Issue link: https://digital.copcomm.com/i/1470106
place in the midst of a pandemic, but I am forever grateful that they did. In uly of 2020, a plan uickly took shape to get im, Hamish, llen and I to orea for a two- week sourcing, scouting and strategy mission. By August 1, we were in South orea. By August for a variety of reasons, a decision was made that we should launch into production immediately. It was the first week of August and suddenly we were in Korea, with no crew, no locked locations, and with a plan to start shooting in ctober and to be out by hristmas. A rough formula of shooting one-third of the show in orea, and two-thirds in Vancouver was laid out. Not being able to shoot or source in apan due to VID restrictions was a devastating blow but one we had to uickly rebound from. "Living every day in the presence of those who refuse to acknowledge your humanity takes great courage"–Min Jin Lee, Pachinko im, Hamish and llen leapt into action, attempting to find crew and source props and dressing. We learned that there was a significant difference in Art Department compositions in South orea; construction and paint were subbed out and shows don't have carried teams. A more surprising discovery was that set dressing and prop teams came packaged with a single prop warehouse and that was the only warehouse that could be utilized. With the scale of this show and the multi-period aspect of the production, this was D. SUNJA'S BOARDING HOUSE. PRODUCTION STILL. E. REHAULED AND DRESSED HAPCHEON BACKLOT. SET PHOTO. F. SET PIECE BUILT INSIDE HAPCHEON BACKLOT. SET PHOTO. G. "1950S" BACKLOT IN SUNCHEON REHAULED AND DRESSED FOR THE GREAT KANTO EARTHQUAKE OF 1923. SET PHOTO. D E F G