Issue link: http://digital.copcomm.com/i/1241865
The Exterior of the Ship The first draft of the synopsis mostly featured scenes taking place in the passenger area of the ship with occasional moments of the crew behind the scenes. I thought to create a visual feast as dramatic as the scripted events, I'd pull these two worlds apart as much as possible; the passengers inhabiting vast open spaces with curving gleaming white walls with gold and marble details, while the crew is crushed into the industrial rear section of the ship which is more like a noisy, badly lit oil rig crammed with machinery where the possibility that people would inhabit it is an afterthought. I wanted to design the ship exterior alongside designing the interiors as they are connected so visually by their shape and the specific view in a particular scene. Generating the ship in 3D also allowed the model to be used in previz and ultimately, a detailed pre-approved design for visual effects in post-production. The Atrium I wanted huge windows in the Avenue 5 atrium looking out to space so thepassengers can see the planets as they pass, much like an open deck on a traditional cruise liner. To achieve this practically, fifty-foot-high black fabric curtains were hung along the stage walls with hundreds of silver sequins stitched on to resemble stars. During filming, these seuins moved around gently due to the air conditioning on the stage and appeared to be twinkling stars on camera. You can see theseseuin stars in many shots in the finished episodes. The oily reections in the glass and the graphics were added in post-production. To give the set morevertical appeal, I included a huge cylindrical glass elevator into the atrium set. The ten-foot diameter elevator car weighed a huge amount and I wanted it to move at speed between the two oors and updisappearing out of the top of the set to the stage ceiling. I positioned the JUDD name proudly everywhere throughout the ship so there was always at least one visible in any place. The logo was built into the set, props and furniture; on the walls, in the carpet patterns, as part of the lighting, in gold lettering on the wine glasses, printed onto the rolls of toilet tissue and on special Saturn-related food incorporating the JUDD logo into the meals. While conceptualising the sets, I designed the lighting as an integral part of the architecture with sculptural elements; curvaceous ceiling units, art A. AVENUE 5 SHIP RENDER, 3D MODEL BUILT IN FUSION AND RENDERED USING KEYSHOT AND PHOTOSHOP BY JORT VAN WELBERGEN. B. MODEL VIEW SHOWING THE FRONT PART OF THE SHIP AND ITS CONNECTIVITY TO THE REAR. ILLUSTRATION BY JORT VAN WELBERGEN AND PETER DAY. C. A VIEW FROM THE SHIP'S RECEPTION DESK IN THE ATRIUM, ILLUSTRATION BY JORT VAN WELBERGEN. D. AVENUE 5 SET MODEL. 3D PRINTED BY THE ART DEPARTMENT. E. AVENUE 5 ATRIUM NIGHT, ILLUSTRATION BY JORT VAN WELBERGEN. F. AVENUE 5 ATRIUM UNDER CONSTRUCTION. G. AVENUE 5 ATRIUM IN THE OPENING YOGA SCENE, SET PHOTO. H. AVENUE 5 ATRIUM, PRODUCTION STILL. E F G H