Issue link: http://digital.copcomm.com/i/834282
70 P E R S P E C T I V E | J U LY / AU G U S T 2 0 1 7 The six-foot-wide drone required a small army to manage the circus of cables and video equipment. I had arranged for a local construction crew to place tall pink markers to help the drone pilot visualize where the home would be built later by the visual effects team. Using Myleen's 3D model as a shell, the effects artists would give it life, texture and movement to match the drone's plate shots. After six months, production wrapped in Los Angeles and I was officially fun- employed. My first day off was a good day to surf. I carried my board down a chaparral path and descended the cliffs to access the surf below. Standing on the sand, I was directly under the spot where I had placed Kyle's virtual house. I paddled past the break to get a clear view of that familiar bluff above the beach. Top: A sketch by Mr. Novotny, part of a siteline study of the backyard on the soundstage. This drawing was scaled and given to the sculptors to build foam rocks from. Above, left and right: A production sketch, again by Mr. Novotny, to demonstrate the basic idea of the multilayered backing A behind- the-scenes photograph showing the miniature two- dimensional tree backings. Below, left and right: Kyle's bedroom showing the view out the window toward the ocean, with grass, pebbles, gravel and decorative natural plants, and miniature cutout trees, all in front of the large photographic backing. The view from Kyle's kitchen at the ocean vista with grass lawn and miniature trees in the foreground.