Making an easy weapon-rack

Maybe you've seen those cool grid-type weapon racks in 1/1 size. If nothing else, you might have seen them in the ballistics lab set on CSI: Las Vegas. I've always liked those, and I even think that somebody (BBi or Hot Toyz maybe?) made a 1/6th version, but somehow I never ended up with one.

Now maybe you've heard about the concept of a "one-sixth eye." It developing the sense of looking at everything you see as a potential 1/6th prop, and evaluating it accordingly. The other day I was in my local Ace Hardware store looking around (while fending the over-helpful sales people off with a stick, as usual) when I spotted something in the paint department that sent my One-Sixth-O-Meter right to stop.

It was a cool little plastic grid molded in off-white speckled plastic, part of some sort of fancy roller system, the Whizz Roller System It wasn't even in a package. It was just a plastic grid with a sticker on it, hanging on a peg. Price: 99 cents. At first I couldn't be sure what it was good for, but I knew there would be something I could do with it. I almost bought just one, but on impulse, I picked up all four that they had in stock.

It didn't take me long to realize that they'd be interesting attached together edge-to-edge. I looked around for an easy way to do that, and ended up settling on small, black-plastic wire-ties that I already had on hand. I used two along each edge, pulled tight, and cut the excess off with scissors.

By now, I was starting to think weapon rack. My intent was to make a free-standing, four-sided rack, but for maximum flexibility as a prop, and for easy storage, I didn't tie the final corner together. That way, it could be folded into a square footprint, fanned out as a screen-type rack, or even be used as a safety or crowd-control fence.

The next issue was how to make hooks to hang weapons on the rack. Whatever I did had to be cheap and easy to mass produce. After several dead-end ideas, I settled on using light-duty, wire, paper clips. I used the inner loop of the clip intact, bent the larger loop out about 45-degrees, then cut it off (using wire cutting pliers) leaving about a half-inch stub, I then bent up the last eight of an inch or so using pliers, to make it more of a secure hook.

The small loop from the clip goes over the grid. The weapon itself hangs on the cut-off stub. (It occurs to me that another alternative that might work would be to use wire Christmas ornament hooks, and they'd probably work unmodified)


Here's the final result, with only a few weapons installed on one side. This would look equally at home in the firearms locker for an assault team, in a ballistics lab, a police property room, or an arms-dealer's show-room.

Tree how-to follow-up

I was gratified, and maybe a little surprised at all the positive feedback in email and many forums, you're only seeing a tiny fraction of it here) I've gotten on the "make a tree" post. Given all the quick-and-dirty set and prop building I'm doing for "Minions," you'll probably see more in the future. Please let me know what particular things you'd like to see, and what you like (or don't) about the posts I do make.

As always thanks for reading! (And viewing!)

Only God (and now you and me) can make a tree

In my photo dioramas I've been making lots of use of pre-printed papers sold in the scrapbooks sections of craft stores. I've successfully used them to represent grass, sand, brick walls, and even water. But after doing last week's park-scene for Minions, it got me thinking about other "stock" props I could build for future use.

One thing it occurred to me would be nice to have would be a bunch of tree trunks for forest scenes. Yes, you can use real wood, but the stuff is heavy, dirty, hard to store, and sometimes just doesn't look right. Maybe there was a better way.

I started to wonder if I could find a "bark" paper to use, but I trip to the craft store turned up nothing. Then I had another thought: why not print my own?

I used Google's handy image-search function (searching on "bark") to come up with a couple of likely source images. Then I picked my favorite and used Paint-shop Pro to "clone" the image three across to make it wider. Finally, I printed it on my inkjet printer using the "stretch to fit page" option. I printed three copies, to give me enough sheets to work with.

My thought was that I could glue them around cardboard tubes. Yes, they'd be smooth, but my experience is that realistic textures usually don't look flat to the 2-D eye of the camera. I figured if I just wrapped it around a tube or dowel, it would look good enough, especially if it appeared in the background of a scene.

This is the same trick that computer game makers use when they "map" a detailed texture onto a fairly simple 3-D object to achieve a realistic look without bogging down the computer or console rendering the scene. In this case, I was "mapping" the flat bark texture onto my simple tube shape.

Thinking about it, however, I realized that I could go the computer one better, and easily add some real texture to my printed sheets. Here's how I did it...

First, I selected my core form, a 3-inch mailing tube that I had laying around my shop. You can see a piece of the "naked" tube on the right side of the pictures. Most any cardboard tube would work, from a couple of paper-towel tubes spliced end-to-end, to a piece of carpet-tubing to create giant redwoods.

