Issue link: https://digital.copcomm.com/i/1512164
set outside of that one, and then take that set away and there was another set outside that one. Much like a Russian doll, sets within sets. We also often shoehorned sets into the tiniest of stage spaces, but always practical to shoot in. One of Phil Harvey's biggest jobs was continually talking to production and the first AD, often every day, about the shooting schedule, and what sets could be ready at what time. And this was often changing on a daily basis. The Art Departments I work with always use physical models, and the wonderful Model Maker, Micky Kelm, joined us again. Although we will generally have digital models of most of the sets, there is often nothing better than having physical models to discuss set designs in open meetings. And with a mixture of Mickey's hands-on model-making skills and 3D-printed elements, he produced some brilliant models. After getting approvals for initial set designs and the construction drawings were underway, fabrication could then start. This was headed by our ever- faithful construction manager, Steve Bohan, and assistant construction manager Kevin Harris, who we've worked with for many years. Their team made up of carpenters, plasterers, painters, riggers really came into their own when producing these many complicated sets. They had many challenges to deal with. One being that wherever possible, every set was going to be constructed with full ceilings to avoid unnecessary CG enhancements, and some of these ceilings required complex metalwork structures to hold them in place. Also, a number of these sets had to be able to be struck, in part or in whole, and brought back later in the schedule. At this point, I knew the size of the stage for the main shaft and staircase set, but I knew I would have to use every inch of that stage space that I could, in all directions. I wanted two balcony levels about thirty feet apart connected by the central staircase. The upper balcony ended up being close to the stage ceiling, which offered challenges both for lighting and VFX, as there was no grid. But the creative team agreed that it was really important for the set to have two balcony levels, and DP Mark Patten and VXF supervisor Daniel Rauchwerger both agreed they would find ways to overcome the upper balcony being close to the stage ceiling. They both did a great job. A. ALLEY CONCEPT BY MAX BERMAN. SKETCHUP AND VECTORWORKS MODEL. B. ALLEYWAY DIGITAL MODEL BY NICO SADORI. C. ALLEYWAY DAY/NIGHT BACKING BY ROSCO. D. CAFETERIA. VECTORWORKS STAGE MODEL BY GAVIN BOCQUET. E. CAFETERIA MODEL BY MICKY KELM. F. CAFETERIA. CONCEPT RENDERING BY PATRICK FAULWETTER. G. CAFETERIA SET ON STAGE. SET PHOTO. A B C