Issue link: http://digital.copcomm.com/i/1124104
SECTION - J D BEDROOM / BATH Scale: 1/4" = 1'-0" A-A ELEV. - J D BEDROOM / HALLWAY Scale: 1/4" = 1'-0" C-C PLAN - 2ND FLOOR BEDROOMS Scale: 1/4" = 1'-0" 36'-0" 21'-5" 13'-7" 18'-10" 12'-9" 70'-8" 29'-9" 55'-1" 15'-0" 4'-6" 5'-0" 8'-0" 12'-6" 10'-0" 22'-7" 6 6" 3'-9" 5" 2'-6" 8" 2'-6" 5" 3'-9" 5" 2'-0" 5" 3'-6" 5'-5" 1'-0" 3'-9" 5" 2'-6" 8" 2'-6" 5" 3'-3" 1'-8" 10" 1'-8" 1 1/2" 2'-6" 1 1/2" 1'-8" 10" 5'-2" 9" 2'-6" 2'-6" 4'-9" 6" 4'-3" 5" 2'-6" 8" 2'-6" 5" 4'-3" 6" 2'-2" 5" 2'-6" 5" 2'-3" 6" 1'-8" 1'-6" 2'-10" 2'-10" 10'-7" 2'-10" 1'-7" 1'-0" 1'-0" 2'-6" 6'-0" 5" 2'-0" 5" 1'-7" 6'-0" 7'-9" 15'-0" 1'-8" 5'-2" ± 7'-6" 6'-3" 2'-0" 5'-0" 3'-0" 10'-0" 2'-0" 5'-0" 3'-6" 4'-9" 3'-11" 5'-6" 8" 3'-11" 3'-11" 3'-11" 7'-2" 13'-7 1/4" ± 4'-6" 1'-4" 4'-7" 5'-0" 4'-5" 1'-10" 2'-10" 1'-7" 1'-7" 5'-6" 3'-10" 2'-6" 8" 8" 5'-10" 8'-10" 2'-10" 2'-4" 2'-9" 2'-10" 4'-0" 1'-3" 4'-6" 10"5" 2'-6" 5" HEADER 1'-9" 6" 9'-0" 4'-8" 1'-2" 5'-5" 8'-0" 12'-9" 18'-10" 12'-8" 6" 6" 1'-8" 2'-0" 5'-0" 3'-0" 3'-11" 3'-11" 4'-9" 2'-3" 11" 1'-0" 16'-0" 2'-4 3/4" HEIGHT TO LANDING 4'-1" 5'-0" 2'-9" 10" 7'-0" 1'-6" 2'-3" 9" 5" 8" 5" 4'-8" 2'-10 1/2" 14'-0" 9'-10" 2'-3 1/2" 7 1/2" 6'-0" 4'-5" 2'-6" 9" 1'-2" 2'-10" 3'-0" 1'-1 1/2" 4'-9" 4'-11" 4'-11" 10" B A M G I E D K N O P Q R T U W F H F L A B K N L Q P E D C C R V SITTING RM. J.D. MSTR. BEDROOM MSTR. CLOSET KACEY BATH KACEY BDRM. CREW ACCESS HALLWAY CLO. BETH BATH BETH BDRM. MSTR. BATH BETH CLOSET CLOSET I H O P E N NO FINISH - NO ACTION BOOKCASE BOOKCASE F P LOG WALL W/ CHINKING WOOD BOOKCASE 3" V GROOVE WOOD WAINSCOT (TYP) W/ CHAIRRAIL MLDG. 1 X 8 WOOD BASEBD. 1 X 6 WOOD CROWN MLDG. LOG WALL W/ CHINKING LG. & SM. LOG WALL- NO CHINKING LOG WALL W/ CHINKING J S DN DN +0" +0" CREW ACCESS +6'-0" RAMP DN 4 4 DTL. ELEV. SINGLE WINDOW 1 4 DTL. ELEV. FIVE WINDOWS POCKET DOORS 5 5 DTL. ELEV. POCKET DOORS 6 5 DTL. ELEV. TYP. ENTRY DOOR 13 8 DETAIL ROCK FIREPLACE 14 8 DETAIL BOOKCASE +6'-0" 12 7 DETAIL STAIRS SEE DTL. 12 STAIRS ± 11" LOG BEAMS @ CEILING SEE DTL. 2 DBL. WINDOW 10 6 DTL. SECTION WAINSCOT 11 6 DTL. SECTION LG & SM LOG WALL 5) RISERS @ 6 9/16" H AS PLASTER UPPER WALL FINISH FLOOR HT. + 6'-0" Above Stg Flr. FINISH FLOOR HT. + 6'-0" Above Stg Flr. STAGE FLOOR HT. + 0'-0" Above Stg Flr. ± 9" LOG BEAMS @ CEILING AS PLASTER UPPER WALL +6'-0" +2'-8 3/4" WOOD PLANK FLOOR WOOD PLANK FLOOR WOOD PLANK FLOOR 15 9 DETAILS MSTR. BATH 16 10 DETAILS BETH 17 11 DETAILS BETH CLOSET SEE DETAIL 15 MSTR. BATH