I determined that it would take most of three sheets to cover the tube, and that the long direction of my printed sheet would go around the tube with minimal overlap. For ease of construction, I decided to use transparent tape instead of glue. I carefully lined up all the joints so that the tape and seams are all hidden on the back side of the tree. (This is a key trick for pulling this stuff off easily. Don't build or detail things that people aren't going to see. The viewer's mind will fill in the rest of the bits that you leave off.)

I started at the bottom, trimming the white edges off the sheet where they'd show. This is where the real texture comes in. I then took the sheet and rolled it up into a small tube, then crushed it, rolling the resulting mess between my hands to add more folds and creases. Then I carefully flattened the sheet, which now had nifty texture that would pick up highlights and make the profile edges of my tree trunk look more realistic.

Razor-straight lines are a dead-give-away that something is artificial, and the human eye is very good at spotting straight-lines.

I took this in consideration when rapping the second sheet around the trunk. I planned to overlap the sheets slightly anyway, so I hand-trimmed the bottom of the sheet in a kind of "wave" that would help disguise the seam. After taping the sheet (both the lower sheets were also taped to the tube at the top, where the tape would be hidden by the overlap from the sheet above) I finished off with the final one.

I've got some ideas on how to add roots and limbs to my tree, but I haven't tried them out yet, and for a forest scene, the trunk is the most important part. You can whip up a whole grove of these in an evening while watching TV. Remember to used a variety of tube sizes and bark textures and colors for a more realistic "forest" You could even print out some "knot holes" and other tree features, cut them out, and paste them on for a more realistic look.

One other advantage of using multiple tube sizes is that you can store them compactly nested inside one another. Try that with something you rescued from your wood-pile!

Making a MinionMobile

For some time, I've been considering making a custom vehicle for my "Minions" photo cartoons. I thought about a Barbie camper conversion or a Jeep or something in that size range, but it occurred to me that I had a possibly more useful candidate on hand. After all, any super-secret complex back in the 60s and 70s (good or evil) used industrial golf-carts to shuttle through its cavernous depths.

A while back, KB Toys had a nice looking toy golf cart for sale. Unfortunately, they were maybe 1/10th scale, just too small for 1/6th figures, so I passed on it. Then, some months back, I spotted one for cheap in a thrift store and couldn't pass on it. The body and roof are plastic, and the roof supports are heavy metal rod, and I thought perhaps I might be able to modify it for use with GI Joes.

I completely disassembled the toy for inspection, cleaning, and painting. I decided the original green body panels weren't industrial enough, so I went for a sterile, Krylon Fusion "satin white." The roof was already white, but I painted it as well, to make it more opaque and hide the plastic sheen.

My initial thought was that the cart could be stretched between the front and rear body sections to provide more leg room, and then the roof raised slightly. But as I looked at it, I realized that would be very complicated, and weaken the structure of what was actually a pretty rugged little toy. There was also the matter of the roof, which would either have to be stretched, removed, or have heavily modified supports.

It was my wife, Chris, who came up with a better solution. She suggested that if the seat were simply raised so that the figure's knees weren't up in his chest, it would look much more in scale. It seemed possible that I could put some washers on the screws holding in the seat to raise it a bit, or perhaps even build a riser of some sort for it to sit on. The job was made somewhat more critical by the fact that the screws that hold on the seat and seat back assembly also hold on the rear body and contribute to the strength of the entire structure.

I decided that some kind of riser was going to be necessary, and before I started fabricating something new, I started digging through my parts boxes for something sturdy and ready made. Just for sizing purposes, I dug out some Lego blocks to see how high the seat should go. But after looking at the blocks for a while, I realized that they'd be ideal as the risers themselves.

I have to admit, adding Legos to a permanent construction project seemed somehow "wrong," especially since I had to drill a hole through the centers of the blocks for the screw, and modify the "buttons" on top of the rear risers so the seat-back/cargo holder assembly would sit flat. But Legos are cheap, and I have a ton of them (I can't resist buying them when I see them cheap in thrift stores, so I've got quite a collection). Not only were they sturdy and perfectly sized, but I was even able to get black ones so no painting was necessary!

The seat sits on a pair 2x4 block risers, two-blocks tall. Same for the seat-back assembly. I replaced the original screws with longer #6 sheet-metal screws selected from the hardware store.

That done, it was time to raise the roof. This was complicated in that not only did it now need a "scale" adjustment to allow for the taller figure, but now the seat itself was higher. I used threaded rod from the hardware store to make pins that fit in the original roof mounting holes, then cut sections of brass tubing (hobby shop metal stock) to slide over the pins and the bottoms of the original supports, connecting them together. These are just friction fitted at the moment. Some epoxy may eventually come into play, and I'll paint the tubing black to match the existing support posts.

