Issue link: https://digital.copcomm.com/i/1433736
as these sets needed to function practically, allowing for horses and up to one hundred cattle to work within them. esearch and reference imagery showed that barns, yards and outbuildings of the period were often built from locally sourced timber, most likely milled onsite. Sourcing and aging the vast amounts of timber needed was quite a task. For the yards alone, the production used over 1000 six- meterlong ouglas fir logs. Head painter Marjorie Marshall led a fantastic scenic team in the painting and weathering of what felt like an impossible amount of raw timber, stone and cast plaster. Due to a particularly wet spring, the paddocks around the set were a patchwork of varied greens, at odds with the arid tussock land that surrounded the ranch. With shoot day one rapidly approaching, the task of browning o the grass and blending it with the surrounding landscape fell to head greensman Brian Massey and his team. With support from local contractors, a solution was found using an organic, nontoxic desiccant that would brown o the existing grass but not kill it, allowing the paddocks to regenerate once filming was complete. The greens department did a great job of seating the built ranch into the land it stood on, with a light touch that made it appear as though it had stood there for many years. Despite the many challenges, this was an extremely satisfying and rewarding creative experience, to realize the director and designers' vision in such a stunning landscape with a dedicated and talented crew was a rare and cherished opportunity. F. HERNDON CITY STREET EXTERIOR VIEW. DRESSED LOCATION USING THE HISTORIC QUARTER OF OAMARU TOWN, NZ. PHOTO BY GARETH EDWARDS. G. HERNDON CLOTHES SHOP INTERIOR. DRESSED LOCATION MATAKANUI, RANFURLY, NZ. SET DECORATORS AMBER RICHARDS AND MICHELLE FREEMAN CONVERTED A REMOTE DIS-USED GENERAL STORE INTO THIS WONDERFUL MEN'S OUTFITTERS FOR JUST ONE MORNING OF SHOOTING TIME. SET PHOTO. D E F G