Issue link: http://digital.copcomm.com/i/974985
7 0 P E R S P E C T I V E | M A Y / J U N E 2 0 1 8 It was straightforward to place the scenic garage columns around these beams, but as part of the action, several columns would need to be cracked and at odd angles. Creating enough of a lean in them while still hiding the steel beam inside proved tricky. One difficulty I have always encountered in these collapse sets is that as soon as one starts making holes in walls and ceilings, the set required is expanded, because now a backing piece is needed beyond. The layering and depth looks better; the extra build isn't helpful. Luckily, I had also designed six or eight of these collapse sets already. There have been enough of these that the production has an extensive numbered (yes numbered) inventory of carved concrete pieces. This facilitates making a quick Sketchup model that not only shows the director the set, but aids the Set Designers and later the construction crew. It literally becomes a three-dimensional paint by numbers. Half the set would be seen as an intact structure. Half could be dressed as a collapse from the start. A weekend was available to change over to full collapse. The final set included an entrance ramp, seven crushed cars, an elevator that played in the action, a collapsing column and numerous debris drops. Although each element was relatively straightforward, the number and scale, combined with the larger location build in a 15-day total C A B A. DETAIL PAGE FOR GARAGE SET SHOWING PLACEMENT OF COLLAPSED CEILING PIECES FOR COLLAPSE RE- DRESS. DRAWING BY LISA KORPAN IN AUTOCAD AND SKETCHUP. B. ISOMETRIC OF SKETCHUP MODEL RENDERED IN PODIUM SHOWING RUBBLE PLACEMENT BY CRAIG JACKSON. C. SKETCHUP PRE- VISUALIZATION OF THE GARAGE SET BY CRAIG JACKSON, RENDERED IN PODIUM AND PHOTOSHOP.