The very tall appearance has a bit of "clown car" aspect to it, but it isn't bad, and the Minions ARE supposed to be funny, after all. I looked around for some accessories to fit in the club rack in back, and found first a scuba-tank from one of those cheap 14" Action Man knock-off figures that Wal-Mart used to sell. Poison gas, maybe? Something radioactive? Then I noticed a Hasbro javelin anti-tank missile, and sure enough, it was a perfect fit in the other side of the rack! The Minions are loaded for bear! I thought the idea of this silly little cart with a missile on it was just funny in itself.

I'm still not finished. The steering column needs to be longer and more vertical, and I may add a larger steering wheel while I'm at it. Not sure. I'll probably add a few markings as well, but I'm still thinking about that. "Official Lair Business Only," maybe?

DVD Extras for "Minions: Walking the Dinosaur"

I'm really pleased with how this installment of "Minions," titled "Walking the Dinosaur" turned out visually, so here are some "behind the scenes" shots of the set.

I made extensive use of printed papers sold in craft stores for scrapbooking in this set. The ground is simply overlapping sheets of a "stucco" print. There are also some small scraps of a "grass" print to break up the lines. The backdrop is a cut-and-paste job onto a sheet of foamcore, using pieces of two different sheets, a "cloudy sky" sheet, and a "pine forest" pattern. I covered most of the sky with overlapping sheets of the sky pattern, then filled in the horizon with hand-cut pieces from the "forest" sheets. I probably used about four sheets of each.

The "dirt" area is actually a sheet of scrap packing foam hit with brown spray paint. I didn't use foam-safe paint, so it melted the surface into an irregular texture, and bits of white foam are showing up through the foam. I wasn't sure how it would work, but seen from the side, the white actually breaks up the dark brown and makes it look more like a natural ground-cover.

The plants are all plastic, consisting of bits of aquarium plants (bought cheap at a thrift store), and some dollar-store mixed greenery that I took apart to make smaller plants. The rocks are just some driveway gravel I picked up right outside my office door. The brown "log" is actually a piece of driftwood, the only real plant mater in the shot.

The park bench is metal. I found it in a thrift store (in metal housewares, not in toys) for about two bucks. The shovel is a craft-store item. The chain was purchased by the foot at the hardware store. The dinosaur is a "Jurassic Park" T-Rex, possibly one of the nicest toy dinosaurs ever made. I currently own three of them, and I'm always keeping my eyes open for more.

I did do a slight bit of digital retouching in Paint Shop Pro, using the "clone" tool to hide the edges of the foam sheet, and the "smear" tool to break up the edges of my cut-out trees and make them look more realistic.

The whole thing only took me twenty minutes or so to set up using things I had on-hand. I pays to think ahead and stockpile basic backgrounds and props like these.

Cut and Paste

Astro-Dan has been posting a series of figures computer blended into historic photo backgrounds, and over on the Sandbox we've been discussing tips for realistically blending a figure with the background. This is more art than science, and requires supplying the eye with cues that trick it into thinking the overlaid foreground is part of the photo background. You could write a book about it, but here are a few tips from this non-expert:

1: Match the shadows and light sources. The eye and brain are really good in picking up these cues, especially in photos, where this is how we judge the depth and size of the objects in the 2D picture. At the very least, try to match the primary light source.

Look at your figure. Where are the shadows on the face? If they're on the left, the light source is on the right. If they're on the right, the light source is on the left. If they're under the brows, nose, and chin, then the light is coming from above. This should match your background photo as close as possible. If there are no distinct shadows, or the shadows aren't pronounced, then the light on the figure is diffuse. If there are strong shadows in your background, it won't match.

One trick that sometimes works: if your figure has the light source on one side, and the background has the light on the other, its sometimes possible to flip one or the other (mirror image) and make it match. Obviously this doesn't work if there's something in the image to establish the "handedness" of the image. Any flipped writing will be backwards. Car steering wheels will be on the wrong side (but hey, we could be in England!). And Joe's scar could be on the wrong cheek!

2: Match the contrast of the background. Nothing will give away a "paste job" faster than a high-contrast figure against a washed-out background shot. Your photo editing software will probably have a brightness and contrast tool. It may have other brightness tools that are even more powerful (though they can be more difficult to figure out and use).

3: Match the color tone. Figure photos taken inside under incandescent lights are often "warm" in color tone. Fluorescent light sometimes results in a greenish tone. Photos taken outside under sunlight usually have a bluish tone. Your photo editing software probably has tools to fix this.

4. Match the color saturation. Modern photos taken under artificial light often have bright, over-saturated, colors. Historic photos taken outside often have muted, washed-out colors. Foreground should match background.

