Issue link: https://digital.copcomm.com/i/1517535
Another challenge reared its head: Where to put this set? One of our stages was a 50,000-square- foot unobstructed space with 50-foot ceilings, but it had another set sitting in it. Early on in preproduction, I had suggested that if we get a strike order early enough for the sets, the helicopter would go to that stage, and at that time, grips would wrap the entire stage in bluescreen and solids. In the meantime, we did digital studies on what the maximum height of the gimbal could be, and what would be the maximum angle the helicopter could tilt to on that stage. The length of the set was just over fifty feet, including the cockpit. We had to ensure that the set, sitting on a 10- or 12-foot gimbal, and tilted at a 30-degree angle, would clear the floor at the tail. And we needed at least eight feet from the ground to the bottom of the back doors for the scenes that involved the gurney hanging. In the end, that set fit like a glove in the studio. Eight weeks from that first Zoom meeting, the set was standing—dressed and lit—and stunts arrived to rehearse. Everything was right on track until I had to send photos of the set to our showrunner and the studio for final approval. Photos were A. HELICOPTER INTERIOR LOOKING FORWARD. RENDERING BY JONATHAN GOTFRYD. B. HELICOPTER INTERIOR LOOKING BACK. RENDERING BY JONATHAN GOTFRYD. C. FINISHED INTERIOR SET. SET PHOTO. D. HELICOPTER FRAMEWORK IN PROGRESS. E. HELICOPTER SET MOVING TO STAGE. D E A B C