Issue link: https://digital.copcomm.com/i/1438629
egacy and the departments led by superisor Scott Stokdyk and producer Sofie eclerc. ey and team set up oces alongside ours for a seamless pipeline and collaboration. perience has taught me that you want to delier water tight and functional digital assets to post production. therwise, the entire design can be eopardied and can reuire a rework, often to traumatic results affecting the proportions, posture and composition that were so meticulously crafted during preproduction. rew eung, with whom worked with on the Real Steel robotstom and eusbrought in his latest artistic weapon the nreal ngine. To put on a headset and stand net to eff early in preproduction was inaluable. e wanted eff to hae a teenagers slouch. asking a hardsurfaced obect to look relaed is a hard task, rew designed and animated an ingenious double socket and hinged shoulder to keep effs arms sloping away from his head. e hung the entire bodice from the claicle so that it could sway independently from the spine. mery atson and le Taini also oined the eplorations. ll of us worked together passing models and sketches backandforth, which allowed for a streamlined, effortless and iteratie process. sent the script, along with the research image dossier to Superising rt irector Tom rohling for one of his amaingly detailed scene breakdowns and budget passes. hile do my own breakdown, find it best for the superisor and construction coordinator in this case, ill olmuist to do independent passes to see where we align and, more importantly, where we dont, so that we can aoid problems down the road. roduction esigner needs the grounding of a great Super, who will keep your dreams alie while keeping an eye on the money and clock Tom has that in spades. ach position on the team sees the intent of the original design and eleates the ision through their attention and specialty skills. Set decorator ennifer entile studied the set illustrations and accompanied me on scouts, finding the tactile elements that would deepen the realness of the sets. would turn to ennifer to bring the fabrics and smalls that would refine and define our palette and depth of characterthe real dirt under the fingernails, so to speak. t can be much easier to A B C D A. JEFF SITTING. ILLUSTRATION BY DAVID LEVY. B. HOSPITAL ILLUSTRATION BY DAVID LEVY. C. HOSPITAL ILLUSTRATION BY DAVID LEVY. D. FINCH IN THE ABANDONED HOSPITAL. PRODUCTION STILL COURTESY OF APPLE.