Issue link: http://digital.copcomm.com/i/859699
P E R S P E C T I V E | S E P T E M B E R / O C TO B E R 2 0 1 7 33 so much into the set's creation. It was a monumental challenge building in the elements, at heights approaching sixty feet, but in the end, it was everything I could have dreamed of. I am so proud to have been a part of it and want to thank specifically, Nathan Schroeder, Luis Hoyos, Jeff Markwith, Maya Shimoguchi, Chris Sanford, Joe Studzinski and Goose Aspergen for their tireless work and dedication. It's hard for me to imagine, but it has been five years since I started working on the Apes franchise. I have learned so much along the way and been through so many highs. I think this series embodies the best of science fiction, and I hope it will not be my last time with these memorable characters. These films have allowed me to explore a world beyond man, a time when our systems break down and nature takes over. Developing the language for a new civilization is the pinnacle for a Production Designer, setting up the rules of a new world and fleshing out the systems that make it run. I will be forever grateful to the crews on both films for supporting this grand adventure and hope they are all as proud of the work as I am to have been associated with such a stellar group of artists. ADG James Chinlund, Production Designer Maya Shimoguchi, Supervising Art Director Richard Bloom, David Clarke, Nigel Evans, Art Directors Callie Andreadis, Gustaf Aspegren, Chris Beach, Doug Girling, Callum Webster, Assistant Art Directors Andrew Campbell, Lead Graphic Designer Vance Kovacs, Concept Artist Nathan Schroeder, Joe Studzinski, Illustrators John Berger, Luis Hoyos, Jeff Markwith, Greg Papalia, Rich Romig, Chris Sanford, Lucie Tremblay, Set Designers Brett Phillips, Lead Model Maker Adam Mull, Model Maker Vaughn Baker, Lead Scenic Artist Marcus Endean, Josh Sheppard, Dan Sweetman, Adrien Van Viersen, Storyboard Artists Amanda Moss Serino, Set Decorator Opposite page, top: Another illustration by Nathan Schroeder of the prison depot exterior set in Richmond, BC. In the foreground of this shot are the old railroad tracks that were left over from the period when the camp was used as a weapons depot. Center: Luis Hoyos' pencil drafting of the barracks building in the prison camp. Bottom, left and right: A set still of the camp, viewed from an elevated catwalk showing one stretch of steel; several hundred tons of steel were used in the construction. Another photograph of the five-acre finished set, designed to be shot in the dead of winter in Vancouver. The elements played a huge role in the character of the space. This page, top to bottom: A set photograph of the Colonel's quarters, onstage at Mammoth Studios. Luis Hoyos was a key player developing the language of this set, referencing institutional architecture of the fifties and sixties. Nathan Schroeder's sketch of the prison depot shows how the set was designed to reflect the history of the camp; at one point, it was a weapons storage facility that became a detention center during the quarantine. Set Designer Jeff Markwith drew the prison camp guard towers in Rhino. As the camp evolved, it began to reflect its history: the guard towers indicate the intervention during the pandemic. Andrew Campbell drew this graphic study for a fuel tanker at the prison depot; graphics were a critical tool to express the Colonel's madness and the dedication of his troops.