- November 9th, 2022, 1:41 pm#4974348
Previously posted on Spengler's 1984 Workbench Facebook Group on Feb 8, 2022.
Visuals-https://www.theghostbustersreferencelib ... nspiration
This was inspired by Dan and Austin’s The Black Firehouse Podcast: Session 5, the boys spinning yarns about the spectral-battling props that have captivated us all over the years. Here’s a bit more history on the Proton Pack and Neutrona Wand that I’ve picked up throughout my two decades of research.
A common misnomer is that the wrist wands were Aykroyd’s original wand idea. Not so. Uncle Danny’s own personal notebook sketches for the wands are a bit more like the ATC Proton Pistols, with interchangeable tip attachments. I love the belt track and the tri-hose ideas!
Dan’s original script unfortunately hasn’t surfaced, and none of the available John Daveikis art illustrates his ideas for the pack/wand designs. Aykroyd also made a self-produced video for his Ghostbusters pitch material that featured him explaining the process of ghost busting while wearing home-brew gear. The original GB builder and cosplayer! I’m still bummed this video hasn’t surfaced. The pitch material is my white whale holy grail.
Ivan touched on prop design in my 5-hour assembly edit of the Cleanin’ Up the Town documentary. Loosely paraphrased-- In Dan’s script, the Ghostbusters were already a widely established service, and had been for quite some time. The gear reflected this— way more refined, slicker engineering, brushed metal, something like industrial cleaning equipment.
For his version, Ivan wanted the Ghostbusters in then-present day. He wanted the gear to be more home-made, cobbled together prototypes of the futuristic gear that Aykroyd had imagined. Something a few dudes could conceivably build in 1983 Manhattan.
The wrist throwers are from the collaborative script drafts, once Harold and Ivan officially signed on. The jury is still out on the June “Martha’s Vineyard” script, but the wrist throwers are present as of the July 83 draft.
The design change from dual wrist throwers to the single, eventually more gun-inspired design wasn’t an aesthetic choice. The issue of the beam FX and deadlines are what drove the shift.
During pre-production, the wizards at BOSS Films were trying to save time wherever they could. Dropping FX-heavy sequences not needed for the story, accomplishing as much in-camera as possible, etc. Every choice was made with the deadline in mind.
With each Ghostbuster having two streams, the animation time required for each shot could be cut in half if they went with a single stream for each GB instead. Visual FX Director John Bruno (pictured in the beam concept composite) suggested the change and new thrower designs were started. Bruno’s only request was that there be lights in the tip to help sell the composited FX.
The iconic Neutrona wand design from Stephen Dane was approved by Ivan, and Dane started on the mockup. If you haven’t read it, the Dane interview from Beyond the Marquee is a must: http://beyondthemarquee.com/34980
The “prop builders” Dane referred to was special effects wizard Chuck Gaspar and his team. After hearing stories of Gaspar’s work, I’m convinced Chuck was the mad scientist behind the electronics, pop mech, etc. He sadly passed away in 2016.
Visuals-https://www.theghostbustersreferencelib ... nspiration
This was inspired by Dan and Austin’s The Black Firehouse Podcast: Session 5, the boys spinning yarns about the spectral-battling props that have captivated us all over the years. Here’s a bit more history on the Proton Pack and Neutrona Wand that I’ve picked up throughout my two decades of research.
A common misnomer is that the wrist wands were Aykroyd’s original wand idea. Not so. Uncle Danny’s own personal notebook sketches for the wands are a bit more like the ATC Proton Pistols, with interchangeable tip attachments. I love the belt track and the tri-hose ideas!
Dan’s original script unfortunately hasn’t surfaced, and none of the available John Daveikis art illustrates his ideas for the pack/wand designs. Aykroyd also made a self-produced video for his Ghostbusters pitch material that featured him explaining the process of ghost busting while wearing home-brew gear. The original GB builder and cosplayer! I’m still bummed this video hasn’t surfaced. The pitch material is my white whale holy grail.
Ivan touched on prop design in my 5-hour assembly edit of the Cleanin’ Up the Town documentary. Loosely paraphrased-- In Dan’s script, the Ghostbusters were already a widely established service, and had been for quite some time. The gear reflected this— way more refined, slicker engineering, brushed metal, something like industrial cleaning equipment.
For his version, Ivan wanted the Ghostbusters in then-present day. He wanted the gear to be more home-made, cobbled together prototypes of the futuristic gear that Aykroyd had imagined. Something a few dudes could conceivably build in 1983 Manhattan.
The wrist throwers are from the collaborative script drafts, once Harold and Ivan officially signed on. The jury is still out on the June “Martha’s Vineyard” script, but the wrist throwers are present as of the July 83 draft.
The design change from dual wrist throwers to the single, eventually more gun-inspired design wasn’t an aesthetic choice. The issue of the beam FX and deadlines are what drove the shift.
During pre-production, the wizards at BOSS Films were trying to save time wherever they could. Dropping FX-heavy sequences not needed for the story, accomplishing as much in-camera as possible, etc. Every choice was made with the deadline in mind.
With each Ghostbuster having two streams, the animation time required for each shot could be cut in half if they went with a single stream for each GB instead. Visual FX Director John Bruno (pictured in the beam concept composite) suggested the change and new thrower designs were started. Bruno’s only request was that there be lights in the tip to help sell the composited FX.
The iconic Neutrona wand design from Stephen Dane was approved by Ivan, and Dane started on the mockup. If you haven’t read it, the Dane interview from Beyond the Marquee is a must: http://beyondthemarquee.com/34980
The “prop builders” Dane referred to was special effects wizard Chuck Gaspar and his team. After hearing stories of Gaspar’s work, I’m convinced Chuck was the mad scientist behind the electronics, pop mech, etc. He sadly passed away in 2016.
Stephen Dane, 2014
“The backpacks were always in play script-wise. Ivan and I had an early conversation and he told me what he wanted. I then drew up some rough sketches based off flamethrowers I had seen in a few military magazines. Once I had a basic idea and shape, I went out and got a pack frame from California Surplus on Santa Monica and Vine in Hollywood."
"I ended up building a rough mock-up based on what we had discussed and what was in my early designs. I presented the backpack mock-up to Ivan and we further talked about refinements and from there it went to the prop builders.”
“I can’t recall who supervised the final building pass on the Proton Packs, the Neutrino Wand and the Ghost Traps. I was mainly involved in buying parts and guiding the prop fabricators in constructing several of the early mock-up designs. Even the finished Proton Packs seen on screen had a rough surface on close-up inspection since there wasn’t enough time to make them perfect and smooth. The prop builders did a great job of building the screen-used Proton Packs considering they had to build several packs and wands in such a short amount of time. As rough as the backpacks were up-close, the Neutrino Wand was very nicely detailed and you can see that in the film. I can see detailing that I don’t recognize as my own.”
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