Issue link: http://digital.copcomm.com/i/1043753
table to replace what would have been a soft box-type movie light. The color palette used on the show is carefully controlled and based on the principle that although many scenes are shot with a minimal amount of light, the sets themselves are for the most part fairly light in value and color, allowing for the opportunity to silhouette the actors. I work with a narrow color range of rather neutral warms and cools depending on the set or characters that B A inhabit the set. Most of the colors used in the Quantico sets are based on the actual colors at Quantico. Sometimes on the show, visual cheats were used to make the audience think there is more to the set than was actually built. At the real Quantico training facility, there is a series of semicircular lecture halls, so to save money and stage space, just one of these was built on stage, with matching hallways on each side, and shot it so that there appear to be two identical lecture halls across the hall from each other. As with most projects, I was always looking at ways to recycle and reuse elements from earlier sets in different and unrecognizable ways. In one instance, a bunch of prison bar sections were built A. FAIRFIELD POOL. A LOCATION IN WASHINGTON, PA. THE BALL LIGHTS ON POLES AND THE PIERCED CINDER BLOCK SCREENS AT THE BACK WERE ADDED. SCREENS WERE MADE FROM SHEETS OF STYROFOAM CUT ON A CNC MACHINE AND TEXTURED WITH A HOPPER GUN. SET PHOTO. B. GROUND PLAN OF THE QUANTICO TRAINING CENTER. DRAWN BY SET DESIGNER KATE DOUGHERTY. C. QUANTICO CLASSROOM STAGE SET. THIS LECTURE HALL IS AN EXACT COPY OF THE ACTUAL LECTURE ROOMS AT QUANTICO. SET PHOTO. D. DWIGHT'S HOUSE. DRESSED LOCATION IN CORAOPOLIS, PA. SET PHOTO. PHOTOS BY NIKOLAI LOVEIKIS. C