5. Match size and perspective. It's pretty basic that things that are closer are bigger, and that things which are farther away look smaller. In a photo scene, things contract towards an imaginary "vanishing point," which (on a flat plain, anyway) will lie along the horizon.

I could go into a big, not very informed lecture about perspective here. Trust it to say that your eyes and brain judge the size and distance of an object in a picture by its position in the picture in relation to other objects.


Take a look at this example I whipped up. The lines on the football field converge on our "vanishing point," illustrated with the red lines converging on the (hidden) horizon). On the left, I've arranged four figures positioned to appear the same height, even though each is about 20% smaller than the next. Note that as they stand on a line towards the vanishing point, another such line connects the tops of all their heads. Yes, I know that they look about 12-feet tall, but they ALL look 12-feet tall. That's what's important.

Now look at the figures standing along a similar line on the right. Believe it or not, these are the SAME four figures. I've just reversed the order. The monster standing back-rightis EXACTLY the same size as the more normal-looking guy standing front-left. The tiny shrimp front right is EXACTLY the same size as the fellow back left.

Likewise, any figure you paste into a photo background has to relate properly to the objects around them, or they're going to appear to be a giant, or a shrimp, or just hanging in the air in front of a distant scene, or worst of all, just pasted on a flat background like a stamp on an envelope.

Experiment with size and position relative to the background, and trust your eye on this. One trick I find useful is to look at the figure's feet. Though the imaginary plain leading off to the horizon may be flat, to your eye it SEEMS steeper as it's closer to the observer, and flatter towards the horizon. If you're looking down at the tops of a figure's feet, then it probably belongs close to the front of your image. If that makes him look gigantic, then he needs to be made slower. If, on the other hand, you seem to be looking at the sides of the shoes straight-on, then he belongs off in the distance, and should be positioned and resized accordingly. Use people, doorways, and other such details as reference in positioning your foreground picture.

Notice how the giant on the right rear seems to be up on his toes, about to topple forward, or to launch himself into the sky. That's a foot position cue at work. He needs to be closer to the bottom front of the picture.


Okay, this is a quick example of putting these rules into practice, hijacking one of Dan's own images, his 1912 lunar astronaut. I've dug a NASA lunar photo out of my files and added him in.

This first example is done wrong. First of all, the position of the figure is wrong. He's too close to the front, and seems to be tipping backwards on his heels. One would expect light on the moon to be bluish and colors somewhat subdued. Instead, the figure is very saturated, and the colors warm. At best, he looks like he's standing in front of a photo backdrop. At worst, it's the stamp and envelope effect.

Now this next one isn't perfect, but it's not bad. I've cooled off the colors in the figure, increased the contrast, and reduced the color saturation, to make him fit with the background better. A couple of additional tricks. I added some blotchy shadows under his feet and to the right of him and the flag. These don't exactly match either the sharp shadows on his suit, of the washed-own and almost shadow-free background, but they do help to "ground" him in the scene. One other little trick, I copied a rock from the background (and reshaped it a bit, but that isn't necessary) and put in in FRONT of the toe of one of his boots. Again, that helps to "stick" him to the scene.

Again, though the figure in the "bad" image seems bigger, it's exactly the same size relative to the background as the "good" image.

This post really just scratches the surface, but hopefully it will provide some useful tips to apply in creating your own photos.

True undersea adventure

I'm going to break from the usual around here to review a book I just finished. It's called Dark Waters: An Insider's Account of the NR-1, the Cold War's Undercover Nuclear Sub, by Lee Vyborny and Don Davis.

The 1960s were a period of stunning technological change and exploration, both in space, in the air, and under the water. It was the era that excited the young imaginations of so many of us, and inspired the GI Joe Adventure Team. But while many of these developments and adventures took place in the public eye, some went on in near secrecy.

A prime example of this is the NR-1, a one-of-a-kind, deep-diving, nuclear powered mini-sub developed by the US Navy. Announced under the cover of being a scientific vehicle, in truth the little sub was primarily designed for military applications (though in later years, its unique capabilities would lead to many scientific discoveries).

The NR-1 could dive at least 3000 feet, hover above the bottom like a helicopter, roll along the ocean bottom on a pair of retractable wheels, view the bottom through cameras and manned viewports, and manipulate objects using a robot arm, and lift heavier objects with tines like a forklift. Most significantly, it's nuclear power plant could supply its small crew (no more than a dozen men) with air and drinking water indefinitely, drive powerful lights, and allow stays on the bottom for up to a month (though in cramped and inhospitable conditions).

