Issue link: https://digital.copcomm.com/i/1512164
the crater wall for our heroes to walk up and over. The set was surrounded by green screen for the CG enhancements. Art Department Once the basic concept designs for the silo architecture were approved by Graham Yost and Morten Tyldum, there was a strong visual path to follow. Not only for the main shaft and staircase set, but also the other 70-plus sets or environments we had to conceive and design, which all had to relate architecturally to the overall design aesthetic of this huge underground structure. At this stage, the brilliant Supervising Art Director Phil Harvey came on board. Phil started to put a great Art Department team together. The show had three main Art Directors, Nico Sadori, Daniel Swingler and Simon Elsley, who all brought great levels of organization and creativity. One of Phil Harvey's first jobs was to make the studio space into workable film stages. This meant alterations to the buildings, for example, scene dock doors were added and internal office spaces built. This also included adding exterior tented workshops for construction, props and SPFX. The crew was going to have to produce the 70- plus sets in a relatively short amount of time, and probably without quite enough stage space or financial resources. So, we had to make the best use of the space, time and resources we had available. For instance, we had apartment sets that could be reconfigured and redressed into four or five other apartments. We also built sets within other sets but using the same ceilings and floors. Take the walls of one set away from the inside, and there was another D E F H G