Issue link: http://digital.copcomm.com/i/1152740
D O O M P A T R O L | P E R S P E C T I V E 1 0 1 Unlike many of the current superhero shows out there in today's oversaturated market, the Doom Patrol Art Department team was given room to do something the genre desperately needed: experiment with design. Doom Patrol has proven to be curious, obscene and audaciously meta- fictional as it traverses genres, tones and styles to tell the story of its eccentric characters. The world building of the series started with Production Designer Michael Hanan who handed over the rest of the season to Production Designer Grace Walker. As with many shows, the Art Department suffered from having abbreviated lead-time to create and establish so many sets. In modern-day TV filmmaking, an expectation of creating feature film worthy episodes is standard, and it was certainly a challenge to create the volume of complex sets in such a short time schedule. — Michael Hanan: "Despite the lack of time, I took the show because I loved the writing. I was hired with just six weeks of preproduction during one of the busiest production periods I can remember. It was busy, not just in Atlanta, but the whole country as well. The show was going from pilot directly into series, with a very brief period of preproduction time and with ninety- three sets to produce in the first thirty-three days of shooting. It took me another two weeks to put together the staff. We were also preparing the stages and infrastructure at the same time. When all is said and done, there were about three-and- a-half weeks before shooting to get the job done. A. CONCEPT ILLUSTRATION OF VON FUCH'S LAB PREPARED BY MATTHEW CUNNINGHAM USING SKETCHUP AND PHOTOSHOP.