If you have a lot of money, time and resources every part can be meticulously designed, rendered or blueprinted . You can take the designs and manufacture every item on your prop by hand or subcontract it out.  Or you can do as our little team did for the Death Ray prop built for “Normally This Weird,” the Sci FI web series. 

We started with concept sketches. This was a guide for the shapes and possible relationships between the various design elements or shapes. 

Death Ray weapon concepts.

Nate Stipes and I began searching Goodwill Stores and Dollar (discount) stores looking at everyday objects.  Our first goal was to get things for free as Nate did with a broken Electrolux vacuum cleaner. 

Basic Electrolux with barrel added

Chambers from coffee canisters.

We needed a gun barrel.  Here we had to buy some two-inch PVC pipe for strength and rigidity at the base. For the smaller section, we found a $3 high pressure car wash sprayer / nozzle from Goodwill. Diane Cook added disks made from yogurt  cartons and quiche packaging. 

Water pressure nozzle, yogurt container bottom and "O" rings form part of weapon barrel.

Coca Cola caps and cut off wood dowel rods became trigger buttons and knobs.  Plastic food containers formed unique shapes at the front and rear of the gun.  

Cola bottle caps and food packaging (with yellow LEDs added)

One half-inch PVC pipes and couplings from Home Depot became ‘steel’ and ‘brass’ power tubing and fittings. Plastic canvas from Michael’s Art Supply became vent grills or detail pieces.  The top “power condenser’ was created from a coffee creamer bottle, toothpaste cap, and a blinking LED light and mounted with some Velcro tabs.  

PVC pipe and plastic "canvas" mesh.

The light sequencer was created by Diane Cook from the side of a Log Cabin syrup bottle.  With a coat of spray window frost it became a cool detail.

Props literally from trash.

Various items used in Death Ray. Can you find them on the prop?

 

The roll around base was from a $6 Goodwill chair.  We simply lengthened it with some metal water pipe.  A cut up pencil holder became the green “plasma chamber.”   One of the most fun design solutions was the use of two paint rollers covered with plastic vacuum hoses for the gun handles and fire controls. 

Finished Death Ray Weapon prop.

 

As seen in Normally This Weird

If you have little cash but some time and imagination you can take ordinary items, broken appliances, even trash and make a pretty cool Death Ray Weapon (prop, that is!)

Photos: (c) 2011 by David Stipes 

  

  

What is this material?

Fun Foam; available at Michael's Art Supply and some Wal Marts

Fun Foam is flexible, takes glue, paints well and is easy to cut and shape.

Fun Foam has been around for some time but relegated to the “kiddie kraft” market. It has seen a resurgence in Sci Fi fan costuming and prop building. A local Phoenix costumer used it to make the body armor for his Batman costume. Since it is flexible and comes in a thicker size, he could use it to safely recreate the “spikes” along the outer edge of the Batman gloves.

In the Death Ray prop for the SciFi web series, “Normally This Weird,”  Fun Foam was originally purchased as a spacer between tubing on the prop base. As we were trying to solve logistic problems, we found it excellent for use as light sealing gaskets, locking seals to hold removable parts, surface shaping or texturing  and art direction.

Fun Foam used as a molding to left and surface to fit keyboard.

Thin strips of Fun Foam used as a light seal for the "Plasma Coil."

Here used as a flexible edging to fit on curved surfaces.

In addition to the “Death Ray”, we had to tech-out the interior of a vintage car to be a ‘ Time Machine.’ We could do no painting or modifying to the actual surfaces. We found that the Fun Foam could be used to create or apply a non-permanent and non-damaging surface that could be painted or receive additional props or details. 

Fun Foam resurfacing the center console of vintage car.

Diane used the Fun Foam to solve a size / compatibility issue with the firing controls. We had items that would function as the handles but we also wanted hoses to attach to them. Because Fun Foam is so flexible, almost moldable, Diane was able to manufacture rubber ‘boots’ to fit the hoses and taper down to plug into the handles.

Tapered hose to handle 'boots' for Death Ray firing controls.

Now for a tease of what this Death Ray looks like:

The evil Dr. Archeval's logo (Photo by Nathan Blackwell)

Plasma Coil engaged! (Photo by Nathan Blackwell)

Ready to fire! (Photo by Nathan Blackwell)

So, what is that Plasma Coil? What were these handles made of? What common, even crazy, household items were used to construct this prop?   

