Category Archives: Cinematography

Halloween 2022: Expedition Everest

Scariest. Halloween. Ever. Needless to say, we were really pleased with this. And a bit surprised.

It’s difficult to calculate the fear factor on any of our Halloween displays. Fright is often reliant on the element of surprise. Since in 2018 we tried to build a structure to conceal props from the street – and failed, we have kind of given-up on building large structures or total concealment. Also we don’t generally get to try the whole thing until it is Halloween night.

Since our basement is full, we are in a mode of trying to re-use past displays. Enough time had past that we thought it was worth another go at the Yeti. We had the props and media needed to do most of it. We developed a lot of new technology and felt we could make a large animatronic figure work reliably. All we needed was a way to make the yeti pop.

One barrier to working with props next to our porch is that the stairs set the doorway about four feet above ground level. To get something scary to be in-your-face, we would need to raise the thing up on a platform or hang it from some kind of scaffold. Hanging the yeti had some appeal because the motion of the yeti could be tied to the vertical movement if we raised and lowered it.

Fast forward two months to our having constructed a 12-foot tall truss, which notably does not fit in our basement. The truss has a 20-inch pneumatic cylinder at the top to drop the yeti down by its arm. His foot is mounted statically on the truss so the vertical drop forces his body to swing-out towards the unsuspecting kids. We did not think this would scare anyone.

Part of the reason we though no one would be scared is because we have hung props by the porch before. It doesn’t matter what kind of lighting we throw on it or what shocking sound we have. Kids are are unphased by anything short of a trapdoor swallowing them up into a pit of eternal misery. The other reason is we didn’t have a good way to conceal the yeti. No matter what we did, you could see the yeti from the street. We were resigned to providing lackluster fear.

After setting up most of the props, we cut down a 12-foot tall white pine in the backyard and put it in a Christmas tree stand. Placed in front of the yeti, the tree was a modest attempt at concealment. At the very least, it looked outdoorsy. Like the way they have trees – in Tibet.

The fact that many people failed to see the yeti is not wholly credited to the tree. There were a couple other factors that worked as a distraction: The video on the door worked as a red herring. There seemed to be a “if we make it to the top step, we’re safe” attitude. This worked in part, because we ran the video and the animatronic on two separate threads in the show controller by using light beam triggers at the bottom and just past the top of the stairs. This meant the yeti would not be triggered until you fully committed to walking toward the door. Also, the speaker placement for the video soundtrack was cheated to the left which seemed to make people look away from the yeti on the right? Maybe? Regardless, there was no way this was going to scare anyone.

We knew we were successful/in-trouble when the first child came up the stairs, saw the yeti, then broke into tears. The parents reaction to this was incredibly gracious. In fact, parents overwhelmingly enjoyed this year’s display. To the detriment of their children, parental guardians willingly pushed their terrified children up the stairs to meet their fate. When the kids refused, the parents came up. We had more parents take in the experience for themselves than in any other year.

This is not to suggest that kids didn’t like it. There are kids that love to be challenged and we were told repeatedly that we could do this theme every year. This might be a rebuke of our past efforts, but we created an inferred challenge that now must be met on an annual basis.

218 kids got candy this year. Some were handed to parents or siblings. Some kids ran away too fast.

Halloween is not just about candy.

Halloween 2021: Raiders of the Lost Ark

The opening to Raiders of the Lost Ark has to be one of the best sequences in the history of cinema. The fantastic low-tech booby traps. The John Williams score. The visceral feeling of danger with icky spider webs is completely immersive and “completely immersive” is always the goal for us.

Spoiler: No, we did not roll a 30-ton ball down the stairs. But we thought about it.

One of the first hints we had on achieving this was in finding a still-frame of the idol room which we edited the pedestal out of. This we projected on the house so that we didn’t need to build the whole room. Falling rocks were animated over the image to simulate the destruction of the temple, triggered on a Sprite video player.

Still frame from Raiders of the Lost Ark

The pedestal was fabricated out of wood and carved foam with foam hardener. In the center was a pneumatic-driven lift mechanism with a Chachapoyan Fertility Idol that we bought on Etsy. Turns out you can buy anything on Etsy.

As an almost last minute addition, we introduced an ankle blaster on the stairs to simulate the blow dart scene. The compressed air blast worked really good as a scare because it was combined with a stereo blowgun sound effect that panned across the stairs. As in past years, the whole show was run on VenueMagic software.

In all, we had just over 200 kids. We’ll call it a “rebuilding” year. It was definitely the best prepared we have ever been with the setup mostly done at 3pm. Having friends Suchi and Sarath over to hand out candy also made the evening the easiest and most enjoyable we have ever had.

Halloween 2016: The Headhunter’s Jungle Hut

We have been wanting to improve on our 2007 Tiki theme. That  year we made a giant African mask. The mask spoke and rolled its eyes and we planned on using those features to create a circus barker-like character in a somewhat elaborate interactive display.

The show didn’t make it as far as we wanted. They never do, but this year we scrapped the interactive elements and the production became an exercise in set decoration. The porch was clad with reed fencing and jungle vines. Shrunken heads on bamboo pikes. Two Maori warrior shields. Or at least our interpretation of what a vaguely Polynesian warrior’s shield should look like. 

There is some debate as to how far tiki should stray from Polynesian culture. To be authentically tiki, the environment must be:

  • Mysterious
  • Exotic
  • Richly detailed

Our take on tiki is that in addition to the above it must be comfortable or romantic and include anything that might wash up on a tropical beach. Over all it must be a form of escapism. Start with a South Pacific island, imagine what floats in from South America, Japan, India and Africa. Then light a torch and pour a drink. That’s tiki.

Our incorporation of tiki into Halloween was only half intuitive. The dark and mysterious aspects are well suited, but the exotic parts not so much. We decided that defining the story to be about headhunters would make the theme more palatable to kids.

For the music, we went straight to exotica. Les Baxter, Martin Denney, The Left Arm of Buddha, and The Tikiyaki Orchestra. Is this what a headhunter listens to? Doesn’t matter. Slower tempo songs added to the feeling of mystery and suspense. The genre speaks the language of adventure and – somewhat surprisingly – it is decipherable by people of any age.

When adding detail, shadow is as important as light. With vines covering the doorway, the darkened space behind added as much to the suspense as the foreground elements. We tried to make the body of the house as dark as possible to put focus on the themed elements. The most detailed element being the jack-o-lantern pineapple tucked into the corner of the porch. It was the kind of Easter egg that makes tiki great.

We did make a couple contributions to technology. The first were musical warrior shields. Each shield make a sound when hit. This was a subtle feature that no one picked up on unless shown, but it was fun for little kids. Each shield had a piezo trigger connected to an electronic percussion controller. The controller triggered the “Tiki Threat” patch on an E-mu Proteus sound module. Good old 90’s music technology made even better for having an obviously named sound choice.

The other new feature were the self-flaring tiki torches. There is nothing that a little propane can’t fix. Just add a solenoid valve, a regulator, and some copper tubing and you’re off to the races. They were connected to the VenueMagic show control system that gave all the lighting a soft, flame flicker. The occasional burst of flame kept people ready for the unexpected.

Out of the 258 kids to come up our stairs, about half correctly identified the theme as “tiki.” That’s impressive. Tiki is most often identified with adult diversions, but it creeps into pop culture everywhere. It wouldn’t be a surprise if children picked it up from a trip to Disney World or an old episode of Scooby Doo. Wherever they got it, the theme was much better received than we planned.