Issue link: https://digital.copcomm.com/i/1512164
at the base of the silo, a secret area where the remains of the giant digging machine was found. Storyboards were done for sequences that took place in these environments, which really helped the production understand how much would be sensible to build physically and how much would be VFX. I initially worked up designs for both of these environments in Vectorworks to understand and explore the space. For the generator room, the crew built a 120-degree section of this environment from the center of the room to the side walls and the stairs up to the control room. The rest of the set was surrounded in green screen. For the dark void and the digger, we built three small sections of the platforms that existed in this space, where most of the scripted action took place. Ninety percent of this environment would be a VFX enhancement, based on the design models we passed onto VFX, and seamlessly put together by Daniel Rauchwerger and the VFX team. Graphics Graphics was going to be a huge part of this silo world. Most communication in the silo was verbal, much like a medieval society. So, any information graphics or posters had to be very clear and easily understood. The brilliant Graphic Designer Pippa Broadhurst came up with many different ideas for how the general graphic style should be, and the reference point was also East European socialist-style graphics. And from the beginning, Pippa's design thoughts were about what sort of information would an almost non-literate Silo society need. This covered general information, campaign posters, information maps showing the layout of the silo and to the basic Pact logo and the Pact itself, as well as many other graphic needs, like the porters notes and the Silo credits. Greens The greens department was looked after by Mat Campbell and his team from Palmbrokers. The production had various 'green' areas to conceive and sometimes physically create. From various farmlands to parklands, to smaller greens dressing in apartments and offices. We had to produce large areas of cornfields, orchards and hydroponics. The cornfield was one of the biggest challenges for the greens department as we needed quite a large A. DARK VOID - DIGGING MACHINE. CONCEPT RENDERING BY ARNAUD VALETTE. B. DARK VOID - LOWER PLATFORM. CONCEPT RENDERING BY ARNAUD VALETTE. C. GENERATOR ROOM. CONCEPT SKETCH BY MAX BERMAN. D. & E. CONTROL AND GENERATOR ROOMS. SET MODELS BY MICKY KELM. F. GENERATOR ROOM. CONCEPT RENDERING BY ARNAUD VALETTE. G. & H. PUBLIC SAFETY SIGNS AND LEVEL MAP. GRAPHIC DESIGN BY PHILIPPA BROADHURST. I. CORNFIELD. CONCEPT MODEL BY GAVIN BOCQUET. J. PARKLANDS AND RESTAURANT PRODUCTION STILL. A B C D E