Issue link: http://digital.copcomm.com/i/916056
chamber design and topped with a crown of industrial pipes. The pool's step-sided design was in reference to a ziggurat monument, as a nod to the Asset's godlike status. This is centered on the entrance doorway, as Guillermo and I wanted it to be the first thing you saw. He also had asked for a sort of setting sun-like design on the featured wall behind the pool, which set designer William Cheng created with an array of steel steam and water pipes, to which the Asset is chained. What was very important to Guillermo was the color of the tiles that help define all the colors in the OCCAM facility. This was to be a sort of aqua or teal, "the color of the future." Real ceramic tiles were used around the pool area, and waterproof MDF was painted to match everywhere else. An abandoned power plant had already been settled on to create the locker rooms and bathrooms, so the tile size was based on the ones found there. However, in order to seamlessly blend that location with the studio sets, scenic painters had to hand-paint each tile individually, avoiding the grout, as well as spray paint the hundreds of mismatched lockers to work with the color scheme. The OCCAM lab corridor was built to the edges of the 140-foot studio space. The digital effects company Mr. X provided the set extensions on both ends, and helped animate the locking mechanisms on the extra-large rolling steel security door. Art Department coordinator Samantha Dick sourced a 1950s Canadian-designed three-wheeled golf cart from a collector in Alberta, which was of course, also painted teal, and can now be found tooling around the Fox Searchlight Studios. The other studio component of the OCCAM facility was the elevator hallway and Command Center. The design started with research into early mainframe computer design and the rooms that they were housed in. For time and cost savings, I was also hoping to adapt a large set from The Strain, which was to be demolished. A. Photo of security doors and entrance to the lab. B. Photo of finished lab corridor built end to end of Stage B in Cinespace Studios. C. SketchUp 3D model of the theater exterior by Paul D. Austerberry. D. Marquee set and foreground staircase being installed on location at Massey Hall. E. Still from film showing the digitally extended street with fire and marquee. F. SketchUp model of Elisa and Giles' apartments by Paul D. Austerberry showing its proximity to the studio wall. G. "The mad doctor" key Scenic Artist Matthew Lammerich working on the Wave Wall. H. Finished Wave Wall showing curling wave engulfing the entry door. Photos by Paul D. Austerberry A B C