We had already stayed at London’s Shepperton Companies, another popular film facilities, where the Beatles sometimes taken video clips for their singles; but at Shepperton, we practiced in the growing dark areas of the staging’s simple supports. Strolling into Ren-Mar for the first day of testing there, I was not ready for the frustrating vision of the finished adventure set. It was much larger than I’d imagined—so big, actually, that the six foot-high level had to be eliminated, otherwise there would have been no space above to dangle light style rig.
The castle’s façade was amazing to look at. The focal point of the set was a simulated rock posture with a stained-glass screen that calculated more than 20-feet great and provided as the back drop for the percussion and a sequence of computer graphics during the display. The posture was ornamented with metal passes across and warp speed torches that emphasized the ancient design. The middle framework was flanked at each part by identical archways with actual copies of ancient balconies, gateways and portcullises. These three archways were linked by two ivy-covered artificial rock adventure surfaces that calculated six-feet extensive by five-feet great. The middle of the set was an eight-step-high stairway that more than doubled as a large seven-foot drum riser, as well as the foundation from which various amazing computer graphics would appear during the display.