Issue link: https://digital.copcomm.com/i/1514626
J A N U A R Y / F E B R U A R Y 2 0 2 4 | P E R S P E C T I V E 1 9 RELEASED 02.04.22 SET NAME: LOCATION: DRAWING TITLE: DISTRO: REVISION: DRAWN BY: SCALE: DATE: FILE NAME: PRODUCTION DESIGNER: ELLIOT T HOSTETTER ART DIRECTOR: CHARLIE CAMPBELL SHEET NUMBER: INT. JOCELYN'S BEDRM., BATHRM., CLOSET THE LOT - STAGE 2 CLOSET CABINETRY DTL. AS NOTED 02/04/2022 C.E. 07 TheIdol_JocelynsBedrm_ClosetCabinetryDtl_s07_220204_ce_REL SET NUMBER: 111 GRIP ELLIOT HOSTETTER GREENS PAINT PRODUCTION DESIGNER: SET DEC. VFX THE IDOL CONST. ELECTRIC LOCATIONS DATE: D.P. DIRECTOR DRAWING TITLE: SET NO. LIGHTING HBO ART DIRECTOR: LOCATION: SCALE: SET NAME: PRODUCER SET DESIGNER: STUNTS SHEET NO. SPFX V1 STAGE 1 - THE LOT JAIME SALAZAR 1/8"=1'0" SPOTTING PLAN 0 --- 11/2/2021 CHARLIE CAMPBELL AMPHITHEATER 11/2/2021 PRELIMINARY spotting plan - stage one - the lot studios SCALE: 1/8"=1'-0" STEPS UP STEPS UP 37'-1 1 4 " 24'-7 3 4 " 11'-6 1 4 " BACKINGS TBD - DIM TBD blue screen - DIM TBD 4 steps 4' wide 10" tr / 7.2" ri fire line 15'-0" 4 steps 4' wide 10" tr / 7.2" ri fire line 15'-0" fire line 15'-0" 12'-2 1 2 " fire line 1:10 12'-11 1 4 " up 15'-4 1 4 " 18'-0" FLOORING TBD 6B -- 6D -- 6C -- 6A -- PLAN: JOCELYN'S CLOSET Scale: 3/4" = 1'-0" 6 1'-8" 4" 2'-8" 4 1 2 " 7'-9 1 2 " 1'-8" 1 1 4 " 2'-5 1 2 " 1 1 4 " 2'-5 1 2 " 1 1 4 " 2'-5 1 2 " 1 1 4 " 14'-6" 1" 3'-9 1 4 " 1 1 4 " 1 1 4 " 3'-6" 1 1 4 " 1 1 4 " 4'-1 1 2 " 1 1 4 " 1" 1'-7" 3'-11 1 2 " 3'-8 1 2 " 4'-4" 12'-0" 9 1 2 " 9 1 2 " 1" 4'-3 3 4 " 1 1 4 " 1 1 4 " 4'-3 3 4 " 1" 4'-6" 5'-6" 4'-6" 9 1 2 " 9 1 2 " 9 1 2 " 1'-7" 1'-7" 1" 3'-9 1 4 " 1 1 4 " 1 1 4 " 4'-1 1 2 " 1 1 4 " 1 1 4 " 2'-4" 1 1 4 " 3'-11 1 2 " 4'-4" 2'-6 1 2 " 1'-2" 1'-7" 1" 1 2 " 1'-0 1 2 " 1" 1'-2" 1'-7" 1" +2'-10" +1'-0" 1 1/4" DIAMETER CLOSET ROD 1 1/4" DIAMETER CLOSET ROD 1 1/4" DIAMETER CLOSET ROD 1 1/4" DIAMETER CLOSET ROD 1 1/4" DIAMETER CLOSET ROD 1 1/4" DIAMETER CLOSET ROD 1 1/4" DIAMETER CLOSET ROD 7 08 SEE DETAIL # CABINET #1 8 09 SEE DETAIL # CABINET #2 9 10 SEE DETAIL # CABINET #3 9 10 SEE DETAIL # CABINET #3 7 08 SEE DETAIL # CABINET #1 10 11 SEE DETAIL # CABINET #4 11 12 SEE DETAIL # CABINET #5 SECTION: JOCELYN'S CLOSET Scale: 3/4" = 1'-0" 6A 1'-0" 8'-0" 9'-0" 1 1 4 " 1'-3 1 2 " 1 1 4 " 6'-1 3 4 " 4 1 4 " 1'-10" 1'-0" 5" 10" 7" 5'-10" 1 1 4 " 1'-3 1 2 " 1 1 4 " 6'-1 3 4 " 4 1 4 " 5'-10" 1'-0" 1 1 4 " 1'-3 1 2 " 1 1 2 " 2'-11 1 2 " 1 1 4 " 3'-0 1 4 " 4 3 4 " 1'-5 1 8 " 1 1 4 " 1'-5 1 8 " 1 1 4 " 1'-3 1 2 " 1 1 4 " 4'-0 