Issue link: https://digital.copcomm.com/i/1485934
1 3 2 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 2 2 P A G E S OSCAR®-NOMINATED PRODUCTION DESIGNER JACK FISK'S EXTRAORDINARILY PAINTERLY PRESENTATION SKETCH OF THE OIL DERRICK FOR THERE WILL BE BLOOD. JACK USED COREL® PAINTERMIX AND A WACOM® CINTIQ® 21UX TO EXECUTE THE SKETCH. THE CINTIQ IS A COMBINATION MONITOR/TABLET THAT ALLOWS HIM TO DRAW OR PAINT DIRECTLY ON THE SCREEN IMAGE. COREL PAINTER HAS A WIDE RANGE OF VITUAL "BRUSHES" THAT ENABLE HIM TO DUPLICATE TRADITIONAL ARTISTS' MEDIA. A DETAIL FROM ART DIRECTOR DAVE BLASS' PRE- VISUALIZATION OF THE FINAL SHOT OF THE FINAL EPISODE OF ER. BLASS MODELED THE WARNER BROS. BACKLOT BUILDINGS IN SKETCHUP®, BASED ON SET DESIGNER ERIC WARREN'S PLANS, AND THEN EXTENDED THE SHOT DIGITALLY UNDER THE DIRECTION OF PRODUCTION DESIGNER CHARLES LAGOLA. THE MODEL WAS IMPORTED INTO PHOTOSHOP® AND THIS NIGHT RENDERING WAS COMPLETED USING ONLY THAT SOFTWARE #17. Jack Fisk's illustration of an oil rig from There Will Be Blood was a great example of the use of digital tools to create an analog painterly effect. #26. Most of the early covers featured artwork from feature films, primarily illustrations. This is an example of a cover featuring work done for television, a Photoshop rendering of a digital model by Dave Blass showing the iconic final shot from the series ER.