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Creature Shop
A number of video screens here progressively show what it was like to work in the creature shop, cleverly leading you from one screen to the next.
Makeup Effects
Creature Shop artisans transformed many cast members into magical beings like goblins, werewolves and even the Dark Lord himself, using applied makeup pieces called prosthetics.
Design
The Art Department provided the Creature Shop with initial sketches and drawings of each creature and character. From there artists transformed the images into three-dimensional models called maquettes.
Moulding
Once the designs were approved, makeup appliances were sculpted to fit the performers. Models of actors' mouthes, heads, arms or entire bodies were cast which artists used to create and test new prosthetic pieces.
Application
Multiple copies of each prosthetic were made from silicone or foam. Then, makeup artists carefully glued each piece to cast members' heads and bodies, a process that took just a few minutes for Voldemort's eyebrows and up to three hours for a Gringotts goblin.
Filming
Because of the hot lights in the studio and actor movement, makeup artsits were standing by on set to touch up smeared lightning bolt scars, broken goblin ears or crooked teeth.
People the world-over have been enchanted by the Harry Potter films for nearly a decade. The wonderful special effects and amazing creatures have made this iconic series beloved to both young and old - and now, for the first time, the doors are going to be opened for everyone at the studio where it first began. You'll have the chance to go behind-the-scenes and see many things the camera never showed. From breathtakingly detailed sets to stunning costumes, props and animatronics, Warner Bros. Studio Tour London provides a unique showcase of the extraordinary British artistry, technology and talent that went into making the most successful film series of all time. Secrets will be revealed.
Warner Bros. Studio Tour London provides an amazing new opportunity to explore the magic of the Harry Potter films - the most successful film series of all time. This unique walking tour takes you behind-the-scenes and showcases a huge array of beautiful sets, costumes and props. It also reveals some closely guarded secrets, including facts about the special effects and animatronics that made these films so hugely popular all over the world.
Here are just some of the things you can expect to see and do:
- Step inside and discover the actual Great Hall.
- Explore Dumbledore’s office and discover never-before-seen treasures.
- Step onto the famous cobbles of Diagon Alley, featuring the shop fronts of Ollivanders wand shop, Flourish and Blotts, the Weasleys' Wizard Wheezes, Gringotts Wizarding Bank and Eeylops Owl Emporium.
- See iconic props from the films, including Harry’s Nimbus 2000 and Hagrid’s motorcycle.
- Learn how creatures were brought to life with green screen effects, animatronics and life-sized models.
- Rediscover other memorable sets from the film series, including the Gryffindor common room, the boys’ dormitory, Hagrid’s hut, Potion’s classroom and Professor Umbridge’s office at the Ministry of Magic.
Located just 20 miles from the heart of London at Warner Bros. Studios Leavesden, the very place where it all began and where all eight of the Harry Potter films were brought to life. The Studio Tour is accessible to everyone and promises to be a truly memorable experience - whether you’re an avid Harry Potter fan, an all-round movie buff or you just want to try something that’s a little bit different.
The tour is estimated to take approximately three hours (I was in there for 5 hours!), however, as the tour is mostly self guided, you are free to explore the attraction at your own pace. During this time you will be able to see many of the best-loved sets and exhibits from the films. Unique and precious items from the films will also be on display, alongside some exciting hands-on interactive exhibits that will make you feel like you’re actually there.
The magic also continues in the Gift Shop, which is full of exciting souvenirs and official merchandise, designed to create an everlasting memory of your day at Warner Bros. Studio Tour London.
Hogwarts Castle Model - Get a 360 degree view of the incredible, hand sculpted 1:24 scale construction that features within the Studio Tour. The Hogwarts castle model is the jewel of the Art Department having been built for the first film, Harry Potter and the Philosopher’s Stone. It took 86 artists and crew members to construct the first version which was then rebuilt and altered many times over for the next seven films. The work was so extensive that if one was to add all the man hours that have gone into building and reworking the model, it would come to over 74 years. The model was used for aerial photography, and was digitally scanned for CGI scenes.
The model, which sits at nearly 50 feet in diameter, has over 2,500 fibre optic lights that simulate lanterns and torches and even gave the illusion of students passing through hallways in the films. To show off the lighting to full effect a day-to-night cycle will take place every four minutes so you can experience its full beauty.
