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 91 longer a simple red door. It is now a prison door with the Dewbend shield-shaped lock. Key scenic Bob Fox did a wonderful job of creating depth, adding the texture of age on the lock surface with layers of sinister-looking build-up. Stepping into the Further was the part of the film that allowed me to depart from using existing locations with modifications and create environments from scratch, or at least such was the plan. Scouting a multiuse location, a familiar practice in low-budget filmmaking, led to the discovery of a warehouse that had an interesting loft space and poured cement walls. The layout impressed me immediately as a good general structure for the fallout shelter. I had researched and designed the set already, and it is a substantial environment with many key moments of storytelling happening within. Elise's father would have converted a raw sub-area space into a fallout shelter post-WWII. It A. Before image: opening sequence of a vehicle driving through the gates of Dewbend Penitentiary without the VFX prison. B. After image with prison added. Photo by Jamison Goei, visual effects supervisor. C. Oil field house location used for the exterior of the Rainier house. Photo by Curtis Corbitt. D. Five Keys sign. Designed by Melanie Paizis Jones on SketchUp. E. Research reference for the Five Keys sign. F. Dewbend Penitentiary gate. Designed by Melanie Paizis Jones in SketchUp. G. Dewbend Penitentiary sign designed by Hunter Brown. Printed at Universal sign shop. Photo by Melanie Jones. H. Opening sequence at the gates of Dewbend Penitentiary. Photo by Curtis Corbitt. I. Design elevations of Dewbend gate drawn by Hunter Brown in Layout. Stamped by an architect to approve structure for wind. J. Red Further door with young Elise (Ava Kolker) built on the fallout shelter set at RSI stages. J H I F G