Issue link: https://digital.copcomm.com/i/1152740
I tried to design each camera angle on the set as interestingly (even elegantly) as an aircraft interior could possibly be. The main deck had many complex shapes and angles, with large window holes, all making it very busy. I like sets that have a strong focal point, so I tried to design strong themes lines, and used lighting to help bring it together and simplify the overall aesthetic. I was very happy to see how it all looked on the big screen both inside and out! Monarch Fighter Jets, by Matthew Cunningham My early proposals for a fighter planes were generated using the same method as the mothership and included everything from an exponential fighter jet, which would break into smaller and smaller triangular components, comprised of cruise missile drones, and a swarm of evasion enabling sonic transmitters, to an articulating quad-wing vertical takeoff and landing aircraft. They went with the F-22 Raptor in the end. Monarch V-22 Osprey, by Matthew Cunningham Designing the interior of the Monarch Osprey in close collaboration with the Supervising Art Director, Richard Johnson, the approach was heavily driven by two main considerations, that we use a pre-existing V-22 fuselage to correctly match the exterior and interior shots of the aircraft, and that the interior seating arrangements and technological displays were optimized to support the action in the script. I designed the internal bulkheads with a hexagonal motif, to lend a more technical feel to the frame structure, while working out different proposals for the ceiling and walls, which were populated with modular containers for gear and plenty of D. ARGO COMMAND SHIP CONTROL ROOM. ILLUSTRATION BY GEORGE HULL. E. ARGO COMMAND SHIP OSPREY BAY INTERIOR. ILLUSTRATION BY GEORGE HULL. F. MONARCH FIGHTER. CONCEPT ILLUSTRATION BY MATTHEW CUNNINGHAM. G. EXPONENTIAL FIGHTER JET. CONCEPT ILLUSTRATION BY MATTHEW CUNNINGHAM. D E F G