Issue link: https://digital.copcomm.com/i/1521244
the characters, who would never actually meet each other in real life, together. The supermarket interior, shown in episodes three and five, was shot in Los Angeles due to scheduling issues. Needless to say, it was challenging to recreate Hong Kong in Los Angeles. Long-gone Hong Kong's recreation After departing from Hong Kong, we conducted thorough research on the locations that we needed to recreate. Without Calvin Tsoi, HK Art Director, it wouldn't be possible to get all the details. These LA recreations were the Mei Foo alcove, the Hong Kong night market, the night market fish store, the Hong Kong local hardware store, the dingy noodle shop, and the orphanage bathroom, along with Woo's apartment and hallway set. There were three morgue sets, but those were supposed to be set in mainland China. We entrusted our Senior Art Director, Haley Ho, to return to LA to guide our LA Art Department to faithfully recreate Hong Kong. It was essential to maintain consistency with the footage shot in Hong Kong and avoid any noticeable discrepancies in the final production. Creating the hallway and elevator sets (Woo's) presented a significant challenge for the LA Art Department. The initial hallway set was constructed and established on the Hong Kong stage, posing difficulties in matching materials and lighting when recreating them in LA. However, with the assistance of our construction coordinator, Dan Pemberton, and LA scenic supervisor Tom Brown, we successfully navigated those hurdles. Through careful selection and collaborative color alteration with the LA scenic team, we found more than suitable solutions for all material replacements, ensuring consistency with the established sets in Hong Kong. Initially, we planned to shoot a dingy noodle shop in Hong Kong, but in the end, this set was built on an LA stage with a VFX exterior, same as the Mei Foo alcove. The design was done in HK, so it wasn't the design part that was challenging but the execution. The LA construction and scenic team recreated every aspect to mirror the Hong Kong replication faithfully. To achieve this level of accuracy, we explored and sourced various materials from different vendors. When suitable replacements couldn't be found, Graphic Artist Monica Fedrick played a crucial role in reproducing some of the most essential materials. The LA Art Department ran like a well-oiled machine under the supervision of LA Supervising Art Director Kevin Constant. Our goal was to ensure that the architectural materials and features closely echoed those of the stage and location sets. By aligning the Set Design with the real-life environment, we aimed to create a seamless and immersive experience for the audience. Expatriates, always far from their homeland, reside in places that may echo familiarity but never truly replicate home. Hong Kong, one of Asia's largest harbors, has become a sanctuary for many expats. Some have dwelled here for years; others are stationed temporarily, while some find themselves trapped with no escape. I felt the responsibility to capture the authenticity of Hong Kong, which is a part of this unique world. ADG F G F. MARGARET'S APARTMENT ALCOVE. BUILT ON STAGE IN LA. SET PHOTO. G. MARGARET'S APARTMENT ALCOVE. MOP FORMATION. SET PHOTO. Yong Ok Lee, Production Designer W. Haley Ho, Senior Art Director Lauren Richards, Set Decorator Hong Kong Unit Calvin Tsoi, Art Director Garam Han, Leung Ho Chuen, Teddy Setiawan, Y.man Yiu, Set Designers Zoe Lee Tak Nga, Set Decorator Los Angeles Unit Kevin Constant, Super vising Art Director Madie Hays, Art Director Yu-Hsuan Chen, Assistant Art Director Tristan P. Bourne, Tammy S. Lee, Cheyenne A. Bell, Set Designers Monica Fedrick (Lead), Joe Chang, Graphic Artists