ADG Perspective

January-February 2021

Issue link: https://digital.copcomm.com/i/1332040

Contents of this Issue

Navigation

Page 2 of 131

J A N U A R Y / F E B R U A R Y 2 0 2 0 | P E R S P E C T I V E 1 WHO'S TALKING IN THIS ISSUE Todd Fjelsted, Production Designer of HELSTROM – page 92 It's a rare moment when you discover that two of your lifelong obsessions, comic books and gothic horror, are going to merge within a single project. Mark Ricker, Production Designer of MA RAINEY'S BLACK BOTTOM, Original version of The Coffee House by Alson Skinner Clark 1905 – page 69 What I also discovered is that Clark "painted Chicago on a winter day, with ice fl oating down the river and the city's skyscrapers looming through smoke and fog." The image I'd found on that fi rst day of research was the product of multiple reprintings and copies—completely altering the colors and mood of the original. Kalina Ivanov, Production Designer of LOVECRAFT COUNTRY – page 73 The central theme of a woman made to feel small' who then fi nds her true self, spoke to me as an artist, a mother and a political refugee. I grew up in a drab communist country, and as a teenager, often daydreamed about living in a world of color and joy. Caylah Eddleblute, Production Designer of WE CAN BE HEROES. Ship Corridors. 3D model by Alex Cunningham. – page 99 Alex came back with a striking, fl uid 3D concept render, and revealed a clear understanding of modeling for production. Our alien ship interior rocketed into the universe. Fifteen minutes with the right person…you can travel light years. Felicity Abbott, Production Designer of THE LUMINARIES – page 82 However, we are creating cinema and not documentary and it is important to allow a departure from what may be 'accurate' for dramatic purposes. Authentic representation need not be accurate.

Articles in this issue

view archives of ADG Perspective - January-February 2021