1 2 " 1 1 4 " 1'-11 3 4 " 4 1 2 " 1'-0" 8'-0" 3'-4 1 2 " 1 1/4" DIAMETER CLOSET ROD PAR 188 OUTWATER #DEM-177 TO MATCH STAIN GL. WINDOW ON LOCATION PAR 104 PAR 104 1'-10 1 4 " 3'-10 3 4 " 3'-3" PAR 104 PAR 115 PAR 171 STAGE FLOOR PAINT AS SEL. PAINT AS SEL. 9 10 SEE DETAIL # CABINET #3 1 1/4" DIAMETER CLOSET ROD 4" 4'-10" 4" SECTION: JOCELYN'S CLOSET Scale: 3/4" = 1'-0" 6C 1'-0" 8'-0" 1'-0" 1 1 4 " 1'-3 1 2 " 1 1 2 " 2'-11 1 2 " 1 1 4 " 3'-0 1 4 " 4 3 4 " 1'-5 1 8 " 1 1 4 " 1'-5 1 8 " 1 1 4 " 1'-3 1 2 " 1 1 4 " 4'-0 1 2 " 1 1 4 " 1'-11 3 4 " 4 1 2 " 1'-0" 8'-0" 3'-4 1 2 " 9'-0" 1 1 4 " 1'-0" 1 1 4 " 1'-0" 1 1 4 " 1'-0" 1 1 4 " 1'-0" 1 1 4 " 1'-0" 1 1 4 " 1'-0" 1 1 4 " 1'-0 1 4 " 3" 2'-4" 6'-8" 1'-0" PAR 188 OUTWATER #DEM-177 PAR 104, TYP. HARDWARE AS SEL. PAR 167 PAR 171 STAGE FLOOR 1 1/4" DIAMETER CLOSET ROD PAINT AS SEL. 11 12 SEE DETAIL # CABINET #5 SECTION: JOCELYN'S CLOSET Scale: 3/4" = 1'-0" 6B 1 1 4 " 1'-3 1 2 " 1 1 4 " 4'-0 1 2 " 2'-1" 4 1 2 " 1'-0" 8'-0" 3'-4 1 2 " 1 1 4 " 3'-0" 1 1 2 " 3'-0 1 4 " 4 1 2 " 1 1 4 " 6'-1 3 4 " 4 1 4 " 5'-10" 1'-0" 10 1 4 " 3'-10 3 4 " 1'-5" 1'-10" 1'-0" PAR 104 PAR 104 PAR 171 STAGE FLOOR 1 1/4" DIAMETER CLOSET ROD KITCHEN STORE #WP24BF KITCHEN STORE #WP24BF KITCHEN STORE #W1242F KITCHEN STORE #W1242F KITCHEN STORE #W1242F KITCHEN STORE #W2136F KITCHEN STORE #W2136F PAINT AS SEL. 1 1/4" DIAMETER CLOSET ROD PAINT AS SEL. ALL CABINTERY HARDWARE AS SEL. 7 08 SEE DETAIL # CABINET #1 OUTWATER #DEM-177 PAR 188 8 09 SEE DETAIL # CABINET #2 SECTION: JOCELYN'S CLOSET Scale: 3/4" = 1'-0" 6D 1 1 4 " 1'-3 1 2 " 1 1 4 " 4'-0 1 2 " 2'-1" 4 1 2 " 1'-0" 8'-0" 1 1 4 " 6'-1 3 4 " 4 1 4 " 5'-10" 1'-0" 10 1 4 " 3'-10 3 4 " 1'-5" 1'-10" 1 1 4 " 6'-1 3 4 " 4 1 4 " 5'-10" 9'-0" 1'-0" 3'-4 1 2 " PAR 188 OUTWATER #DEM-177 PAR 104 PAR 104 PAR 171 STAGE FLOOR 1 1/4" DIAMETER CLOSET ROD 1 1/4" DIAMETER CLOSET ROD 1 1/4" DIAMETER CLOSET ROD KITCHEN STORE #WP24BF KITCHEN STORE #WP24BF PAINT AS SEL. ALL CABINETRY HARDWARE AS SEL. 7 08 SEE DETAIL # CABINET #1 10 11 SEE DETAIL # CABINET #4 PAR 188, PAINT AS SEL. LINE OF WALL, PAINT AS SEL. OUTWATER #DEM-177 LINE OF CABINETRY, PAINT AS SEL. PAR 104, PAINT AS SEL. PAR 115, PAINT AS SEL. PAR 115, PAINT AS SEL. PAR 171, PAINT AS SEL. A. Todd: I received a call from an Art Director for a new show. Money was tight and they were looking at Junior Set Designers to help ease the budget. She had come across Claudia's name and remarked how thrilled she was to see a complete set of drawings in her portfolio, "She knows how