Issue link: https://digital.copcomm.com/i/1470106
T H E W I T C H E R | P E R S P E C T I V E 9 7 made a phenomenal contribution to season one, and, although they would be working remotely, their understanding of the world and their ability to translate my thoughts so seamlessly was invaluable. ur goal from the outset was to look at the season holistically, taking on the entire visual framework simultaneously in order to achieve a balanced and well-defi ned experience for the audience. What truly played to the show's advantage this time around was that during the course of season one, the show runner, Lauren Schmidt-Hissrich, had become a good friend and collaborator. We had developed a shorthand that allowed us to move through the formulation of ideas very quickly and to concentrate our energies on developing concepts rather than searching for them. Very early on, Lauren and the other writers provided detailed outlines of the scripts from which there was generally very little deviation. In the early going, Lauren and I talked through almost all the environments in great detail. I was able to feed this information to the concept team and quickly turn around visuals that allowed design work to progress at pace. The Backlot One of the principal tasks at the onset was creating a backlot. In Budapest, the production had been able to take advantage of a standing medieval backlot of sorts at Ft Studios which was just down the road from Origo Studios where we were based. For season one, we only needed to augment or adjust that existing framework to suit the story. On season two however, we wouldn't have that luxury. We would need to start from the ground up. Senior Art Director ustin A. KAER MORHEN. ILLUSTRATION BY DANIEL VERES USING BLENDER AND 3DCOAT FOR THE 3D ELEMENTS AND PHOTOSHOP FOR PHOTOBASHING. B. KAER MORHEN BAILEY. PLAN VIEW B