There is still more to tell! Check back in and see!

(To be continued…)

Photos by Nathan Blackwell © 2011 Squishy Studios.  All other photos © 2011 David Stipes

I had forgotten how important a well tooled and supplied workshop can be to efficient model and prop building! I had taken for granted the quality of the shop when I was at Cascade Pictures, or the one in my own studio. Unfortunately when I went to work on Star Trek and got immersed in the digital world, I let my tools go to others.  Now, what should have been straight forward tool cuts became laborious chew-it-out-with-my-teeth kind of endeavors. 

So it was off to the hardware store for power tools and support supplies! Hey, I wanted to eventually have a “workshop” in my garage anyway!  This was a great project to motivate me to get that shop together.

As Nate and I talked to the director, Nathan Blackwell, the Death Ray developed into a more visually active prop. We all agreed that blinking lights or some sort of a “power chamber” would be visually exciting.  I was excited to amp this prop up a notch or two.

As I began researching lighting equipment, my next big realization was that much had changed since I was last building props professionally! I guess that is a “Duh…” but it did hit me kinda hard; I had to rethink my approach to lighting this thing.

I was restricted by available space in the prop for lighting and had limited budget. Much of the miniature lighting had gone to LED units and the controls were electronic now. No more ‘grain of wheat’ bulbs wired to micro switches mounted on rotating cam banks!

Micro switches on a motorizes cam bank. The ol' fashoned way!

I was an old’ electro mechanical kind of guy; this electronic stuff was going to challenge me a bit.

Lucky for me, right here in Phoenix was a really cool company,  Jeco Glasscraft  http://www.jecoglass.com/originalleds.html   Their sister company, Phoenix Lights, supplied LED light strips, power supplies and plugs, and most important, some personal one-on-one instruction from Jess, the owner! 

Adhesive backed LED light strips from Jeco / Phoenix Lights

After a visit to Jeco I was set for tight quarter lighting solutions. 

I still wanted some more “life” in the prop lights so I talked to an up-and-coming local custom prop and costume maker, Todd Cook. Todd had constructed a fine Ghostbusters Proton Pack so he was able to direct me to some pre-programmed light sequencers.  I bought a BK116 Chaser Kit, 16 LEDs with “Ghostbusters Proton Pack sequencer” light kit from   http://www.bakatronics.com/shop/item.aspx?itemid=741

“Ghostbusters Proton Pack sequencer” light kit

I had the option of soldering it together myself or getting it pre built. I chose to solder it together myself.  I probably won’t do that again; not because it was a difficult kit, it was quite easy.  But again I am used to screws, lugs and cams and those solder points on that circuit board were SO tiny!

Yet another realization was that, at times, I miss Los Angeles. More accurately, I miss APEX surplus, Minarik Electric, C & H Sales and the various suppliers of oddball esoteric junk that prop and set builders have counted on for years.  Well, this caliber of surplus doesn’t seem to exist in Phoenix so I had to buy everything new or fabricate it myself. That cost me a lot of time and added expense to the prop. (I am hoping that some Phoenix readers of this blog can clue me in on any hidden surplus resources.)

One of the first construction concerns was to add some height and bulk to the Electrolux vacuum body. I fabricated a sloped sided box under the vac.  While trying to save on costs, I used plywood reinforced with 1×2 furring strips.  On retrospect, not such a good idea. As the electrical and lighting complexity grew, I ran into issues of splintering surfaces and 1×2 strips where I wanted to mount switches. 

Mounting a plywood base.

I know I probably should have done accurate drawings in planning and I would have if someone else were building this.  Since I was doing a lot of the work, I ad-libed a lot … and paid for it.  <Sigh> 

I had to live with it so, to this plywood box, I added an old laptop keyboard that my son, Nate, had squirreled away.

Adding a keyboard and trying switch positions.

I had to get away from plywood for more complicated shapes. Knowing the filming needs, I adopted some ½ inch gator board to hold the two former coffee canisters on top of the weapon. 

Nate gluing coffee canisters to 1/2" gator board

With my teaching responsibilities I could see that I might need some help to meet the deadline. I asked my friend Diane Cook to help with the construction.  Diane has a fine history of costuming and semi-pro prop building.  http://kitchencostuming.com/archives/category/props   Diane also has a fine color eye for matching paints and has quality craftsmanship.

