Issue link: https://digital.copcomm.com/i/1512164
The next decision was how much of the shaft circle of architecture would be built, and after many discussions, we all agreed that building two hundred seventy degrees of the shaft architecture was a sensible amount to build. This would allow many shots to not require any VFX enhancements but would also not force directors into having to always shoot close-ups. The other ninety degrees would be green screen. The main stage space did have six support columns running right across the stage, and initially, the idea from production was that we would be able to remove these columns, but for various reasons that never happened, so I had to try to accommodate the stage columns in the design of the main shaft and staircase set. This was a bit of a challenge, but the integration of real stage columns into the layout, the set design worked well. In addition to the main shaft and staircase set, and the many apartments and offices that had to be designed and built, there were two other large- scale environments to produce. One was the silo generator room, and the other was the dark void H. SILO SHAFT SET IN PRODUCTION FOR FREEDOM DAY. SET PHOTO. I. SILO SHAFT SET ON FREEDOM DAY. PRODUCTION STILL. D E F G I H