An amazing amount of detail went into the making of the model: all the doors are hinged, real plants are used for landscaping and miniature birds are housed in the Owlery. To make the model appear even more realistic, artists rebuilt miniature versions of the courtyards from Alnwick Castle and Durham Cathedral, where scenes from Harry Potter and the Philosopher’s Stone were shot.
Dad is 76 and developed a particularly cruel form of dementia called Progressive Aphasia (PA). Unlike Alzheimers, the damage is to the frontal lobe and impairs your ability to speak and read and write...as well as destroying your memory. Dad was a salesman and lived and worked and enjoyed life by talking and socializing. The Pandemic has left him more isolated and unable to access any care or in-home help for my mom. Mom has born the brunt of all this and has done a yeoman's job. But he declines mentally and she is unable to care for him. Physically he is very fit. Anyway I took him for a walk by the Hudson River, where we used to boat long ago.
The next day we took him into his second living facility (the first one clearly only wanted end-stage Alzheimers patients because you can park them in front of the TV and do little work caring for them...despite charging $11,000 a month.) The next day we put him into a new facility, but he has been so agitated, because he is lost and confused. He has been sent to a hospital several times (he can't speak but he can still swear fluently and carry on) and now he is in a psychiatric unit trying to stabilize him. He's been restrained and it is painful to see him in this state. I am hoping thry can stabilize him and calm him down. I hoped his final days would be eating lunch with the other old folks, watching golf, going for walks, listening to concerts etc...not strapped to a gurney.
This has brought up...possibly morbid thoughts about end-of-life issues. I remember Jack Kevorkian back in the 1980s and I always thought assisted suicide should be an option, just like we do with our pets. We had to put down our beloved dog a few years ago and while painful, it was merciful and more humane than letting him die from SIBO...which entails wasting away from diarrhea until your electrolites become so unbalanced that your heart stops or goes into arrhythmia. This should abdolutely be an option for humans.
I once heard a radio religious program in which the priest was dead against assisted suicide becsuse it denies us the crucible of suffering to bring us closer to Jesus or God. BALONEY BULLSHIT. This idea of God's unknowable plan is just such bunk. God has the power to make universes, floods and rainbows, raise a few dead and cure a select few people, then what purpose is there in making people go through the "crucible of suffering". None. I mean does it really bring you closer when your abused and neglected by a parent friend, spouse, whatever? Only a sociopathic megalomaniac would suggest that, when they have infinite power to change it. The truth is is God is wishful thinking to pacify our need to be more special in the universe, when we are emphatically not. In fact as a race humans are more despicable than not. I have to say none of this is new thought for me, just because dad is strapped to a gurney. It never made sense to me...that children get cancer, or down's syndrome, or starve, or get hit by shrapnel in the endless conflicts. There is either 1. A sick meddling god, like the ancient deities or 2. No god at all. The real truth is right in front of us....science. It has no reason, no higher purpose, no endpoint. We like the rest of the universe are inertia, particled following trajectories, but with limited ability to know what comes next. A relational universe where even separate observers can rightfully claim different outcomes of the same event. There is no truth or privileged frame of reference in the universe. Thus disease like PA is really a trajectory down an unpleasant path. A draw of the short straw if you will.
Dedpite this I feel life is worth living. I try to live it the best...more so than the devout religous, because there is nothing on the other side. The gift is to be here in the present. And why do it morally? No reason other than it feels good, and receiving the same morality and respect and care feels good. Isn't this the way we want to live. Additionally it is incumbent to know the universe. We are gunning for God. We know the largest and smallest rules of the universe and have wrought much good....and plenty of bad from it. However our knowledge base has created drugs, beaten back pathogens, sometimes cure diseases and cancers, facilitate travel and communication, etc etc.... how many heavenly miracles have saved generations of people like the Salk Vaccine did? How many prayers have stopped plagues and typhoid and cholera? None at last count. But people with microscopes and maps nailed these killers to the wall.
Anyway this has been heartbreaking for the whole family. Hopefully he can be stabilized and spend his last days watching golf and doing crafts. Etc...
This is stitched together from 4 different photos.
This is from the June 14, 2008 game. The mighty Cleveland Indians fell in extra innings to the San Diego Padres in an interleague game, 7-2.
