Issue link: http://digital.copcomm.com/i/1316563
is both, it just depends on what moment of the day you are in. The production began in Louisiana in early January of 2018 with the construction of the interior sets, as they were slated to fi lm fi rst. The work on the USS Kidd would follow later in the schedule. Preproduction was rather fast considering what had to be accomplished, and fi lming was only to last about thirty-fi ve days. Construction was overseen by Tom Frohling, Supervising Art Director, along with Richard Blankenship, the construction coordinator, and Camile Kelsey, the lead Scenic Artist. Their talented crew of carpenters and painters were mostly local. Lauren Rosenbloom, the Art Director, after assisting with the basic layout of the sets, was tasked with working with the quiet and dogged set decorator, Leonard Spears, to organize, track and integrate all the equipment with the structure of the sets. Tristan Bourne and Cosmas Demetriou, the overloaded draftsmen, were given the job of organizing a million and one measurements into workable plans for the crew. While we worked in Celtic Studios from the beginning, the USS Kidd is a functioning museum, so access to it for actual construction and shooting would be somewhat limited. That aside, Tim NesSmith, the museum's ship superintendent and most ardent supporter, allowed the Art Department much time aboard the ship for research. He became a valuable daily resource since we all had a huge learning curve to contend with concerning destroyers. His passion and helpfulness are contagious, and his knowledge saved us from many trips down the wrong rabbit hole of research. In D E G F