Issue link: http://digital.copcomm.com/i/629850
Opposite page, top: All of the streets were filmed in Petersburg. Center: A SketchUp drawing by Mr. Marsh of the Green's woodworking shop. Bottom, the finished set, really just an old warehouse near the railroad tracks with some added walls and an office for Mr. Green. A detail of this set is featured on the cover of this issue. This page, top left: Mr. Marsh's SketchUp model for a matte shot of a paddle wheeler in dock. Center: Another SketchUp rendering, this time for a set of slave holding cells. Bottom: A forced perspective graveyard, built in a residential backyard. the building. It worked pretty well, but the building was smaller than the real Hotel had been; and so, in the wide angles, another two floors would be added with visual effects extensions. There are a number of effects and set extension shots in the series; I used SketchUp ® to create images that were used by the visual effects artists to create these matte shots. The neighboring streets of Petersburg, dressed for the period, would stand in for the streets of 1862 Alexandria. Also in Petersburg, a large old house called the Centre Hill Museum would play as the interior and exterior of the Green's house, but first the existing furniture had to be placed in storage and the whole house refurnished by set decorator Marthe Pineau. When all the creative people on a show agree, together they form a very strong team. Everyone on the crew had such passion for this show. Even toward the end when the crew was tired, they continued to watch every minute detail. We all have a show or Stephen Marsh, Production Designer Gioia Varesi, Graphic Designer Marthe Pineau, Set Decorator two that we can honestly call an exciting and enjoyable experience. On Mercy Street, I had a ball! ADG