Project description
We are finishing a rented shooting hall and the main job left is the cyclorama. The clear wall is 6 metres wide and 3.2 metres high, and the corner has to disappear: wall flows into floor with no visible line, and the two side corners are curved as well, so the whole thing is a three sided shell. Planned cove radius is about 50 centimetres at the bottom and 35 at the vertical corners, but I am open to your numbers if you have built these before and know what photographs better under a soft box.
The critical part for us is the floor edge. People walk on the lower cove every single shooting day, models stand on it in heels, we roll a light stand across it, and a cyclorama that cracks along the joint after a month is worthless. So I expect a proper frame under the curve, not just a pile of plaster: ribs or formed sheet substrate, mesh reinforcement over the transition, and a hard, impact resistant mix on the walking zone. Tell me in your offer what system you use and why it survives traffic.
Surface quality matters as much as strength. We light with the key at a very shallow angle, and at that angle every wave, every trowel mark and every sanding scratch reads as a shadow on camera. Finish putty has to be flat when checked with a two metre rule and a raking lamp, not just flat to the eye. Paint is matte white with a low sheen, applied so that it covers evenly without patchy spots, and it must take spot touch ups between shoots without showing a lighter square. Please include the number of coats and the drying schedule.
What I need from you:
— measurement visit and a written scope with materials by name and quantity;
— framing, substrate and reinforcement of both the floor cove and the vertical corners;
— plaster work, filler, sanding to a raking light check;
— primer and matte white paint, coverage checked with the studio lights on;
— clean handover, dust removed, and a short note on how we repaint it ourselves later.
The hall is empty and accessible from eight in the morning, power and water are on site. Realistic window is ten days including drying between coats; if you need longer because of humidity say so up front rather than rushing the paint.
The critical part for us is the floor edge. People walk on the lower cove every single shooting day, models stand on it in heels, we roll a light stand across it, and a cyclorama that cracks along the joint after a month is worthless. So I expect a proper frame under the curve, not just a pile of plaster: ribs or formed sheet substrate, mesh reinforcement over the transition, and a hard, impact resistant mix on the walking zone. Tell me in your offer what system you use and why it survives traffic.
Surface quality matters as much as strength. We light with the key at a very shallow angle, and at that angle every wave, every trowel mark and every sanding scratch reads as a shadow on camera. Finish putty has to be flat when checked with a two metre rule and a raking lamp, not just flat to the eye. Paint is matte white with a low sheen, applied so that it covers evenly without patchy spots, and it must take spot touch ups between shoots without showing a lighter square. Please include the number of coats and the drying schedule.
What I need from you:
— measurement visit and a written scope with materials by name and quantity;
— framing, substrate and reinforcement of both the floor cove and the vertical corners;
— plaster work, filler, sanding to a raking light check;
— primer and matte white paint, coverage checked with the studio lights on;
— clean handover, dust removed, and a short note on how we repaint it ourselves later.
The hall is empty and accessible from eight in the morning, power and water are on site. Realistic window is ten days including drying between coats; if you need longer because of humidity say so up front rather than rushing the paint.
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