Issue link: https://digital.copcomm.com/i/1433736
Other structures, including cowhands' quarters, corrals and a now disused tennis court made up the built environment of the farm, almost every piece of this ranch had to be made, as there wasn't anything usable in rural New Zealand. For whatever reasons, this Australasian co- production was to be made here in New Zealand, which has no lack of great landscapes and after a long search, we found what we wanted in the upper reaches of the Ida Valley in Central Otago. It contained some historic shepherd huts and a sheering shed which were assimilated and built over as out-buildings. As it turned out, it was also one of the windiest valleys in the country, making the job of erecting a large house façade a structural challenge. upervising Art irector Mark obins had the task of making this happen, he and Art Director George Hamilton shepherded this big build through to completion over a three-month period and they will describe this in more detail below. The interiors were fi lmed on stages back in Auckland. A lot of intense drama took place within these sets, so being authentic and detailed with their look was essential. et decorator Amber ichards and I have worked on several projects together and her task of bringing the interior sets and locations to life with all the period and storyspecifi c textures, colors and objects was no small feat, especially given Jane Campion's exacting standards. We wanted the sets to feel masculine and pared back to contrast with the elaborate feminine rooms abandoned by the parents and shut away till ose and her son enter the house. ther sets included the ed Mill restaurant, kitchen and rental rooms above, again sparely dressed this time to describe the relative poverty of its inhabitants but also the less consumerist period and place where the story unfolds. Creating rooms with good proportion and shape and a subtle feeling of prior uses was essential when designing these simplifi ed environments. The neighboring bar and a mortuary completed the studio interiors, for the rest we used the few remaining locations we could fi nd that were period-correct. B A. BURBANK HOUSE EXTERIOR CONCEPT, NORTHERLY ASPECT. ORIGINAL ROUGH MAYA 3D MODEL BY LIAM BECK, RHINO MODEL DETAILING BY SET DESIGNER DANIEL KOENE, THEN BACK TO MAYA WITH ARNOLD RENDER AND PHOTOSHOP WORK BY LIAM BECK OVER A LOCATION STILL OF THE IDA VALLEY, MANIOTOTO, NZ. B. BURBANK HOUSE EXTERIOR, PROPORTIONAL STUDY, SOUTHERLY ASPECT. MAYA 3D MODEL RENDERED IN VRAY BY DANIEL KOENE. A