Diane Cook inspecting paint work.

She has done a lot of the painting and aging of the weapon and its details. Diane also introduced me to a fantastic, low cost craft material that we put to use in a number of ways on this prop. 

What is it?  Check back…

 (To be continued…)

While I am semi retired (I am not retired yet!) from the visual effects biz, I still get the bug once in a while to do “just one more project.”  My son, Nathan Stipes, has been the Art Director and de facto prop master on a web series called, “Normally This Weird.”   http://www.normallythisweird.com/      It is a creative, web-based series of episodes written and directed by Phoenix film maker, Nathan Blackwell.  

The series covers the strange adventures of a normal young couple who move into a neighborhood filled with some kinda’ unusual people. You have an eccentric inventor who is married to what may be an alien disguised as a 1950  ‘June Cleaver’ housewife.  There is the ‘Men in Black’ style FBI agent and his men constantly trying to expose the strange goings-on. And more! 

My son Nathan (aka ‘Nate’ on this production) shared that he had some unusual items to come up with for the newest batch of episodes. One of the show calls for the FBI agent, Danford, to raid the garage of Archeval, the inventor, seeking evidence. 

Danford and the Agents walk across the street to the Archeval house. He BANGS on the mad scientist’s garage door. 

DANFORD 

Archeval! Open up! You and me, right now! 

The garage door does indeed raise. As it opens, Archeval is glaring face to face with Danford. In the workshop is a DEATH RAY.   

 The production needs a Death Ray!??!  I can’t pass that up! Wow! I just gotta’ build a death ray weapon! 

My son, Nate, and I started brainstorming.  We went on on-line and looked at a number of 1930’s and 40’s movie props as well as comic art.  We both liked the long cylindrical look with long gun barrel out the front. 

 I came up with a few sketches and ran them by director, Nathan Blackwell.  He liked this one.  

Approved "Death Ray" concept

Because of extremely limited budget we had to have Blackwell decide which way the gun would be pointed so we only had to detail out or finish one side of the weapon. 

Nate Stipes began a phone search for repair stores with dead canister vacuum cleaners and old hoses. He scored two old vacs. We both liked the Electrolux with the rounded front. As near as we can tell it was the model 9000 or similar. It had the advantage of being a later model made with a plastic cast skin, not heavy metal of earlier machines. 

Electrolux in action

It was still pretty heavy so the first operation was to gut the poor old thing. With motors, recoil devices and wheels removed, it was a lot lighter. 

Now that we had approved concept sketches and a basic body shape we could go about to the local Goodwill and ‘Dollar-discount’ stores for parts and shapes. It was a bit hit-or-miss but sometimes serendipitous. 

 This is a design / construction approach that I learned from a terrific visual effects designer and model maker, Tom Scherman,    http://tomscherman.blogspot.com/2010_04_01_archive.html 

 Tom was a master of finding discount objects and turning them into cities, submarines and flying machines. So I did my best to channel Tom as Nate and I went scrounging through stores. 

A disgustingly nasty chair from Goodwill became the base of the gun after removing the cushion seat and back.  A high pressure water sprayer became a basis for the gun barrel. Some strange, what-is-it, open grill containers became the frame for the required glowing gun barrel chamber. 

What is this thing?

We also used household items like 2 lb coffee canisters, maple syrup bottle, coffee creamer bottle, tooth paste and soda bottle caps, tupper-ware type containers, and a broken lap-top keyboard. 

We still made a number of runs to several hardware stores for plywood, PVC pipe, connectors, lumber, tubing, electrical sockets, bulbs, bolts and screws. 

As I began working I had some sobering realizations…. 

(To be continued…)

Courtesy of Dale Long. http://byyourcommand.net

While the ride was being designed and constructed, Universal wanted to generate excitement and buzz about their new attraction. A promo / publicity film was to be shot and shown to generate excitement and attract people to the show. The major drawback was that nothing was finished enough to be photographed or to show off.

Universal Studios contacted the effects producers at Universal Hartland where the Battlestar Galactica visual effects were created. It was decided that a matte painting would be created to show a Cylon styled ship or structure that opens and kidnaps a Universal Studio Tours tram. Hartland’s resident matte artist, Jena Holman, was to do the painting and I would supervise the matte plate (live action background) photography and composite the matte shot. 

