Issue link: http://digital.copcomm.com/i/974985
scout, preproduction, design and build schedule was typical Chicago Fire. This show presents a difficulty and challenge that is hard to explain to those that haven't experienced it. The rapid pace at which the production has to examine, analyze, design, troubleshoot and then fabricate these multiple events, day in and day out, is unique. The pace is frantic all season long. I am thankfully supported in this by talented decorator Desi Wolff, and D David Krummel, a skilled Art Director. The construction coordinator, Tyler Osman, loves to say to me, "I don't know what we'd do after this if we ever get a feature film, we'd finish the design and build halfway through prep and not know what to do with ourselves." I am thrilled to do this show with an Art Department, construction and effects crew that rise to the challenges and hurdles the scripts and my designs present on a daily basis. ADG D. PHOTO OF COMPLETED GARAGE SET ON THE BURN STAGE AS SHOT FOR PRE-COLLAPSE SCENES. SCENIC COLUMNS ARE BUILT AROUND EXISTING STEEL COLUMNS THAT SUPPORT THE PERMANENT MEZZANINE STRUCTURE ABOVE. E. GARAGE SET REDRESSED FOR POST- COLLAPSE SCENES. AFTER THE SET WAS SHOT FOR INITIAL PRE-COLLAPSE SCENES, THE CONSTRUCTION AND SET DECORATING CREWS HAD A WEEKEND TO CHANGE OVER THE SET TO THIS LOOK. ADDITIONAL DUST AND SMOKE ATMOSPHERE WOULD BE ADDED LATER FOR SHOOTING. Craig Jackson, Production Designer David Krummel, Art Director Merje Veski, Assistant Art Director Lisa Korpan, Anita Gallo, Colin Abbott, Set Designers Desi Wolff, Set Decorator E