Many of the NR-1's missions remained classified, but this book still provides a fascinating and thrilling account of the little sub's creation, testing, and many of its adventures. Seemingly every mission of the NR-1, even the seemingly most routine, was filled with peril and the constant threat of disaster. Access to the interior of the sub was through a single, tiny, hatch, it routinely dived into depths and locations where no other sub on Earth could come to its rescue. It challenged uncharted canyons, unknown currents, abandoned mine-fields, and lost fishing nets in its missions, and being the first-ship of its kind, the crew was literally making up the rule-book as they went along.

One of the most fascinating accounts deals with the recovery of a lost American fighter-plane and the then-new and top-secret Phoenix missile from the bottom of the Mediterranean. Not only was the mission dangerous and technically challenging in itself, but it was complicated by the layers of secrecy (the men on the submarine were not even told what the missile they were looking for looked like!) and aggressive Soviet spy ships that circled like hungry wolves, desperate for any opportunity to snatch the missile for themselves.

Though the NR-1 often operates under the cloak of secrecy, since the fall of the Soviet Union it has increasingly cooperated in scientific missions, and among its high-profile assignments was recovery of wreckage from the Space Shuttle Challenger that lead directly to solving the cause of that terrible disaster.

This is a wonderful book, much of it derived from Lee Vyborny's own experiences as a member of the NR-1s first crew. It sheds light on a fantastic machine and the men who created it, a machine in its own way as bold and advanced as the Apollo Moon missions. But unlike the Apollo program, the NR-1s missions are ongoing, and it continues to sail today.

Unfortunately, I'm not sure if this book is still in print. I discovered my copy in a book liquidator, and Amazon claims to be able to order a new copy in "1-3 weeks" of which I am doubtful. But it's well worth tracking down on Amazon or through a library or used bookstore.

Speaking of flying Joes

(Posting on the road from Lake Elsinore, California)
Did you know the GI Joe Irwin Helicopter from the 60s painthead era was based on a real aircraft? The Hiller Hornet was one of a family of simple and light helicopters built by Hiller aircraft in the 50s, with rotors driven not by an engine inside, but by ramjet engines in pods on the rotor tips. So not only is this aircraft the basis of the Irwin helicopter, but also the Adventure Team Turbocopter and, to a lesser extent, the AT Helicopter. Earlier this week, our vacation took us through the bay area where I visited the Hiller Museum, where I took these (and many more) pictures of the Hornet and it's near-kin. Hopefully these will be the basis of some articles I hope to write for the GI Joe Collector's Club newsletter.

You will believe a Joe can fly!

I broke down and bought a "Ken as Superman" doll at Wal-Mart the other day for the costume. It galled me a bit to buy a suit of unknown quality and fit for $14.95, but now that I have it home, it was a bargain. I tossed the Ken and replaced it with an SA Joe. The Gung-ho Grip hands are good for flying poses, and he has the small feet, which fit the boots just fine. The bottom of the Velcro doesn't quite close, but it's well-covered by the cape.

I like the textured logo and the logo-belt-buckle, and while I was initially put off by the dark red, it's really growing on me. This is just a really nice Superman costume, and I doubt an expensive collector's figure could have done much better.

So how did Superman get a scar on his face? Well, he cut himself shaving, of course!

Catwalk construction details

Here are some detailed construction shots on my catwalk accessory. It's constructed totally out of standard hardware-store materials. The most exotic stuff is the plastic "gutter guard" grating (meant to keep leaves and trash out of house gutters) that I used as the base of the catwalk.

You can see in this photo that there's a bit of sag at this point. I hadn't decided if I should add the second railing or not, and if it should be a complete railing, or have a pass-through. The sag decided it. These railings contribute a huge part of the strength of the catwalk, turning it into a "U" shaped beam and keeping it stiff, despite its fragile appearance.

From this angle, you can see the railing and lower supports, all made from rectangular molding picked up in the lumber department. This stuff is cheap, easy to work with, and has all sorts of 1/6th applications. Most of the cutting (for precision, and so I didn't have to keep going back and forth to the shop while I worked on this) was done with an Xacto razor saw and miter box. I used the same tools to cut the threaded rod used for the railing uprights.

Here's a detail of the railing support. Threaded rod, nuts, washers, that's all they are. Note the nuts above and below the railing, and also above and below the bottom rail. To make sure the holes lined up between the bottom rail and the hand-rail, I clamped them together and drilled them both at once.


Here's a detail from underneath. As you can see, I can shoot photos from below as well as above or the side. The perforated plastic also casts interesting shadows, making for dramatic lighting. The plastic itself is thin and rather flexible. The wooden railings along both sides, as well as the wooden handrails, provide most of the strength.


Another view from below. Notice the cross-pieces (one at each end, one in the middle), and the fact that one railing sits on TOP of the plastic, while the other fits inside a molded grove on that side. You'll be able to see this better in the end-detail shot.


