Issue link: http://digital.copcomm.com/i/1109293
architectural depot in the region. Paul measured and plotted the finds into scenery strips. Truckloads of wrought iron and manhole covers arrived. Alamo Aircraft in San Antonio became the go-to vendor for unique aerospace salvage. Art Director Bill Skinner attended to the myriad of beautiful hardware details and made sure all doors and windows held fast. Set decorator Dave Hack and Graphic Designer Ellen Lampl mapped out a plan for each storefront. From this, a signage library grew. Meanwhile, an aggressive push was made to finish out and detail every interior space possible. Art Director Leslie McDonald stayed on top of this mission, so critical in bringing life, light and depth to the streets. People leaning in doorways, sparsely lit interiors, cables hanging everywhere, these were the high notes in the set. The set decoration team planned surgical change- outs so Iron City streets could play as multiple locations, day or night. Bill Pope's cucolori on cranes casting shadows, and dressing layers giving daylight exteriors depth and vibrancy. F. KISSING BRIDGE. ILLUSTRATION BY DYLAN COLE. G. KISSING BRIDGE. THE GOAL WAS TO MAKE IRON CITY AS RIVETING BY DAY AS BY NIGHT. THE USE OF NEUTRALS ALLOWED DP BILL POPE TO CHANGE THE BUILDING COLORS AT NIGHT. H. MARKET STREET INTERSECTION WITH SET DRESSING IN PLACE. F G H E