Issue link: https://digital.copcomm.com/i/1349602
the launch and they now needed to buckle up and go for the ride. The oor becoming the back wall in the command module was ust one of the weird little perception conversations that took place, but the one that dragged on the longest was about the central spine that would rotate with the outriggers attached to it. To show the rotation within a built set where people are weightless and hung by wires, there is really only one option, the set must be static to allow for wire work and the end walls would spin to give the appearance of the whole set piece rotating. But this became an endless discussion about how the audience would know that the spine was rotating, but not the rest of the ship. I remember being in my car heading to a meeting at Nickelodeon and missing four exits off the freeway because I was stuck on the phone with Dean trying to explain the logic of rotational relativity. It was Jimmy Macmillan who showed that rotating the camera in sync with the end wall would make it look like the spine was rotating and the rest of the ship was stationary. All this work was building toward a final presentation to the Nickelodeon executives. Dean and I were still getting together every week and even though he had to postpone a meeting while his wife went into labor, he still managed to call that evening from the hospital to go over the latest concepts. In addition to the illustrations and animations, I was working up dozens of boards of A. PENCIL SKETCH PLAN OF THE LIVING QUARTERS. B. CONCEPT DESIGN FOR THE DOUBLE HEIGHT LIVING QUARTERS WITH LOUNGE UP AND CREW CABINS DOWN. ILLUSTRATION BY BRIAN CUNNINGHAM. C. FINISHED CREW LOUNGE SET. SET PHOTO. A C B