Photo 2: Felicia got a full day of adventure right from the start: running, jumping, climbing trees! Even the simplest things needed to be done with a full support team for safety. Here, I discuss the tracking sequence with lead stuntman Tim Eulich as Stunt Coordinator Thom Williams helps Felicia reach her perch in the California Oak.
Photo 3: Tallis hunts her prey, perched high in a tree, blending into her surroundings. This scene looks very much as I imagined it when I first read Felicia's script. This was also the genesis for adding the hood to her costume design, as she is pretty famous for standing out with that brilliant red hair.
Photo 4: I got to spend some time up in the tree, too, since it was difficult for Felicia to climb the ladder with the daggers attached to her back. I needed to go up there and clip them on once she was in position, which was rough for me because I am TERRIFIED of heights. She was as comfortable up there as a squirrel, though, so she once again gained points for being dedicated, fearless, and awesome.
Photo 10: I decided that the safest way to go for the majority of Tallis's travel would be to create lightweight, plastic versions of the daggers in crossed sets that didn't come apart. These would clamp onto the back of her costume, and she could run, roll, and flip with out the fear of stabbing herself or others.
Photo 12: Here, Production Coordinator Pooja Sharma prepares a flexible rubber copy of the daggers for a fight scene. On set, it was everybody's job to guard and care for all our props. As you can see, there where too many items for just a single "prop master", so it was all hands on deck for the very tedious job of keeping track of and maintaining all the weapons.
Photo 14: And leaped like one, too! Team Tallis practiced every day for weeks at a park right near my house, so I got to watch the training progress as I walked my dogs each morning! I remember the first day, I had forgotten that they would be there, and as I was approaching the park from a block away, I was impressed by how high a woman was jumping into the air, spinning. As I got closer, I realized it was Felicia!
Photo 15: Art and Print also enjoyed the daily show, as I decided I would bring a camera and hang out for a minute to document the progress each day.
Photo 17: All that fight training was put to the test when Tallis goes up against Brom, played by Greg Collins. He's been on a lot of cool shows, but I don't think anyone's ever had him wear an ear necklace like the one I made him! Or carry a battle axe, for that matter...
Photo 18: This is the game asset we pulled from the BioWare chart. Keep in mind, this chart had HUNDREDS of weapons. We had hours long meetings about which ones we should make, and who should wield them. Felicia and I would narrow down our choices, pass it around production, then send the favorites to BioWare. Mike Laidlaw and the gang were always kind enough to just eliminate the ones that didn't work for in-game political reasons (Like if we assigned a weapon design to the wrong race) and let us chose from the remaining pix.
Photo 20: There were multiple versions of the axe made: a hero, a soft stunt, and a high-impact version. Here, Leo Nasca bondos the hero version. Leo answered the Knights of Good call to help the DA:R art department, arriving at the BarnYard his first day in Los Angeles. He went to school for film audio recording, but just wanted to be involved in any way he could. He has since been in the sound department on almost every project we have done this year.
Photo 21: Here, I apply the final details to all three versions of the axe prior to filming. I trimmed them with hemp rope and copper wire. I originally planned on hanging some leather straps with feathers off of the head, but it seemed like there was enough going on already in the end!
Photo 23: Alan Baxendale made the Tinker's pack on his first day at the BarnYard. All of the sticks were actually bolted together, but hemp rope was used to lash over the metal fastners and make it look like it was assembled more primatively. All of the bundles and packages were empty boxes or styrofoam shapes wrapped in burlap.
Photo 27: Here's Mazin's real world version. Aluminum blade, brass gaurd plates, urethane pommel, and skinflex handle grips.
Photo 28: The Templar sheild was another example of a very impractical real-world design, but it looks so amazing in the game I had to figure out a way to make it work. Bryan and I mapped out a series of sintra cross sections, made a three dimentional grid, like one of those wooden dinosaur puzzles, and then he filled in the empty areas with WED clay and bondo'd the surface to make the compound radiuses of the sheild. After polishing that out to a smooth surface, the form was waxed, and an 1/8th inch layer of fiberglass was applied. When cured, this was popped off, and the design was dremmeled out of it. Bryan then glued this back onto the form, used Magic Sculpt to bevel all the edges, and molded it.
Photo 29: The copies were then sanded, primed, and painted. Here, Bryan and Frank Bonanno paint in the deatils defore the sheilds are weathered.
Photo 30: The finished sheilds on set. A hero, and 2 stunts. All three survived the shoot completely in tact, despite the beating they took!
Photo 31: Tim doubled for Carin throughout the shoot. I am gearing him up for the first fight scene of the production.
Photo 32: There are still so many crew members I haven't had a chance to mention yet! While all this chaos is going on, my assistant Sloane Grace holds the ship together by getting us everything we need to create our fantasy world.
Photo 34: And of course, the BarnYard couldn't bring you any of this cool stuff with out the help and support of The Knights of Good team, Felicia Day and Kim Evey. They have brought me some of the most exciting projects the BarnYard has seen in years. I would follow these women off the edge of the world if they needed me to. And beleive me, Dragon Age: Redemption was as close as it gets to the edge! Wait till you see the next episode.