Issue link: http://digital.copcomm.com/i/1124104
A Of course, when building in a hurricane region one wants to try to ensure that the sets don't end, up blowing into the next county or state, so a few of the building department's requirements were both reasonable and necessary. In the end, despite all of these delays, the production's ultimate shooting deadlines and schedule were met. This good fortune was truly a miracle, but it was also a tribute to the local Savannah design and construction crews. Though they were too few in their numbers and less experienced than the distant hires who were eventually but reluctantly engaged and traveled in by the production's managers, the local crews in every other way proved themselves to be professional, resourceful, well mannered and extremely hardworking. B Dante's Nine Circles of Clearance Hell There was another significant design challenge that many productions share in common, that is of the current state of the studio's legal clearance departments and their excessive oversight. Currently, they possess a unilateral and unchecked ability to inflict costly delays and a great level of frustration upon the art, set decoration, prop and wardrobe departments. Clearance requests for obscure items in the background certain to be small and out of focus, as well as the script's most significant requirements, are all scrutinized with same level of concern, often beyond all reason. I confess that I have become spoiled from my experiences working for Netflix. The streaming- cable natives have adopted a more cooperative, enlightened, and supportive clearance and copyright review process. The major networks are emigrants to the streaming-cable world and their legal departments remain possessed by archaic and fearful legal metrics and guidelines. The pattern of review that many encounter when submitting requests to the producing studio's attorneys usually starts with them saying no, then after much back-and-forth shifting to a maybe, and occasionally a yes! Often they will say, "Why don't you just make it?" But when original designs are submitted for manufacture, they are still inclined to deny its use due to a narrow and subjective reading of the copyright infringement rulings. In general, many of their comments and decisions are based on little to no understanding of the filmmaking process and the time constraints, volume of work and challenges that creative departments are faced with. At the heart of it is a A. DETAIL OF AN ENGINEER'S DRAWING PACKAGE DETAILING BUILDING CODE ANCHOR REQUIREMENTS. DRAWINGS BY ARTEC DESIGN & DRAFTING, AND F. MICHAEL SIKES P.E. LLC STRUCTURAL ENGINEER. B. OPTICON-BRANDED SIGNAGE GRAPHICS BASED ON ISTOCK SOURCED AND APPROVED, LICENSED GRAPHICS. GRAPHIC DESIGN BY ANDREA JOHNSON. SET PHOTO COURTESY OF NBC UNIVERSAL. C. OPTICON VENUE LAYOUT LOCATED IN A MALL'S VACANT RETAIL SPACE. SKETCHUP MODEL BY HIND AL-SHANEEN. D. OPTICON VENDOR BOOTHS. SKETCHUP MODEL BY HIND AL- SHANEEN.