Issue link: https://digital.copcomm.com/i/1500164
these occasions give us a glimpse of what is really happening on The Volume and what it is contributing. In the scene in the Repository where Dr. Pershing works, there was a take where the content briefly turns off. We see the complete picture, with the interior of the large office, office workers near and far, some walking through sunlight filtering in through ceiling light-wells. The office is dressed with desks with complicated machinery going off to the ends of the shiny office floor. Then the virtual content disappears and we see the naked, partial set without its immersive surroundings, shown here before and after the glitch. We could have taken a number of different approaches to this set; a location, a full build, partial build with blue screen. But for us, The Volume worked extremely well. The success of this set and others like it has also emboldened us to push the limits and see where we can take this. In the end, we only have time in our schedule for about half of the scenes in the series to be shot on The Volume. We only have one volume, and so we choose the sets that will bring us the best rewards. This doesn't always mean shooting the most spectacular environments this way. Some of our best successes in The Volume have been when we use the LED wall to complete an otherwise expensive environment and shoot on it for several pages. Getting a large percentage of final shots which would otherwise involve expensive VFX extensions is a huge win. But this new process has defined the overall shape of our production. We have a very front-loaded prep, a relatively small stage footprint, a very aggressive turnaround schedule. From the start, this series has pushed boundaries and required us all to stick our necks out a bit. More than any other project I have worked on, this has required total collaboration between all departments for it to work. Thankfully, our extremely talented crew had no problem with that at all. And having worked like this now, I can't imagine doing it any other way! ADG Andrew Jones, Doug Chiang, Production Designers Oana B. Miller, Super vising Art Director Dustin Tiberend, Jeff Wisniewski, Ji Young Lee, Paul Ozzimo, Steve Christensen, Rebekah Bukhbinder, Rudie Schaefer, Art Directors Anshuman Prasad, Allen Coulter, Richard Mays, Karl Martin, Tex Kadonaga, Tim Earls, C. Scott Baker, Mindi Toback, Katherine Sharpless, Set Designers Jason Mahakian, Model Maker Ryan Church, Christian Alzmann, Erik Tiemens, Richard Lim, Senior Concept Illustrators Aaron McBride, Andrée Wallin, Anton Grandert, Benjamin Last, Brett Northcutt, Brian Matyas, David Hobbins, Jama Jurabaev, Matt Allsopp, Seth Engstrom, Tony McVey, Katarina Kushin, Concept Illustrators Rene Garcia, Evan Whitefield, Concept Art Modelers Michael Epstein, Drew Weininger, Graphic Designers Amanda Serino, Set Decorator D E F