Footprint are hiring! Scenic Project Manager

JOB DESCRIPTION – SCENIC PROJECT MANAGER Footprint Scenery is looking to recruit a Project Manager for its production and scenic operations based at Queens Road Peckham. We are looking for a reliable, hardworking, trustworthy individual who can work on their own and as part of a team.   You will be based in our office and onsite as required. You will need to be flexible in working hours as working early mornings, late nights and weekends is part of working within this industry. A well connected and respected company, with our fingers on the scenic pulse of the creative live events and entertainment industries, we are very proud of our reputation, our specialist knowledge and the innovative work that we produce. We are a tight-knit, friendly team, offering creative production, with a vast amount of knowledge and experience of delivering prestigious projects with respect and care.  It’s an exciting time for Footprint Scenery as we continue to grow, we strive to remain as adaptable, motivated and responsive to our new employees as we are to our customers. We value the talents and abilities of our employees and seek to foster an open, co-operative, and dynamic environment in which everyone can thrive. The role of Scenic Project Manager is an exciting proposition within our growing company. We have a very strong sales strategy at present that is pushing us into more exciting areas of the events and entertainment industries, allowing us to be creative and innovative in the type of projects we produce. We are looking for a candidate with a thorough scenic background who is willing to push the boundaries...

Mechanical Theatre

The Mechanical Theatre A theatrical box of tricks commissioned by Royal Opera House Muscat. Built and engineered by Footprint. An international partnership with the V&A saw this beautiful masterpiece travel from Peckham to Oman with an immersive stop-off in a C18th land of mythical beasts.  Read on to learn how the team at Footprint recreated this spectacular mechanical theatre, commissioned by the Royal Opera House, Oman.  It’s a recreation of designer Simon Bejer’s original mechanical centrepiece from the V&A’s exhibition Opera Power and Politics, but with one major difference, this time in travel size! In fact, a fraction of the size at one seventh of the original, nonetheless fully interactive. Using traditional hand crafting techniques, Footprint created this miniature masterpiece as fully mechanically responsive with hand turned pulleys and tiny flying lines and gears.  The model celebrates the technology of C18th theatre, a theatrical box of tricks rooted in naval technology of the time.  A turn of a wheel prompting a mermaid to appear next to a galleon in a storm, another wheel turn and the backdrop flies in and out as storm clouds gather.  Centre stage stormy waves swell, a traditional moving scenic effect. The opera itself; Handel’s Rinaldo. A 1711 tale of love, war and crusade.   Featuring magic, monsters and raging seas, a wonderful setting to explore a world of technical theatre tricks and devices.  This project was like a childhood box of delights for Footprint.  Combining a rich theatrical history and a chance to hand make all the technical aspects was an enormous challenge to take on.  Footprint’s craftsmen devised, engineering and completing all the elements of this project from all the moving...

Immerse with Footprint

Experiences that leave a lasting impression. Immersive storytelling is at the heart of engaging an audience at a deeper level, whether that be for brand engagement, theatre performance, museum exhibitions or anything in between.  It’s about leaving a lasting impression when an audience interacts with a brand or product.  Understanding the big picture of what future audiences want from entertainment and experience it’s clear that an increasing exposure to real sensory experiences is up there at the top of the list. Footprint is constantly exploring projects that push experiential boundaries.  Recent work has seen audience connection beyond the traditional – through glass and walls, using touchscreens, motion sensors and conductive paint –  allowing an audience to begin interacting with what’s inside.  The image below shows how we used bare conductive paint to make patterns and designs on a shop window, to create interactive touch buttons which can trigger lighting, sound, AV and even smell within the shop. People love the sense of being in an experiential place, and this involves creating ultra-real sets and props, and total sensory stimulation.  It’s a must for experiential – getting audiences closer to the product, story and brand values.  Combine this with our traditional skills and attention to detail, means that we have one powerful offer, perfect for experiential audiences whether in museum exhibitions, brand activation or entertainment. The project below for Europcar featured Footprint providing a fully working ‘car’ carousel where members of the public could interact, immerse and have fun with the experience, ‘driving’ onboard the carousel, taking photos and engaging with the brand in a memorable way. Physical Digital Our wider design and immersive offer is enhanced by our attention to detail and core services – producing beautiful and simple work. Our core services include CNC & laser cutting, work with wood, metal, fabric, plastic and paint....
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...