Issue link: http://digital.copcomm.com/i/747534
P E R S P E C T I V E | N OV E M B E R / D E C E M B E R 2 0 1 6 115 Top: A SketchUp ® model of the bombed Japanese farmhouse drawn by Set Designer Nicholas Dare. Right: Three photographs of the farmhouse, built on the same large tract of location land that housed the battlefield and escarpment sets. Barry Robison, Production Designer Mark Robins, Supervising Art Director Brian Nickless, Assistant Art Director Nicholas Dare, Andrew Kattie, Set Designers Geoff Kemmis, Concept Model Maker Evan Shipard, Concept Artist Rebecca Cohen, Set Decorator Also, creating the battlefield bowl oriented the action to take the best advantage of the sun's direction, something which was key for Simon Duggan. For Mel, it gave him the freedom of 360-degree shooting. For visual effects supervisor Chris Godfrie, the creation of the bowl made sure there would be no need for set extensions or rotoscoping during the battle sequences. With the combination of atmosphere smoke and pyrotechnics (old-school techniques), seamless action sequences could be created—exactly what Mel had wanted from day one. One curveball was thrown at us during the construction of the battlefield. The producers asked that a section of the cliff be built so the actors could reach the top of the face and scramble onto the plateau without any cuts—an interesting challenge. The area was on an 18-degree slope, and the cliff face was at the bottom. The soil was clay which became soggy when wet, so we brought in geologists and engineers to consult. Mark and construction coordinator Greg Hajdu got the go- ahead. Drainage lines were installed and the bulldozers came to dig a 12-meter-high cliff face. Scaffolding was erected to attach stiff plaster sheets, molded directly from the original Goulburn cliff face, to the newly constructed cliff. The producers and Mel were happy, and got the shots they needed. You may ask, why did I title this article "Three Jeeps, Two Trucks and a Tank"? This film had a very modest budget. All the vehicles that we could afford were three jeeps, two trucks and a tank. It's crazy, right? Yes, we were making a WWII film and we got the most out of those vehicles. Rather than making those numbers an obstacle, we embraced the challenge. The set decorators would dress one side of the truck as a supply vehicle and the other as a medical vehicle. The jeeps were used as field ambulances in one scene and for passengers in the next. Along with visual effects replication, the tricks worked. The Art Department gave Mel Gibson what he needed to tell his story, one of a brave man finding power in his faith to overcome unbelievable obstacles. ADG OKINAWA FARMHOUSE 3D VIEW FROM S-E APPROVED 150921 SET NAME DRAWING DESCRIPTION LOCATION/STAGE DIRECTOR MEL GIBSON BARRY ROBISON MARK ROBINS PRODUCTION DESIGNER SUPERVISING ART DIRECTOR FARMHOUSE 3D VIEW FROM S-E BRINGELLY