Jena and I went to the Universal back lot where a large wooden flat had been set up to stand in for the Cylon spaceship doors. This was not shot on the actual location of the ride as it was under construction. We set up the camera to frame the shot per the desire of the producers.

Live action back-ground "plate"

To preserve the maximum quality of image, we elected to use an “original negative” or “latent image” matte painting compositing technique. This is a very old technique originally developed by Norman O. Dawn in about 1914.  During the 1960s and 70s the technique had returned to favor largely due to the outstanding work of Albert Whitlock.

This process required that we set up black cards in front of the camera to hold back or “matte out” part of the scene that would be replaced with the painting.  The matte ran along the road, around the “spaceship” door and through the trees next to it.

Live action with matte in place

We would shoot a couple of good approved takes of the action then we would shoot 300 feet of test footage also including the black hold-out matte in front of the camera.  For the last take, we removed the black masking and shot a “clean” reference plate of the scene. A back ground plate is the live action that effects will go into. The term “plate” is attributed to Norman O. Dawn and may have come from his early photography experience. A “clean” plate means there are no rigs or masking or anything in the scene except what is naturally present. This is used for reference, rotoscoping and perspective.  This last take is the only one that was processed or developed. Later, back at the studio, the good approved takes and the 300 feet of test footage were separated, rewound and frozen. They were kept “latent” or undeveloped.

The day we shot was pleasant except that winds began blowing through the rolling hills of Universal’s back lot. As I looked through the lens, I saw the live action portion and the black matte in the scene. What alarmed me were the live action bushes and trees leaves blowing like crazy through the soft matte that ran through the trees. We could not cancel the shot so I knew that I would somehow have to match the motion of the real trees into Jena’s painted trees!

The next day, Jena and I took the one developed clean scene and projected it onto to a white, primed piece of glass. Jena traced out (or “rotoscoped out”) the details of the live action to know where the painting had to line up and match.  Over the following days, Jena would paint the sky, Cylon ship and the trees and each evening I would photograph a painting test over some of the 300 ft of test footage.  The hero live action takes remained safe in the freezer.

Painting with blacked out area for live action. Note left tree area is dark.

To solve the blowing tree challenge, I set up a black matte board that matched Jena’s painting glass and ran motion and exposure experiments. Over this black board, I placed large sheets of clear celluloid or “cels” that had dots of color and texture that matched the real tree leaves in the live action portion of the scene.

Analyzing the motion of the trees, I realized that the artwork had to move or rotate from the bottom of the cel. This made sense as trees are rooted in the ground and sway in the breeze. To match the motion of the real trees, I found I needed at least three passes or exposures of the leaf textures and they had to be different from each other in speed and angle of rotation. These passes were each stop motion animated frame by frame by hand.

Diagram to show how cels were animate to simulate moving leaves.

Jena laid in darker tree colors and I did multiple exposures of animated leaf high-lights over top of her painting.

The final step was to thaw out a good take of the live action (the original negative) and expose the painting and animate leaves onto it.

It requires a number of experiments, but Jena and I achieved a match of color, texture and motion between the matte painting and the live action that allowed Universal Studios to show off their new ride attraction months before it was physically completed.

Final composite of matte painting and live action.

I wish to thank Dale Long (http://byyourcommand.net) ,  Marcel Damen  (www.galactica.tv) and  Diane Cook  (http://kitchencostuming.com/)  for their assistance with this article.

Links, Battle of Galactica:

 http://byyourcommand.net/cylongallery/main.php?g2_itemId=1024

 http://www.thestudiotour.com/ush/studiotour/battleofgalactica.shtml

 http://www.thestudiotour.com/ush/chronology.shtml

Links, Battlestar Galactica:

 http://www.galactica.tv

Links, matte painting:

http://entertainment.howstuffworks.com/digital-matte-painter1.htm

Retrieved from “http://en.wikipedia.org/wiki/Matte_painting“:

• Mark Cotta Vaz; Craig Barron: The Invisible Art: The Legends of Movie Matte Painting, Chronicle Books, 2002; ISBN 081184515X
• Peter Ellenshaw; Ellenshaw Under Glass – Going to the Matte for Disney
• Richard Rickitt: Special Effects: The History and Technique. Billboard Books; 2nd edition, 2007; ISBN 0823084086 (Chapter 5 covers the history and techniques of movie matte painting.)

