Issue link: https://digital.copcomm.com/i/1495092
M A R C H / A P R I L 2 0 2 3 | P E R S P E C T I V E 1 WHO'S TALKING IN THIS ISSUE V i c t o r i a P a u l , Production Designer of A LEAGUE OF THEIR OWN – page 57 Occasionally I'll discover a photo that unlocks an entire set for me—some combination of action, attitude and architecture that clicks. We found wonderful research of WWII women factory workers. There was one series of photos that showed women assembling new airplane fuselages. Once we saw that, we knew that had to be our factory, those were our characters riveting those shiny steel fuselages. D a w n S n y d e r, ADG Director of Education. ADG members on Epic Games' volume state in El Segundo – page 81 This new technology is, in essence, another form of backing and so much more! One clear advantage is the capacity for 'in camera finals,' meaning that additional work or money will not be needed to be spent during post-production. F l o r e n c i a M a r t i n , Production Designer of BABYLON, Art Department and crew members on the Singin' in the Rain set – page 89 An enormous rock-wall scenic piece was made in the style of the time, with chicken wire and plaster over wood platforms, and a period rain machine was constructed under the greenbed. G a r e C l i n e , Illustrator: THE DIGITAL WAVE – page 70 This is why I feel that formulating a movie, especially the concept, through the process of previsualization is the single most important step in making any film. D y l a n C o l e , Co-Production Designer of AVATAR: THE WAY OF WATER – page 45 Philosophically everything was approached with more of a National Geographic lens than that of one from a science fiction or fantasy film. To Jim and us all, this was a real place that we were exploring and discovering. "Because it looks cool" wasn't going to cut it.