Issue link: http://digital.copcomm.com/i/780285
32 P E R S P E C T I V E | M A R C H / A P R I L 2 0 1 7 and restrooms and support would be available as part of the space rental. With plenty of overhead pick points, the tent could be hung from the ceiling, all of the tent's fabric walls could be wild, the rock-and-roll lighting trusses could be supported and the Technocrane could be used as needed. In order to minimize convention center space and its expensive rental costs, every element of installation had to be planned to the minute and all components were prefabricated off site. The aim was for the masquerade ball scenery to feel like old society, as if the Grey family had rented the elements from the local opera company. A rich traditional Venetian palette served to guide the look. The backdrops and teasers were hand-painted by Grosh from the Art Department's scale designs. Half gondolas were constructed to feel like they were moored at the stage/pier. The masquerade ball stage itself had an old Venetian floor pattern printed directly onto Dibond. Archways simulating St. Mark's Square were sculpted as components for easy transport and installation. But by far, the biggest benefit of our convention center setup was the secrecy it provided for such a pivotal scene. Extras had to check their phones and had a special phone zone so that no photos could be taken of the sets. Every day of filming on location had a slew of paparazzi and fans vying for their glimpse of not only the actors, but every part of the process. Even when crews were loading into locations, fans would attempt surreptitious photography by walking by, then whipping out cameras to shoot what could be seen through the doors. Black- out drapes became mandatory. Christian proposes to Ana in a rather clunky way midway through Fifty Shades Darker. By the end of the film, his proposal needed to be much more romantic. In the first film, we see the Grey family pool house. I pitched the concept that when Christian finally proposes, that it should be wondrously romantic, and he should be walking on water. An acrylic walkway lined with flowers was created across the pool, surrounded by more flowers and jewels pouring from the mezzanine railings. As Christian proposes in the middle of the pool, they both then are able to look up and see the fireworks through the pool house glass ceiling. Jamie Foley and the producers put together a marvelous international team, including cinematographer John Schwartzman, assistant director Paul Barry and a frequent collaborator of mine, costume designer Shay Cunliffe, as well as one of the best design teams of my career. They all worked together to make what could have been an arduous experience into a polished and professional shoot with a beautiful result that is definitely several shades darker. ADG