Issue link: http://digital.copcomm.com/i/1124104
E D It was still a struggle to get everything built and ready; but because it was right at the studio without the level of wind issues, it was an easier proposition. My communication with electrics through the shop electric was far more successful this time, and as the buildings were repainted with more detail, and framed with lights, the whole thing took shape. Three rides were hired from a carnival, which would give post production some movement to work from, and the entire thing was placed on snow membrane before it was covered with clean snow. It was backed by a 60-foot by 80-foot green screen hoisted up by a crane. The scene shot beautifully over two nights. Working on a show like this is a fantastic challenge. The relationships with the writers are close and rewarding. I was particularly gratified to be included in the development of the digital set extension world of Christmasland, and to help them understand my vision and watch them add their magic. Production Designers are interpreters for writers and directors to help achieve a vision for the story and set a style for the whole. They are the hosts to the episodic directors. My basis in theater is the foundation I use for pieces like this where fantasy or period collide with today. N0S4A2 is particularly fun because it's such a puzzle to put the interior world of the "creatives" together with the ordinary but still designed world of a small town. Sketching is one of the languages that I use to communicate with the writers, directors and my team. If we all understand the other's vision, it helps get a cohesive vision onto film. It's also a blessing to be surrounded by the wonderful and talented people that populate an Art Department. As with a director, where ninety percent is casting, the same holds true of all the members on my team, whose artistic contributions make my part so much better. I'm looking forward to many more projects of this quality, where I can take the visual to another dimension. ADG Andrew Jackness, Production Designer Priscilla Elliott, Supervising Art Director Stephen Cooper, Art Director Dan Kuchar, Anthony Raymond, Caleb Mikler, Assistant Art Directors Anthony Raymond, Set Designer Ted Haigh, Graphic Designer Kim Leoleis, Set Decorator C