Issue link: https://digital.copcomm.com/i/1521244
3 B O D Y P R O B L E M | P E R S P E C T I V E 5 9 cinematic scale and finish. Together with Ashley Lamont (Supervising Art Director of episodes 1-5)/Phil Elton (Supervising Art Director 6-8), Andrew McCarthy (set decorator), Keith Perry (construction manager), Jack Garwood (props) and Florence Tasker (graphics), we set off into the unknown. China The production was to be based in Shepperton Studios, London, an area not known for bearing any similarity to China. It was there that we filmed the opening scene, which depicted one of the most violent and iconic scenes of the Cultural Revolution, a Struggle Session. With an enormous amount of very dedicated research and under the guidance of our director, Derek Tsang, we worked extremely hard to create a truthful reenactment of history. In order to do this, it was very important that we work with other Chinese members of the Art Department, including Chapman Kan (Art Director) and Adio Fox Chun Yin (graphics) and also a Chinese calligrapher who was a boy in Beijing at the time. The stage was built in a car park opposite the deck of Judgment Day, the tanker which appears in episode five. Other exterior A. RED COAST BASE CONTROL ROOM CONCEPT BY RYAN DE SILVA, SHOWING YE WENJIE AT THE MAIN CONTROL PANEL THAT OPERATES THE RADAR DISH. THE CONCEPT WAS FIRST BUILT IN 3D TO ESTABLISH THE SPACE IN MODO, TAKING INTO CONSIDERATION THE CAMERA ANGLES AND LIGHTING. RENDERS WERE PAINTED AND COLOUR- GRADED IN ADOBE PHOTOSHOP.