scenery Limited to develop a technology-enabled maker-space which blends display and multimedia technologies with traditional scenery set design. You will work with clients to explore their ideas around creating immersive environments to develop a set of requirements. You will then develop prototypes and evaluate the quality of immersion against these requirements. The ability to translate a client idea into a working/experimental prototype will enable you and Footprint Scenery to exert more creative control during the design and consultation process. This will enable Footprint to develop an immersive design agency as a service to its customers.   The role will challenge you to add value to a client brief by exploring cross media platforms, live event production, creative & digital design, through to production engineering. Supported by a team of academics at London South Bank University (LSBU), you will take the creative lead in determining how and when to embed technology into concepts as you push boundaries in the cross-over between the physical and digital. An appreciation that through trial-and-error will come new understanding will require you to work outside of your comfort zone (problem-solving). This role would suit a recent graduate or young professional with experience of the multimedia and digital arts sector. To apply, please upload a copy of your CV and a cover letter outlining how you meet all the...
From Model Box to Stage – A technical Perspective

From Model Box to Stage – A technical Perspective

Footprint Reflects on Prism The summer saw Footprint’s return to Hampstead Theatre, building Tim Shortall’s set for Prism, starring Robert Lindsay and Clare Skinner. Terry Johnson’s witty and poignant play is based on the extraordinary life of Oscar-winning cinematic master Jack Cardiff, who was known as ‘the man who made women look beautiful’. Surrounded by memorabilia from a lifetime of ‘painting with light’,  Jack is to complete writing his autobiography, which becomes ever more difficult as in later life Jack suffered from dementia and would rather live in the past than remember it. Designer Tim Shortall’s set was described by Ann Treneman, writing for The Times as ‘…a thing of wonder with a huge Technicolor photographic backdrop. The garage wall photos come alive and there are some beautifully lit paintings (Cardiff loved lighting in any form, including chiaroscuro)’. Footprint have worked with Tim previously on Max Stafford-Clark’s This May Hurt a Bit, and it was great to collaborate once more. The dream team was completed with Pam Nichol, Production Manager of Prism and Footprint’s Production Manager, Jen Patterson. Jen recalls the intricate, and technically challenging set, with this insightful case study, starting with working drawings which show the upstage wall consisting of a practical garage door and 10 practical TV screens. The wall had to be flown during the performance with the Garage door open and then returning with the garage door shut.     The garage door was the main challenge,  ‘First things first, we had to find an electric garage door that both aesthetically and practically met the brief. The opening scene involved the garage door being opened by the lead actor, stopping at specific points – a particular wish of the Director. Essentially we needed a good looking, made to measure garage door...