Here's the end. You can see how the molded-in grove grips one of the lower rails, and how the other is bolted on top of the flat plastic.

The whole thing was done in just a few hours working in front of the television. The tools included the afore-mentioned saw and miter-box, an electric drill, a tape measure, a few spring clamps, some pliers, and a box-end wrench to tighten the nuts. I finished it off with a few spray-coats or reddish-brown primer.

Most anyone should be able to duplicate this project with pretty minimal effort. If you don't need a catwalk, think of it as a balcony, ship railing, boarding gangway, or foot-bridge.

More Minions Extras

Okay, life and Minions have been keeping me busy enough that I haven't posted here in FOREVER. Here's a little Minions DVD extra from the current panel. If you haven't already seen the strip, I suggest you go check it out here before continuing.

This week's setup guest-stars three "Jurassic Park" T-Rexes. Actually, to be technical, two are "Jurassic Park," and the third is a lurid repaint from the "Mutations" line. While these are sub-scale for 12" figures, they're still plenty big enough to photograph well with them and look plenty scary.

My problem was how to get them posed the way I wanted. These are fantastic, very realistic, soft vinyl figures, but they have no articulation at all. They're rubbery statues. So how to get THREE of them standing up and snapping at my poor Minion's heels?

I tried various ways of interlocking their feet to create a kind of tripod. Didn't work. I tried propping them up with boxes, or holding their tails with spring clamps. Didn't work. Finally, I went out the back door of the office into my sun-porch and found a large, unused, flower pot. By folding the flexible tails on two of them and jamming them in, then hanging the third over the edge and propping up one foot with a box, I got more or less the look I wanted.




Otherwise, this is a very simple setup, and the first appearance of my new "catwalk" set-piece. It's supported on a couple of mailing tube covered with a stone-pattern self-adhesive contact paper. The chain came from the hardware store, along with all the goodies to build the catwalk. I think, actually, that the catwalk deserves its own post...

What, me post?

I haven't been posting here a lot lately, in part because I've been busy working on Minions for Hire shoots. Of course, I have some behind-the-scenes shots, but since these shoots are for toons that won't be posted for a while yet (I'm trying to hold myself to posting one a week under normal circumstances, in hopes that I'll build up enough of a backlog so I can pull it off like clockwork) I don't want to spoil the toons by posting the back-stage stuff yet. So look for some Minions DVD-extras here on Monday.

The requirements of Minions are inspiring me to create some stock sets and props that you'll probably see over and over as time goes by. Of course, you've already seen the cell-door I built, but there will be others. A major one I'm working on right now is an industrial-looking cat-walk with an open-grid floor.

The catwalk is something I've been meaning to do for a long time. I'm building it around an extruded and stamped plastic screen designed to keep leaves out of gutters. The stuff comes in three-foot sections, and so I'll build a three foot section of catwalk that can be suspended over a set, or used as a setting itself. The plastic screen will be shored up with strips of flat, rectangular molding attached to the side with screws and nuts, and by the hand-rails uprights, which I plan to make from sections of threaded rod.

I'm hoping the final result will be generic enough to look at home in a super-villain lair, a factory, a refinery, or a rocket gantry. If you've ever watched a James Bond movie, you know there are always Minions in the catwalks, where they have spectacular fist-fights with the heroes, be shot and fall over the railing, or just be blown off by explosions. I think I can get a lot of use out of this little prop. I'll post some construction photos, and hopefully this is something that anyone with access to a hardware store and a few hand-tools will easily be able to replicate.

One important development here is that I've replaced my trusty Canon Powershot A40 with a new Canon Powershot A530. It's smaller lighter, has more shooting modes, better movie function, a 4X optical zoom instead of 3X, and most importantly, 5 megapixels instead of 2. I've been very happy with the Canon Powershot family of digital cameras, and I recommend them highly. They take good pictures, and have a lot of control and versatility for compact cameras. I've been impressed with the quality of the optics, the image sensors, and the all-important software that backs the sensor up. They take good pictures. 'Nuff said.

The old camera still works great, and I'll pass it off to my daughter so she has a decent camera to photograph merchandise for her web-store (she does sewing and costume work). 2 megapixels is more than enough for typical web-ad photos.

Meanwhile, to fill the time until I can post some new stuff, here's a golden oldie in honor of the coming summer, to remind you to always wear your bug-lotion.

Minions Extra Feature

As promised, some behind-the-scenes stuff from the latest "Minions" toon posted over at Minions for Hire. This is my employment office set. I thought this came out pretty well, considering how quickly I threw it together. Some notes on the props and set-pieces.

