Issue link: https://digital.copcomm.com/i/1177962
S P I D E R - M A N : F A R F R O M H O M E | P E R S P E C T I V E 8 9 D When all the departments and the studio agreed on a final version of the set, construction, supervised by Colin Fraser, started erecting the walls in situ, and it went up pretty quickly in the dry tank. A good portion of the plasterwork detail was standing by in piles ready to be assembled. In the meantime, set decorator Tina Jones, property master Graeme Purdy and marine coordinator Darren Bailey were importing every possible element to dress the huge set in the making. The paint crew eventually came in to complete the finishes. This is a time when I get really anxious to see it come together. One can have great carpentry, plasterwork, statues, etc., but if the paint is not accurate, it will all amount to nothing. Venice is an old, very old place, aged, repaired and touched daily by many locals, and subject to the wear and tear and erosion caused by the twenty million tourists who visit each year. Working along with the painters, a team of greens people attached some fake algae to the dock walls at the pre-determined water levels. In the Venice canals, the dock walls are covered with a dark coat of shells that accumulate over time. This shell texture was copied in plaster and applied to the set walls below the water line. On top of it was added fake algae at the right water level, so it would float at the surface once the tank was filled with water. An underwater pipe system was used to help hold the numerous anchoring posts sticking out of water and tip and angle them to age their look. D. MASTER PLAN FOR THE VENICE CANAL/ RIALTO BRIDGE BACKLOT SET. REFLECTING THE RESULTS OF THE MANY CONVERSATIONS BETWEEN SPECIAL EFFECTS, VISUAL EFFECTS, LIGHTING, CONSTRUCTION AND MARINE DEPARTMENTS. E. VENICE CANAL SET UNDER CONSTRUCTION IN THE EMPTY TANK. SET PHOTO. E