Issue link: http://digital.copcomm.com/i/916056
The styling of the interiors was to be rich in its patina and opulent in its atmosphere, but I wanted to edge away from the rather floral decorative style of the art nouveau original. A more geometric pattern reminiscent of art deco was ultimately selected, this allowed the control of each surface in a way which would be in harmony with actors and costumes, and not challenge the framing of shots. Each of these carriages eventually became a complex construction resembling more a lunar space simulator, mounted on a hydraulic gimbal capable of any movement in any direction, with built-in hidden lighting surrounded by special effects equipment to provide wind, snow, and rain at a whim. Then that major issue—what would we see through the windows? "Those four carriages would need full matching interiors with partial exteriors, which could be shot on stage with removable walls and ceilings." For the sake of our actors and a tight post-production schedule, our director did not want the usual blue screen with "views to be added later." With the recent developments in high-definition LED screens, we decided to test that scenario, placing the carriage on a gimbal with a 100-foot by 25-foot-high LED screen 18-feet away from the windows. The result was spectacular, with snow wind and rain lashing the side of the carriage, it was utterly convincing, as our equally spectacular A-list cast would later confirm once we began shooting. Having decided LED screens would be a successful way to proceed, Haris headed off to New Zealand to shoot breathtaking landscape footage to use as LED playback. A B C D