Photo taken from Section 572, Row X, Seat 14.
Progressive Field / Cleveland, OH
Owned by: Progressive Waste Solutions in Clearwater, FL
Chassis: Peterbilt
Body manufacturer:
Type of truck: Roll-off garbage truck
Additional notes: All of the Clearwater area WSI roll-off trucks appear to have new Progressive Waste Solutions decals on there doors.
Location of photo: Pinellas County, FL
If you want to use this image, ask permission PRIOR to use. Don't be a thief - under most circumstances, I'm quite reasonable.
Copyright 2012 - Alan B.
All the elements made from the punches section except the orange fan things and the berries, the fan things have a circle cut from the BK overlaid on them same idea with the berries, oh and the frame, that was from a kit.
Thanks for the challenge, didn't think I could create something like this.
Thanks for looking and leaving comments....always appreciated xx ; 0)
SD45m #43 on their Wisconsin Northern operation at Norma, WI on July 17, 2021, started life as a Union Pacific unit. (misc 60910b)
With some obvious mechanical issues, Progressive Rail switcher #36 (Ex-Soo 1400) sits in a parking lot next to the Progressive Rail Distribution facility in Bloomington, MN
A cave gallery and on display is 'looking at me looking at you'.
Thanks for the challenge, I love these as it get you using CA2.
Thanks for your comments too, always appreciated xx
With the sun setting, BabyDoll Bre wanted some silhouetted shots, she got them. You can see the progression of the sun setting in each of them.
©2002-2013 FranksRails.com Photography
ILS (Independent Locomotive Service) GP38-2 #1301 and GP15-1 #1402 are working the Rosemount branch at Eagan, MN on August 9, 2024. (misc60910r)
Leased MP15AC #303 (an ex-Milwaukee unit) was assigned to a stub of the old CGW operated in Faribault, MN on August 9, 2024. (misc60910p)
First Thursday: 9/3/2015
Photos by Jennifer Hughes
Alien She
Sep 3, 2015 â Jan 9, 2016
Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and â70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the â90s, with many new chapters forming in recent years. Riot Grrrlâs influence on contemporary global culture is increasingly evident â from the Russian collective Pussy Riotâs protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.
Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance â a reflection of the movementâs artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.
Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.
Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.
Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more
Womenâs Studies Professors Have Class Privilege / Iâm With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.
Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.
Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh
Holding Sway: PNCA Faculty and Alumni Exhibition
Sep 3, 2015 â Oct 18, 2015
Opening Reception Thursday, September 3, 2015, 6-8PM
With the first Pacific Northwest College of Art Faculty Biennial to be held in our newly renovated historic Federal Building at 511 NW Broadway, now named the Arlene and Harold Schnitzer Center for Art and Design, we sought to do something that would not only highlight the artists, designers, and scholars who make up the faculty at PNCA, but also to showcase the scope of contemporary art, craft, and design created by alumni from PNCAâs Bachelor of Fine Arts and Masters of Fine Arts programs. The result is the first ever PNCA faculty and alumni exhibition titled Holding Sway.
The faculty and alumni of PNCA are among the nationâs most rigorous thinkers and practitioners. While as a group they are diverse in their creative endeavors, they are united in their drive for a continual exploration of creative practice. The strength of the creative community formed by the cultural producers of PNCAâs faculty, alumni, and students can be witnessed in the range and depth of work presented in Holding Sway.
Accompanying Holding Sway is a companion publication featuring fiction, non-fiction, poetry, and criticism by PNCA faculty and alumni.
Made me think of the progressive dinner parties people used to have. Is there still such a thing? This started out as a reflective window shot and ended up as a bit of photo art...
Alien She
Photos and Video by Mario Gallucci
Alien She
Sep 3, 2015 – Jan 9, 2016
Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.
Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.
Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.
Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.
Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more
Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.
Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.
Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh
Alien She is presented in two parts:
Museum of Contemporary Craft
724 NW Davis
Portland, OR 97209
511 Gallery @ PNCA
511 NW Broadway
Portland, OR 97209
Both venues are open Tuesday through Saturday from 11am to 6pm.
Performing at The Progressive 100th Anniversary Celebration Concert @ at Orpheum Theater in Madison, WI
I found out my new phone has a panoramic feature on it, so i snapped this shot before I left the Indians game at Progressive Fields. Enjoy.