Issue link: http://digital.copcomm.com/i/1241865
an abandoned pier over the ocean at night ending the story, and the fi lming is taking place in os Angeles. The practicality of shooting the scene on an actual pier was not likely, even though the possibility was duly explored. And what would one actually see on an abandoned unlit pier surrounded by dark water? The pier would be a feature of amusement mile with a collection of statues of Gotham's founders. These would provide a gallery of shadowy fi gures to allow the characters to stalk each other through the fog. I had the concept that a nearby lighthouse would regularly spin a shaft of light through the fog to give the cat and mouse ending some illumination, and that this light would interact with the exterior amusement park scenes leading up to the pier. I was referencing something I had seen and shot on my phone in Eureka, alifornia, while I was fi lming there at what they call the foggiest airport in the . e careful of notions dumped unfairly in the lap of the director of photography, which are then generally embraced as part of the solution. A 147_SET_Int_Funhouse_04_01_190205_PRE_FFF_Isometric_RFR.pdf RFR INT FUNHOUSE INT FUNHOUSE 1/4" = 1'-0" STAGE 14 147-04 ISOMETRIC 01/14/19 02/07/19 The pier was built on stage and a combination of fog, the hide-and-seek light beam and a nearby derelict roller coaster added by visual eff ects allowed it to be pulled off . The individual statues were sculpted after mauettes made by eo in. The Palette: The colors in the fi lm in general are riotously arley. he knows no limits in her mixing. The funhouse was particularly skewed with a set of dirty secondary colors. sually I like to subtract a maor color from the palette of a fi lm but in this case, all colors worked together as long as they were a bit off center. oth the Art Department, led by cenic Adrian aldes, and gelled lighting from cinematographer Matty ibatiue and gaff er Michael auman overlapped for the fi nal hues. The Crew: I was extremely lucky to fi nd such a great team and they each were encouraged to contribute ideas that elevated the design. I thank my A. FUNHOUSE. DIGITAL MODEL. B. FUNHOUSE. SET MODEL BY LUIS HOYOS. C. FUNHOUSE. SET PHOTO. D. FOUNDERS PIER. ILLUSTRATION BY JOE STUDZINSKI. E. FOUNDERS PIER. DIGITAL MODEL BY JULIEN POUGHNIER. F. FOUNDERS PIER.SET PHOTO COMPOSITE. G. FOUNDERS PIER. ILLUSTRATION BY JOE STUDZINSKI. C B