Issue link: https://digital.copcomm.com/i/1438629
touches like skilift passes dangling from its ipper, reminiscent of the former world. Proof of Concept shared with iguel research images for each set piece that inch and company would eplore. esearcher eidre acks and created a catalog of technology and spoke with an atmospheric scientist and meteorologist at altech to accurately assess what eff ects massie radiation storms would hae on the arth. The producers arranged for a isit to the industry leading robotics lab at regon State niersity where we spent the day speaking with specialists to see what was possible today and what might be realistic in the near future. The rt epartment sifted through images of natural deastation, concentrating on the enironmental ghosts that humans left behind. e began to build our story pole with an image tacked to the wall for each scene in the script. They would later be replaced by set illustrations and locations as we found them. This great wall of some two hundred seenty panels would storyboard the rhythm of the fi lm to ensure the tone, palette and scope matched and built appropriately with the scripts emotion. Ground Rules inch teaches eff to be human, and iguel wanted eff s performance to be captured in a displacement costume so that the performance would be as nuanced and unfi ltered as possible. eff would ultimately be performed by actor aleb andry ones. ue to one of the two fi lms lead characters being a element, iguel wanted all other eff ects to be as real and incamera as possible, and to only A. OPENING SEQUENCE. ILLUSTRATION DAVID LEVY. B. DEWEY TEXTURE NOTES. C. FINCH AND DEWEY IN THE WORKSHOP. PRODUCTION STILL COURTESY OF APPLE. D. URBAN RUINS. ILLUSTRATION BY DAVID LEVY. E. JEFF ILLUSTRATION BY DAVID LEVY. A B C