to draft details!" I couldn't help but smile, "You won't be disappointed." Claudia: I was excited to venture into this new area of the Art Department. I packed my kit—only this time with many more items! Thus, began my career as a Junior Set Designer, taking the knowledge and experiences I gathered while working for A. Todd with me into this new role. After eleven months of drawing scenery, where I experienced the pain and pleasure of doing the same show twice, A. Todd reached out to see if I was available to work with him, this time as a Set Designer on the upcoming series, The Residence, a murder mystery set entirely within The White House. The White House! Coming from film/theatrical design rather than an architectural background, I knew I had so much to learn about this well-known—and massive— building; quite the opposite in both scale and design from the chicken coop I had drawn years before. Still, I was confident. Plus, I was excited to both show my old mentor my new skills, as well as expand these same abilities under his guidance again. A. Todd: Drafting the White House is excellent training for an up-and-coming Set Designer. While not exactly pure creation, there are large gaps in the research which must be resolved and, as an added complication, the set often needs to be downsized in various ways in order to fit on whatever sound stage is on rental. Lots to figure out! Claudia: I was absorbing a wealth of knowledge to add to my arsenal as a Set Designer. With each drawing I was completing, I could feel myself growing exponentially. None of which would have been possible without the guidance around me—the entire Art Department contributed. It is with deep appreciation I look back at these past five years. I'm truly thankful to have found a mentor, allowing me to learn and explore the Art Department with unhindered curiosity. This simply would not have been possible without the PDI—and for that I am forever grateful. A. Todd: What is truly lovely about working with Claudia again, is watching her freely give her growing knowledge and experience away to our next PDI initiative hire, Alex. She has become a mentor herself, inspiring and challenging the next generation. It should come as no surprise I am a huge believer in the PDI program. In each hire, I've found talented and dedicated candidates who I will one day be pleased to call brother or sister. A. CONSTRUCTION DETAIL BY CLAUDIA ETHRIDGE FOR THE IDOL. B. CLAUDIA IN THE OVAL OFFICE SET FOR THE RESIDENCE. B A