I've used my "universal wall/floor" for the backdrop. This is just a sheet of foamcore board with some shelf-paper stuck to it. I'm getting pretty tired of it, and so are you by now, so I need to make up some new ones for variety. The wood flooring is just a couple of cheap floor tiles I picked up at a dollar store (three for a buck). The "glass" walls are actually a couple of Plexiglas sign holders, a couple of pieces of Plexiglas held in a self-standing wooden base. You can buy these in any office supply, but I got mine for cheap at a thrift store.

The desk is actually a couple of pieces of scrap wood that were used as packing material on some unassembled bookcases I bought last year. They were pre-finished, so all I had to do was find something of the right height to support them. One goes on top, and the other leans against the front. Instant desk. Mind you, I didn't want to take the time to cut down the front one and used it as-found, which is why the desk is so darned tall.

The window is actually a small picture frame, sprayed black, with a photo-copy skyline taped to the back. It hangs on the background using a thumbtack.

The briefcase actually came with a novelty manicure kit (I removed the contents, naturally). I got mine from American Science and Surplus. Item 32646, $3.95 each. (Mind you, you'll need to spend $20-30 on an order for the shipping charges not to eat you alive, but they have lots of cool stuff, so that shouldn't be hard. Or just buy a whole pile of briefcases!)

The phone is a fridge magnet. The in-basket is the lid from a novelty box I got on clearance at a craft store a while back. The wastebasket is a desk-accessory cup I got at Staples office supply. The filing cabinet is a novelty business-car file. These are sold mainly as premium items (there's a business name printed on top) so they're hard to find at retail, but they show up at gift and office supply stores sometimes.

Several items here were just made on my printer. The cut-and-assemble storage boxes with removable lids can be downloaded from Jim's Print-minis. You'll find all sorts of printable props and goodies there. I simply made the sign and desk sign in Microsoft Word and printed them on card-stock. The papers on the desk and in the briefcase were printed in Word as well (three point type), on regular paper, then cut down to size with scissors.

The Minions get their own blog!

(Update: Since posting this the URL for the Minions has changed. Find them a www.MinionsAtWork.com .

Since I know plenty of people who would doubtless enjoy the Minions toons I've been posting, and since many of them wouldn't necessarily be interested in the rest of what goes on around here, I've decided to give the Minions their own blog. Visit Minions for Hire to see the latest one, just posted.





You'll continue to see some behind-the-scenes Minions material here, such as this. I've decided that there are certain props and set-pieces that would be useful over-and-over in Minions toons, and thus it would be worth putting a bit of effort into making them. I finished the first one tonight, a cell-door for the Minions to (unsuccessfully) guard.

The door is constructed simply enough from a piece of foam-core board. It's trimmed out with wooden coffee stirrers that I snagged for free at the Safeway deli, some of those plastic twist-tie packers from toy packaging, a handle and hasp bent from small aluminum tubing, wooden dowels for bars, some small hex-head screws, and a "padlock" metal charm picked up at a craft store. The whole thing is painted and weathered with acrylic craft paint in various colors to give it a "rusty" look. The flash photo here is just to give you a clear look at it. You can see it with more realistic lighting over on Minions-for-Hire.

In-joke: You may be wondering why the hasp and lock are so shiny when the rest of the door is so rusty looking. Well, I figure people escape from this cell on a regular basis, so they get replaced -- a lot!

Good day for a repaint

A few weeks ago I was lucky enough to pick up a Power Team guard tower at Goodwill. Much as I liked it, the monochrome dark-green look wasn't working for me. It made it look too plain and toy-like.

Today it was sunny and warm (a rarity around here lately) so I decided to take it out for a quick paint job. Used a combination of red and gray primer along with some dun-colored flat-camo paint. Here's a photo after I put it back together, along with an outdoor shot featuring some AT Joes, old and new.



I'll probably do some more detail painting using a brush, most likely painting the top of the roof-piece weathered silver, to represent corrugated metal.

Talk about lighting

There's been some discussion over on the Sandbox lately about photo lighting, prompted by a photo-lighting article in the magazine Fine Scale Modeler. Their techniques emphasize seamless backdrops and defuse lighting. My take was that while this technique works well enough and shows well the details of whatever you're photographing, Joe-photos often benefit from more dramatic lighting.

One friend e-mailed to tell me that the FSM techniques were used by the "Twisted Toyfair Theater" feature in Toyfair magazine. Good enough. But those features are played for broad comedy and emphasize that the things being photographed are toys.

Different lighting techniques can increase realism and enhance mood. To illustrate, I set up some very quick examples of how lighting can greatly change the mood of the shot. I set up a random assembly of my "Minions" figures and some props. (Actually, most of them were already there. I just removed a few things and reposed the figures a bit.)



