Set Flat Construction

Fri, 14 Nov 2008, 10:58 am

Don Allen6 posts in thread

What construction method do you use for your set flats, why ? how ecconomical is it ? how practical is it ? Let others share in your successes and failures. Don't be faraid to say what doesn't work as it will save others travelling down that path. This came up in discussion the other day and the times they are a changing. The Garrick theatre have a system of using pine frames using 75 x 42 or 90 x 42 timber, 3.3 metres high which takes them to their stage beam height. These frames are made in 300 mm and 600 mm widths to suit 1200 x 2400 mm ply sheeting. Fir doorways, you use the opening between two flats as you can attach the door hinges to the side of the flats and fill in above the door. The solid frames also allow you to attach cupboards and bunk beds to the flats. The Garrick screw their frames to the floor and brace to the walls and stage beams, which gives a solid set so doors can be slammed. Playlovers have a system of bracing their flats to the walls using telescopic steel tubes with wing nut set screws. These are attached with bolts to a dexion strip running all the way around the stage walls. This allows for quick and flexible set construction. Tony Ridout built this David Ashton at All Things Theatre has a metal framed system that are skinned with wood and optionally covered with canvas for a that original flat texture. Kwinana Theatre Workshop use wooden frames with mdf skins.

Thread (6 posts)

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Don AllenFri, 14 Nov 2008, 10:58 am

jeffhansenFri, 14 Nov 2008, 07:23 pm

Down at Melville, we have

Down at Melville, we have wooden frames skinned with MDF (or it may be 3ply). Our method of bracing is the same as the way Don has described Playlovers. We have a selection of 1, 2, and 3 foot wide flats that bolt together down the sides with wingnuts. We also have a few short flats that can be used to bridge across the top of two flat where a gap is reqired. As well, we have 2 or 3 flats with door frames built into the to make doors very easy to hang. www.meltheco.org.au

JoeMcSat, 15 Nov 2008, 01:59 pm

Duplicated - can't delete?

JoeMcMon, 17 Nov 2008, 04:29 pm

Phoenix use 'SOFTIES'

Phoenix use 'SOFTIES' predominately!

Calico skinned flats on a pine frame. which were built as Legs originally 4' x 12'.

We have not as yet done a box set production, but if need soft [a.k.a Broadway Flats (for want of a better name)] are quick enough to knock up. along with the 'French Braces', which would generally be hinged to the each flat. As for door & window flats, initially rather than hanging actual Door or Window flats. It is easy enough & more versatile to make up a couple of 'Jogger flats' [1' or 2' wide] with 'header & tail flats attached to suit requirements.

We do have a dexion strip fixed on the US wall, as Garrick has, along with the Old Mill & a few other comeatres. This is about the only thing the Archytech didn't remove, because we had a word with the builders direct - but that's another story!

This site may help because they have a descriptive drawing of parts of a flat;-

http://theatre.sjsu.edu/~culley/PartsFlat.html [American so terms may differer]. As this site is a 'Stagecraft' tutorial, it has a lot of useful info.

With making up a scene set, being old school I prefer the sash 'n cleat method http://theatre.sjsu.edu/~culley/LashHardwareTypes.html, which Logos still indulges in as well. Which is also great for quick set piece scene changes. Further the use of the slip pin hinges help with adding pieces of set to flats http://www.doughty-engineering.co.uk/cgi-bin/trolleyed_public.cgi?action=showprod_T61700 . You can modify any flap butt hinge, if they are not readily available localy. By grinding one end of the hiinge pin & removing it. Then making up a removeable slip pin, the same diameter. Further it is a good idea to tie off a piece of cord to the pin & the hinge , to save loosing it.

It is easy of course to make up the hard [studio/TV] flats, using standard sheets of Ply, MDF, Masonite & 'Sceneboard', http://www.theatricalsupplies.com.au/sceneboard.htmlwhile while not forgetting Cardboard & other sheet materials. The biggest factor with the soft flats, is to ensure you start & keep the frame square, which is easier with hard flats, but they not as versatile, are heavier & more difficult to repair. As mentioed in a previous topic;- http://www.theatre.asn.au/tech_talk/what_type_of_stage_flats .

SunElkSun, 7 Dec 2008, 07:31 am

Luan

In response to gaffa: Luan is the primary material we use in the states. It is light and durable enough to use outside if painted and sealed. However,I have noticed that there is a huge variation in the quality of it between orders. Occasionally we receives sheets that are peeling. In the worst case I once received a shipment where every sheet was out of square.

JoeMcMon, 8 Dec 2008, 12:20 am

I don't know if we can

I don't know if we can procure 'Luan' locally;-

http://www.hobbithouseinc.com/personal/woodpics/mahogany,%20philippine.htm

But I would imagine it would be better than MDF, to skin stage decks with or produce profiles for flats.

Personally I prefer Unbleached Calico [muslin] even as 'gesso' to cover over the 'hard ' Studio flats. At least Luan would not be suseptable to exspantion & contracting - like MDF when it starts walking, over night.

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