Issue link: http://digital.copcomm.com/i/1152740
1 0 8 P E R S P E C T I V E | S E P T E M B E R / O C T O B E R 2 0 1 9 texture with the ultimate answer laying in $20,000 worth of silicon! None of the crew had worked with this medium before, so through many prototypes and collaborating with the makeup department, they embarked on developing a huge 20 by 30-foot mold in order to create the veiny skin. Rigging this large meat-like fabric was an all-hands-on-deck maneuver, but the result was awe-inspiring. Not only did it cost less than anything visual effects pitched, there is a lot to be said for actors being able to physically interact with a space. — Grace Walker: "At first, I had no idea how on earth this could be built and lit. I had a pretty good idea of how I would like it to look, but to get the light in was another problem altogether. All sorts of ideas were kicked around from plastics, fabric, latex, etc., but after a tip from our brilliant special effects makeup artist Travis Pates, we went with silicon. The problem was this medium is hugely expensive and very heavy when it comes to hanging it. After testing for light penetration, the right colour density was achieved and the crew started to make the stomach. The next issue was, whose job is it to make this...carpenters, special effects, technicians? In the end, the painters kind of volunteered and went on to make the molds for the stomach walls and the throat (that Cliff had to climb out through), and what a great job they did. Then came the hanging part, forming the shape from the steel frames. Again, no one really knew how to hang a giant piece of silicon weighing six hundred lbs per side. 10/0 fishing hooks and 50 lb fishing line were the answer. So while some crew were "fishing," fifteen others held the sheets in place… quite an experience to say the least. Then came the innards. As this was the last set of the season and there was no more construction to do, the whole Art Department helped to make the intestines and stomach goop. It looked really great when we had finished and the director was very happy. It was a nice exit from season one." ADG A B A. A V-RAY RENDER OF A RHINO MODEL OF THE 1948 RESTAURANT SET BY CHRIS ARNOLD. B. HOSPITAL RECEPTION AREA WITH NURSE MURAL BASED ON WPA ART. PRODUCTION STILL. C. THE 1948 RESTAURANT. SET PHOTO. D-F. INTERIOR OF A RAT STOMACH BUILT ON STAGE. SET PHOTOS AND PRODUCTION STILL.