Issue link: https://digital.copcomm.com/i/1480624
By building a substantial portion of the cave entrance on this site, the blocking could carry actors up the stairs and into the mouth of the cave in a continuous flow all the way to the railing where they could look out as if down in to Chamber 1, the cavernous space that was the main entrance to the tunnel system. The built Chamber 1 on the stage and the entrance were seamlessly connected with the help of VXF supervisor Jason Billington. For the submerged tunnel sets, the production built four 100-foot-long custom water tanks, ten feet deep at a newly constructed industrial complex in Yatala, Queensland. An Australian company, Event Engineering, designed the tanks and complex filtration system to fit our specific needs. The modular design consisted of upright steel braces bolted to the concrete floor and connected to steel-frame sidewalls clad with a double layer of plywood. A pool liner was then installed within each enclosure. Since the construction of the tanks and the underwater sets had to happen concurrently, one side of each tank had to remain open until we were ready to install each tunnel set into its tank. This helped preserve the integrity of the pool liner by keeping most of the welding and heavy machinery involved in the tunnel construction out of the tank interior. As the design development of the tunnel and cave system evolved, a number of techniques were employed for different phases of the design process. Through the close examination of a D. LOOKING INTO CHAMBER 1 FROM THE CAVE ENTRANCE. VXF STITCH. E. CHAMBER 1 IN PROGRESS. F. TANKS STAGE PLAN. G. CHAMBER 1 IN PROGRESS. H. CHAMBER 1 PRODUCTION STILL. D E H F G