Issue link: http://digital.copcomm.com/i/929567
P E R S P E C T I V E | M A R C H / A P R I L 2 0 1 8 45 The mandate to build and shoot as much of this world as justifiably possible, to get it "in camera," in order to achieve Lucas' documentary feel, was exciting and scary. The first set breakdown had almost 160 sets in it. Even after that number was refined down to 128, it was a daunting challenge to manage, much less design, that many sets on fifteen substantial stages and backlot areas at Pinewood and Longcross studios, as well as multiple locations for a 100-day shooting schedule. A clever scheme was required that wove the sets through the available stages at a staggering speed. Here the Art Department could take advantage of a key factor—the adequate preparation time to kite multiple workflow scenarios. D. Canto Bight casino entrance. Art by Rob Castro. 3D model painted in Photoshop. E. Canto Bight casino entrance. Set photo by Ben Munro. F. Casino entrance. Set schematic modeled in SketchUp by Andrew Bennett and Tim Browning. G. Casino bar. Art by Adam Brockbank. Rendered in SketchUp, finished in Photoshop. H. Casino interior. Art by Rob Castro. 3D model painted over in Photoshop. H E D F G