This first shot shows the setup on my bench. There are two main light-sources, a high-intensity arm lamp on top of the cabinet to the left (yes, it looks like a back-hoe) and a small incandescent (60w) goose-neck lamp clamped to the table. The lights are on in this shot, but largely washed out by the on-camera flash.



The flash was turned off for most of these shots, as here. You'll see why we turned off the flash in a minute. Since my lighting sources aren't very bright, all of these shots are long exposures (which my Powershot A40 handles very well, though not all digital cameras). For that reason, I used a solid tripod and a ten-second shutter delay (so as to avoid camera-shake when I pressed the button). I like time exposures, as they keep the lights low-power and low heat. They also allow for some nifty tricks if you know what you're doing.

As for camera settings, other than the things I've mentioned (flash-off, shutter-delay), I let it handle its own exposure settings. It does a good job, though you could get different results by fiddling with them manually.



This first example simply uses the on-camera flash. Note that the lighting is very flat, in more ways than one. There's no sense of depth here. The background could be right behind the front characters instead of the foot or so that it really is. There's no texture in the uniforms, and the faces look plastic and artificial. There's also a reflected flare off the glass door in the background. Though you could use something like that as an effect, it's generally not something you want.



This next shot uses only the high-intensity arm-light, located above and behind the main-figures. This gives us a strong back-light with a lot of soft fill reflected off the white wall and props.

You can see there's a huge difference. Suddenly we have depth. The shadows and reflections make things "pop" as 3-D, and add plenty of drama. Trouble is, the HI light is harsh, making plastic look like plastic, and the position leaves faces in shadow. Maybe we want them in shadow, if these are supposed to be anonymous folks skulking about, but let's say we want to put emphasis on them as characters.

We'll get to that in a minute, but one more thing about this. Notice how the strong "light of god" attracts your attention up to the source of the light. Is there a hole blown in the roof? Is there a helicopter up there? There's a feeling that what's really important here is somewhere else, off-camera. Again, if that's what you want to do, great. If not...



This shot uses only the clip lamp on the right of the bench. Again, depth. Again, dramatic. But this is totally different.

The incandescent bulb is more defuse and warmer than the HI light, making the plastic look less plastic. The faces are not only lit, but the dramatic shadows really add depth, mood, and character to the faces.

Because the light is close and bright though, it "blooms-out" on the right of the picture. It draws your attention, but less-so that the overhead light because your eye is drawn to those faces. Notice too how the angle of the light really brings out the textures in the uniforms and adds to the realism.


Now we start mixing light-sources. We're still using the clip-light on the right, but now I've turned the overhead HI light on and turned it to shine on the white wall behind it and a white shelf-overhead. The result is a dim, soft, fill-light that is mainly visible in the background and in the shadowed areas.

Notice that the figure in the background suddenly seems more important, and what they guys in the foreground are doing, less-so. It's much less spooky, but this shot still has nice texture and depth. If you were playing for comedy or casual drama, this might be a good setup.



Now we're going to play with two other light sources that I haven't mentioned yet. Here's the first one, a small (two AA cell) incandescent lantern-type emergency light hidden behind the door of the locker. Basically it's a bare bulb with a tiny bit of diffusion. There's also a tiny bit of fill light on the background here, basically reflected lights from the dimly-lit office. The bit of greenish light in the upper right quadrant of the picture is the far wall of the office reflected in that glass door.

Obviously, this puts all the emphasis on the figure opening the locker, though there's just enough light to show you that there are things and people around him.

This is part of why I like time exposure. A light like my little lantern would likely be way too dim for a normal hand-held snapshot.



Now we add one more new light-source, a small single-LED flashlight. It provides a somewhat focused circle of bluish light that suggests it could be coming from an in-the-scene light source, such as a flashlight or spotlight, invisible just off camera.

The flashlight is actually near the camera and just to the side, so the lighting is rather flat. By aiming it low, it reveals the figures behind without drawing undue attention to them (the faces are in shadow).



Here's the LED flashlight again, but this time I've moved it off to one side for more dramatic shadows, and aimed it at the face of one of the figures standing behind the lead-Minion. Again, the emphasis shifts to him watching. Is he delighted at what he sees? Alarmed? Is he planning to steal it? Clearly, something is up. The lighting says so.



Finally, we add a soft bounce-fill from the overhead light to the previous elements. The emphasis is still on the two foreground characters, but we're aware of their surroundings (which are far less frightening) and the people around them. Still moody, but far less sense of dread. One nice touch is the variety of colors provided by the different light-sources, though all are what you'd think of as "white" in other circumstances.

So there you go, a lot of different results using some pretty simple equipment that most anyone would have around. This isn't intended to be an instructional feature, just some examples that my inspire you to experiment on your own.

Minions #3

Minions #2

Minions

The first in a possibly on-going series...