ADG Perspective

January-February 2018

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connective tissue to the interior set, and also define this exterior three-sided room with stacked S.W.A.T.-erized containers. Another fun element would be the 35-foot-diameter helipad graphic that I knew producing director Billy Gierhart would find a way to maximize. Designing the S.W.A.T. pilot and first season of the series was a thoroughly satisfying experience. First, working with director Justin Lin was a truly collaborative process, he being both challenging and respectful. It is rare to come across a director with such muscle, vision, and humility, in one package. Second, visual effects supervisor Jason Sperling was the perfect match to take these ideas further, understanding the desire to open up the show as much as possible. Third, and most importantly, I would like to thank all the members of the Art Department who worked passionately and tirelessly to bring these ideas to life. Special thanks must go to set decorators Jan Pascale (pilot) and Wanda Peterson (series) for their grand ideas and attention to detail. Also, thanks to Art Directors Eric Sundahl (pilot) and Tim Beach (series) for getting it done with a smile and always caring about the final result. Notable mention must also go to Set Designers Easton Smith (pilot) and Dan Jennings (series), who brought decades of experience and expertise to the S.W.A.T. party. I hope that our work not only establishes a singular aesthetic but also promotes the show's vision. ADG Andrew Murdock, Production Designer Eric Sundahl, Tim Beach, Art Directors Nathan W. Bailey, Assistant Art Director Mark Haber, Easton Smith, Dan Jennings, Set Designers Jane Fitts, Graphic Designer Jamie Rama, Illustrator Jan Pascale, Wanda Peterson, Set Decorators E F G

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