DVD cover art.

It was fun to see the film again after all these years and it brought up some fun memories from working on the film. Under my company, David Stipes Productions, I was able to bring together some terrific talented people to work on the project.

Celebrated concept artist and illustrator Steve Burg designed the spaceship. Burg and Emmy award winner Ron Thornton constructed the model.

Creeps spaceship being filmed in a smoke room to simulate foggy night.

Model maker, and later director, Dale Fay constructed the alien cylinder that contained the creeps.

One of the aliens running with Creep cylinder by Dale Fay.

Famed “Star Wars” vet, David M. Jones, supervised the construction of a huge forced perspective cemetery set for the film’s finale.

This is a small scale mock up David Jones built to show concept.

David Jones in center overlooking his work. Joanne Walker adds details to the left.

Michael Karp provided motion control programming. Motion-control machine work and rigging was created by Richard Bennett.

I was the visual effects supervisor and producer for my company’s portion of the effects work. I also created the motion graphics elements for the laser blasts and spark effects at the beginning of the film.

There are a couple of interesting facts: only the bottom half of the spaceship was constructed as that was all that the audience ever saw.

Nathan Stipes refurbishing Creeps ship in 2005.

The Creeps spaceship was used in a “Star Trek: The Next Generation” episode.

Fred Dekker later worked as a consulting producer / writer on “Star Trek; Enterprise.”   In 2001, I was a visual effects supervisor on the show for two episodes. I was excited to see Fred’s name on the production crew list. It was fun seeing his face when I reintroduced myself after almost 15 years.

Phil was the supervisor and boss at Cascade Picture of California when I began working there in 1969-70. I learned a lot by watching and listening to him. Phil loved the challenge of doing visual effects in-camera and his specialty was forced perspective. To market the technique to the T.V. commercial business, he dubbed it “Magnascope”.

The Jolly Rancher as seen through the camera.

Forced perspective usually involves creating a scale model and placing it in front of a live action scene and lining it up so it appears to be a natural part of the shot. One challenge was to get the model at the correct distance from the camera so it was not too large or too small to fit correctly into the background.

How it was set up. The Jolly Rancher actor is closer to the camera with miniature table, chair and bench. The tall pole was used as an eyeline guide for regular sized actors.

The correct model distance placement can be solved with math and a tape measure or you can use the cool trick Phil had to make this easier. Phil used what I have affectionately called “The Kellison Sticks“

The key is to build your miniature to a scale; for example, 1 inch = 1 foot or 1/12th scale. So, if you needed a model car in the foreground and a real car is ten feet long then a 1/12th scale model of that car would be ten inches long.

Do be aware that there will come a point where a tiny foreground miniature is impractical due to limited detail and lens focus issues. Larger is usually better than smaller.

To make Kellison Sticks, get a length of board like a 1″x 4″ or a 1″x 6″ by say, 8 ft long. Paint the board with alternating one foot segments of white and black. Now make a scaled down version of this board with alternating black and white segments. For example, if you are working 1″=1′ then your scaled board would be eight inches long with one inch segments. At a scale of ½” = 1′ your stick would be four inched long with segments of ½ inch each. Now you have your “Kellison Sticks.”

To line up your miniature, have a person hold the full sized black and white painted Kellison Stick at the edge of the live set where the foreground miniature will line up with the background. Place your scaled down Kellison Stick at the back edge of the foreground model.

How to use the "Kellison Sticks"

 With someone looking through the lens, move the miniature back and forth until your scaled down Kellison Stick matches the full sized Kellison Stick through the camera. There, you have the correct distance!

How "Kellison Sticks" look through the lens when correct.

I have seen actors who were really obnoxious and uncooperative when they didn’t get what they wanted so I was watching Terry with interest as the day unfolded. For every shot when called, she dried her tears, went on set, became her character, Dax, and delivered the best performances she could. She did not give an attitude, whine or make excuses. She did her job.

To give Terry an exit from the series, the DS-9 writers had bad boy Gul Dukat kill Jadzia Dax in the episode called ‘Tears of the Prophets’. Dukat, possessed by the Pah-wraiths, uses an energy force to lift Dax off the ground then kill her.

