Issue link: https://digital.copcomm.com/i/1521244
Art Department with its own Art Director and Assistant Art Directors and a practical/traditional Art Department that did all of the scouting and building, etc. Part of the new design concept aspect of this project for me was a constant updating of designs and placements of structures within the created environments. I was not used to making this many changes to approved designs. Partly because traditionally, there was never a lot of time to constantly change and update. But because these environments were created in computers all over the planet, and because a lot of this design was partially (mostly) overseen by a VFX supervisor, things were very different. For us anyway. Let's face it, when a set is built and dressed and lit—we are shooting it. Doesn't matter if the door ended up in the wrong spot for the preferred blocking. We shoot. But the VFX guys were much more used to virtual sets being pliable and transformable. This is the intersection. This is the fork in the road. In normal VFX/green screen work, there is a general concept of what the environment looks like and the filmmakers and actors do their best to stay within the lines. The great news is that if they do go outside the lines, the environment can change to fit the action later. But when actors and sets are IN the environment…you need a plan, and you have to stick to it. This was new to most of us and we learned as we went. F. PROPOSED VIEW OF SPIRIT OASIS. GRAPHIC LAYOUT. G. SPIRIT OASIS PRACTICAL SET IN VOLUME. SET PHOTO. H. FUNERAL SET. DIGITAL MODEL BY RODRIGO SEGOVIA. I. FUNERAL SET. PRACTICAL BUILD IN FIRE NATION PALACE VOLUME. SET PHOTO. F I G H