Issue link: http://digital.copcomm.com/i/1545081
The Hail Mary is a central character to the film. It shields Grace from the explosive pressure of space but is equally the vessel that carries him on his last, one-way journey. Because of the constricting nature of our spaceship, the camera lens was often within inches of the set walls. The detail had to be crafted to the very highest level. In our story, the Hail Mary was constructed by multiple nations, a true international effort to save our world. Phil and Chris wanted each capsule to be visually and culturally distinct, whether it was the padded, embryonic crew dormitory or the maddeningly complex flight cockpit. One of the central complexities of the Hail Mary was figuring out the four different gravity states: acceleration, zero gravity, centrifugal and perpendicular gravity. The sets had to function in all of these gravity scenarios, the ladders then becoming the floors, the vertical corridors becoming horizontal and it all making "astronautic engineering" sense. We worked really closely with Greig Fraser and Paul Lambert, our visual effects supervisor, deliberating how the camera needed to work in the ship, starting with the VAD (Virtual Art Department). Greig laid out the whole principle of his lighting design, planetary light, the movement of the suns, circadian lighting systems and so much more. Greig's work evoked the personality and soul of the ship and its chameleon-like changes. COCKPIT SET DATA CORRIDOR SET COCKPIT EARLY CONCEPT ART AIRLOCK CAPSULE SET INTERIOR DORMITORY SET DORMITORY CONCEPT ART