Issue link: https://digital.copcomm.com/i/1514626
fused rocky Icelandic landscapes with sweeping contemporary architecture. Lizzy Klein researched specific buildings and rural regions internationally that VFX could actually scan. For Tarnax, the VFX team went to Iceland and scanned an entire hillside valley that we liked. We were then able to design our city and streetscape right into the actual geography. Architecture was roughed out and positioned with Illustrator Chris Kesler to create the hero wide concept art. Simultaneously, I worked with Illustrator Karl Simon Gustafsson and Art Director Tom Whitehead to develop a "street level" set that the crew would build on the backlot. Again, 3D models of the set build and digital set extension work were collated to create one comprehensive 3D model for post production. VFX also scanned the Museum of Art, Architecture, and Technology in Lisbon, as this was one of the contemporary buildings that we referenced in our Skrull architecture. This would give our post- production vendors real textures (such as the geometric exterior tile cladding the façade) and details (such as how the clerestory windows recess and die into the building) to create more developed architecture. For the Tarnax great hall, an interior set built to be extended in post. I worked again with Illustrator Karl Simon Gustafsson and US Set Designer Nancy Deren. D E F