Issue link: http://digital.copcomm.com/i/619377
60 P E R S P E C T I V E | J A N UA RY / F E B R UA RY 2 0 1 6 Above: The exterior of the secret Temporal Facility, shown in a Photoshop illustration by Sanford Kong over a digital 3D SketchUp model by John Mott. Opposite page, clockwise from top: The decontamination room in the Temporal Facility uses ultraviolet light to destroy contaminants. This is another Photoshop illustration by Sanford Kong over a digital 3D SketchUp model by John Mott. A set still of the Temporal Facility hallways on stage in Toronto at Cinespace Studios West. A set still and a production photograph of the Temporal Facility's evidence room with its war table and rolling evidence boards, also on stage at Cinespace Studios West. Sanford Kong's photoshop illustration of the Temporal Facility hallways, again drawn over a digital 3D SketchUp model by John Mott. "We were all fans of the original movie and its funky Gilliamesque vibe. But that was 1996, almost twenty years ago. Many of the target demographic would have been infants when the movie came out—a sobering thought—so an esthetic somewhat more rooted in reality would fit the show, with an occasional Gilliam homage here and there." The future, however, was another story: all the pilot's 2044 material had to be reshot in the new Temporal Facility. The time machine prop from the pilot became larger and more complex, and I added catwalks alongside and over it to integrate it into the Temporal Room (or Splinter Chamber—the act of time traveling was called splintering). I wanted to make the Temporal Room an impressive, powerful space, a temple to time travel. The studio provided good height to play with (almost forty feet) and I used as much of it as I could. Massive buttresses reach up into the gloom and existing mezzanines were incorporated into the design, with handrails and stairs added to allow actors to move from one level to another. Mission Control was also contained in this room, a series of consoles on stepped steel risers that are illuminated from beneath, with Jones' master console front and center allowing her an unobstructed view of the machine. Adjacent to the Temporal Room is a large Ready Room which has several distinct functions: a medical area for pre- and post-splinter treatment, areas for storing analog and digital evidence to help determine targets in the past for the time traveler(s) to investigate, large movable evidence boards to display these clues to the plague, and of course, a big illuminated war table around which to plan the attacks on the past and ruminate on the paradoxes of time. The remaining parts of our Temporal Facility (at least for this first year) would be a network of interconnected corridors, a decontamination room, some cells and a place for Jones to call her own. From my hasty SketchUp ® model, Dan Norton and his team of Set