Issue link: http://digital.copcomm.com/i/1043753
8 8 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 1 8 The Art Department ran the 3D printing machines around the clock and employed several Model Makers to assemble and finish them. A German company, Big Rep, offered us two large-format 3D printers with a build plate size of over three- foot cubed. These could handle the 14-foot high Saturn V and Titan rockets along with the 1/6-scale Lunar Module, Gemini and Apollo capsules, leaving many of the Makerbots for general Art Department concept work. So that's my methodology in a nutshell. There is no right or wrong in film design. One works on a limited number of film projects during a career that require instinct and imagination. I believe the edges or boundaries of sets should not be shown or extended by visual effects without justification, taking away the audiences' ability to imagine what can be suggested with the design, sound and light. I like a lack of depth of field, to blur scale and background. I use architecture and landscapes for scale. Sets cannot compete with them. Shooting on location in extreme places allows for the unknown to influence film. I am a fan of the simplicity of image, which often gets mistaken as modernism, but really it is for me about light and dark contrast. ADG G R A P H I C D E S I G N B Y P H I L L I S L E H M E R " I L I K E B L A N K WA L L S . "