Issue link: https://digital.copcomm.com/i/1152740
Appropriate scale benchmarks were established early on, and I modeled several versions of the plane in cooperation with previs for early animatic integration, precise proportional refinement and plausible wing section profiles. With the variable wing concept still in place at the time, I broke the aircraft apart and created several animations showcasing its compressed and expanded form while briefly touching upon interior development. At this point, the plane was passed to George Hull, who completed the exterior and spearheaded the interior design of the bridge. The Monarch Command Ship: An Evolution of Form, by George Hull For the Monarch Corporation's command ship, my primary focus was to elevate the strong silhouette that Matthew Cunningham had started into a more realized finished concept, both inside and out. Per the script, it needed to have a docking bay for the main actors to fly an Osprey aircraft into its belly, in order to escape the attacking monster Ghidorah. To do this, the command ship would have to be over twice as large as the world's largest aircraft, the Stratolaunch, so basically, it was completely unrealistic. I love the challenge of making the impossible feel possible when it comes to design. Focusing on believability and scale, I designed the engines, folding wings, cockpit and weapons systems, while imagining exciting ways that it could look in the film's action sequences. The interior of this craft was equally challenging but for different reasons. Like most sets, I had a list of requirements related to staging actors for shots in the story. Scott Chambliss carefully directed me through this maze, and A C A. ARGO COMMAND SHIP WING STUDY, TOP VIEW. ILLUSTRATION BY GEORGE HULL. B. ARGO COMMAND SHIP WING STUDY, SIDE VIEW. ILLUSTRATION BY GEORGE HULL. C. ARGO COMMAND SHIP WITH OSPREY BAY DOORS. ILLUSTRATION BY GEORGE HULL. B