Sometimes you just need to get stuck in. In the A.M., Leray and I finally build the nerve to experiment with the effects for our 'holographic floor' scene - a routine in which heroic Harley Byrne becomes trapped in a form of 'liquid hologram' known as quicklight. With a bit of lens trickey, an old net curtain, and plenty of goopy light, the effect is far simpler to achieve than we had feared.
The afternoon is mostly costume fittings and video tests with the actors, who have a similarly 'getting stuck in' sort of attitude, with one after another of them seeing the studio for the first time before sighing and saying something along the lines of, "I did say I'm doing it for a new experience...". Anyway, every one of them is amazing as I force them to perform isolated emotions from the toes up. Niemczyk and Decerle are fast becoming toga virtuosos in the costumes department. And either the hats are getting bigger or everything else is getting smaller.
Queissner, our soundist, is similarly game; she has already begun foley for the film not yet shot, mostly with an analogue modular synthesizer, which is admirably panelled in cardboard. Now, if only we can find her some microphones to record Saturday's opening scenes...
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