ADG Perspective

May-June 2016

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P E R S P E C T I V E | M AY / J U N E 2 0 1 6 55 gave a very dynamic set of surface conditions. With that came the ability to shoot most of the sequence in-camera, including its stunts of the crew leaping from the tanker to the rescue boat, which gave a far greater sense of verisimilitude and eliminated the need for compositing shots. Michael Corenblith, Production Designer William Ladd Skinner, Supervising Art Director Samantha Avila, Assistant Art Director Martin Charles, Graphic Designer Po Sing Chu, Jonas De Ro, Leandre Lagrange, Concept Artists Mauro Borrelli, Illustrator Nitin S. Kale, Digital Matte Painter Lorrie Campbell, Robert Andrew Johnson, Bria Kinter, Masako Masuda, Richard Reynolds, Steven M. Saylor, Clint Wallace, Rob Woodruff, Set Designers Darrin Denlinger, Warren Drummond, Trevor Goring, Storyboard Artists Doug Cluff, Charge Scenic Artist Susan Benjamin, Set Decorator "The exterior set covered a much larger footprint and contained three connecting deck levels, as well as a long section of broken catwalk. Even though the stage was almost seventy feet high, this set which also included ventilation funnels and a portion of the smokestack, was still too tall." Beyond these gimbaled sets, many other static portions of the Pendleton were designed by the Art Department crew listed here. Assistant Art Director Samantha Avila became the superintendent of, and grew to love, everything relating to the four different iterations of the Coast Guard rescue boat, as well as all things terrestrial. ADG

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