DTLS. FOR SHOWER, TUB & VANITY CAB. TABLE CLOSET CLOSET 18 11 DETAILS KAYCE BATH SHELVES a snag filming on location at an epic cliff we chose for a scene. We were snowed out of this location and had to finish the scenes on stage, so we built the cliff in its entirety (minus a few hundred feet) back in Utah. Three entire stages were filled with sets at Utah Film Studios and many more sets were created on location in both Montana and Utah. It was imperative to maintained this Western look seamlessly, whether shooting on stage or on location. Several other factors added to the depth and degree that went into making this fictional A world authentic—the livestock led by animal wrangler Sled Reynolds (there was never a day on set that didn't have the horses, cattle, ranch dogs, chickens or goats. The mere sound of them off camera added to the natural world the film sought to bring to life); the graphics, led by Joel Waldrep. Waldrep created the infamous Y brand, along with all of the logos, trademarks, letterhead, business names, posters, mail and artwork necessary to make the audience believe this to be real. Waldrep's level of research and uncanny instinct provided so much to work with and never felt contrived. The special effects department, led by Gary Elmindorf, not only created the action sequences necessary but also assisted in bringing the built sets to life by plumbing the stage sets and rigging the fireplaces to be readily available at any time. So much of the joy I find in bringing worlds to life depends greatly on the excellence of the crew and how much we align on bringing authenticity to the screen. I was in great hands on Yellowstone, surrounded by an excellent team who cared greatly. From the smallest mundane details to the larger- than-life shoot-outs and stampedes, everyone on the team knew it was imperative to make the film as realistic as possible. ADG A. INTERIOR JOHN DUTTON'S MASTER BEDROOM BUILT ONSTAGE AT UTAH FILM STUDIOS IN PARK CITY, UTAH. B. PLAN OF THE DUTTON LODGE SECOND STORY, LIVING QUARTERS. DRAWING BY SET DESIGNER LORRIE CAMPBELL. C. JOHN DUTTON'S FIRST- FLOOR OFFICE. BUILT AND DRESSED ONSTAGE AT UTAH FILM STUDIOS IN PARK CITY, UTAH. SET PHOTO. D. CLIFF SET IN PROGRESS. ONSTAGE AT UTAH FILM STUDIOS, PARK CITY, UTAH. E. ACTUAL CLIFF LOCATION, BITTERROOT VALLEY, MONTANA. F. EXTERIOR DUTTON RANCH, HERDING CATTLE, SHOT ON LOCATION AT THOUSAND PEAKS RANCH, UTAH. IMAGE COURTESY OF CHARLIE SKINNER, SUPERVISING LOCATION MANAGER. B