Issue link: https://digital.copcomm.com/i/1517535
"The Long March" to Nuremberg A large part of the later episodes was planned to be shot in Eastern Europe during winter, but COVID and lockdown put paid to that plan. This segment follows the prisoners of war, mostly aircrews, and their march from the prison camps, walking hundreds of miles to Nuremberg for use in the peace negotiations. The winter weather was one of the worst conditions on record. We don't get much snow in the south of England anymore, so we needed to engage the services of Snow Business. This is an expensive process and needed careful planning, as we had to lay an enormous amount of snow. This was Snow Business' second-largest job, only surpassed by Napoleon six months later. There were additional problems with the environment. Laying this amount of snow at Windsor Great Park required lots of tests and convincing. Once the production had jumped through the hoops, and they were satisfied, we laid almost a mile strip through various landscapes to create a sense of a journey. We planned with VFX to cover the road surfaces, the 20-foot verge, and, where there were trees, the lower branches. They would then take over and drop the snow in the background in post. All this was done for a three-day shoot with over two hundred extras, military vehicles and special effects, all knee-deep in thick mud. At the same time, snow was laid in the prison camps and various other location sets. Town Backlots The series wanted four different European towns for the prisoners marching to Nuremberg, and we needed to show them in various conditions: bombed, being bombed and clean. We were shooting the town scenes in story order—as we rarely make things easy for ourselves, we were shooting the bombed streets first. I remembered what Tony Pratt, the designer of Band of Brothers with whom I had worked as an Art Director did, and I used his strategy. We built the streets as backlot sets and shot them in different C E X T : G E R M A N S T R E E T - R U S S E L S H E I M . P L A N & E L E V A T I O N S . S C A L E 1 / 8 " - 1 ' - 0 " 15 / 0 6 / 2 1 E L E V A T I O N A - A E L E V A T I O N B - B E L E V A T I O N C - C E L E V A T I O N D - D 0641 Ext Russelsheim Bombed Street P L A N & E L EV A T I O N S BOVINGDON AIR FIELD 1/8 " - 1'-0" O.C. 0388 15/06/21 20'-0" 20'-0" 20'-0" 20'-0" 20'-0" 20'-0" 3 4 11 14 1 2 3 6 7 10 9 8 11 12 13 O/A BUILD HT O/A BUILD HT LEVEL CROSSING IN COBBLED ROAD CAMERA VIEW 1 12 15 6 5 10 9 8 23'-6" 11 24'-0" 21'-1" 26'-5" 5'-0" 22'-10" 34'-6" 22'-3" 18'-10" 99.54° 19'-3" 6'-6 1/2" 7 5 6 A B 14 10'-0" 38'-1 1/2" PAVEMENT + 7" 56'-6" CAMERA VIEW 2 CAMERA VIEW 3 18'-4 1/2" 20'-0" 12 13 15 23'-7" PAVEMENT + 4" 3 28'-0" 22'-6" 40'-0" 31'-0" 4 2 27'-0" 12'-0" 1 8'-9 1/2" A B 21'-7" 11'-7" 24'-6 1/2" 22'-7" 19'-3 1/2" PAVEMENT + 4" PAVEMENT + 4" PAVEMENT + 4" C D C D 13'-0 1/2" 50'-7" USE EXISTING ROAD SURFACE CAMERA VIEW 1 CAMERA VIEW 3 89'-11 1/2" CAMERA VIEW 3 CAMERA VIEW 2 SET ORIENTATION AT BOVINGDON R I C H T E R 10" 9'-0" 22'-6" 3'-0" 6'-2 1/2" 15'-0" 20'-0" Chris Seagers, Production Designer Ben Munro, John Frankish, Super vising Art Directors Jonathan Houlding (Sr.), Jim Barr, Oliver Benson, Jane Har wood, Brett Hirson, Renate Nicolaisen, Jake Hall, Art Directors Stephanie Clerkin, Jade Lacey, Will Smith, Anita Rajkumar, Heather Noble, Assistant Art Directors Josh Deighton, Craig Gilroy, Monica Paisley, Owen Robertson, Georgina Devine, Emily Beswarick (Jr.), Cheyenne Hughes (Jr.), Draughtspersons Matt Codd, Dermot Power, Connor Henderson (Jr.), Matt Geldard (Jr.), Concept Artists Daniel Burke (Lead), Matthew Clark, Megan Jones, Emma Saunders, Clare Winkworth, Helene Dollie (Asst.), Graphic Artists Celia Bobak, Set Decorator A B