To accomplish this, Terry would have to wear a special flying harness which wrapped around her hips. Unfortunately the rig, made of thick leather and straps, was very uncomfortable and did nothing to flatter Terry’s figure. In fact … she was horrified at how she looked.

Terry came up to me with a look of desperation on her face; the harness around her hips made her look huge! Was there anything I could do to make her look better in her last shots?

I was so impressed with her qualities of character and professionalism that I assured her that I would do what I could to help her look good in the final shots. With that she appeared relieved and we went on to do the final death scene.

When we got the footage into the digital compositing bay we began looking at techniques and options to see what we could do to help Terry regain her figure. Since we were on a budget for a limited effect for the death scene, we had to squeak this in somehow. We decided to cover Terry’s torso and hips with effects elements rather then try to rotoscope or otherwise distort her filmed image frame by frame which would have cost a lot in man-hours and bay time.

Luckily, we had some resources. Over the years of production, we had amassed a collection of visual effects footage elements like fire, smoke and liquid nitrogen. We began experimenting with the elements over Terry’s footage to see what worked. We decided to use licks of liquid nitrogen vapor fluttering out from the edge of the body and hiding her rig-thickened profile.

While not a perfect fix, we did it within the budget we had. Months later at the DS-9 wrap party, Terry came over and gave me a warm thank you for making her look good. I told her how impressed I was with the way she handled herself in that situation so it was a pleasure to help her.

For more on the uses of liquid nitrogen in visual effects see: http://www.davidstipes.com/liquid_nitrogen1.php

Cascade Pictures was a major provider of visual effects, stop motion and cartoon animation for commercials for (I believe) the late 1950s through the mid 1970s. 

I was fortunate enough to work there and get a terrific real world visual effects education.

This is a frame from the first commercial I was paid to work on; my first professional job in 1969 at Cascade Pictures. This is from a Kellogg’s Cocoa Krispies cereal commercial featuring a caveman named Ogg. (His wife was “Kell” … for Kell-Oggs.)  These characters were used until about 1975.  (see link below)

The stop-motion set-up was unusual. Ogg was mounted on a stationary rig while the Styrofoam rocks and environment were slid past a fixed, stationary camera.

I was assigned the job of animating the various layers of rock moving past the camera in the background. Each layer was attached to fine string that was pulled a few fractions of an inch per frame.

The baby dinosaur was suspended on fine monofilament and also animated frame by frame.

http://70scommercials.blogspot.com/

The puppet construction and animation was the work of a terrific designer, Siegbert Reinhard, who also had success with his fine art paper sculptures in the 1980s and later.  Siegbert’s technique was pretty simple. He started with a block of poly-foam (simple cushion foam) that he carved with an electric knife. Once he was satisfied with the shapes he cut them open and inserted an armature made of either braded aluminum armature (sculpting) wire as in the baby dinosaur or a simple ball and socket armature made with thin steel plates and brass ball links as in Ogg. If you look carefully you can see that the baby dino’s legs are actually separate from the body which allowed the use of the relatively weak wire. The spines are glued on carved foam pieces.

The puppets were painted with “Cartoon Color” cartoon Cel Vinyl paints from The Cartoon Colour Co, in Culver city, CA.  Wearing rubber gloves, Siegbert poured paint onto his palms and squished it into the entire foam puppet like it was a big sponge. Since the paint is a remarkably flexible pigment the puppets remained soft and easy to animate. Details were brush painted.

An interesting side note. The now famous visual effects supervisor, Dennis Muren, was the cameraman on this shoot. He hid the mount holding up Ogg by projecting straw colored light onto a piece of retro-reflective 3M Scotchlight material placed in front of the rig. Dennis adjusted the light intensity by eye for every frame where the rig would be visible.

This was probably the first time front projection materials was ever used in a commercial. Only one year earlier in 1968, 3M Scotchlight became famous for its use in “2001: A Space Odyssey.”

I have not seen Siegbert Reinhard for many years. But I no sooner posted this than fellow AI instructor, Kevin Hedgpeth,  e-mailed and sent a link to Reinhard’s studio.  I am glad Siegbert’s work is still available.

 http://www.reinhardstudio.com/

 
http://www.cartooncolour.com/catalog/index.php?cPath=1&osCsid=612f46bb6d3ec84bebd074e6d9bea72b

http://70scommercials.blogspot.com/