Issue link: https://digital.copcomm.com/i/1521244
talented group of Set Designers to start on the vault sets. Part of the game included building a vault (fallout shelter) and they provided a kit of parts that the player could use. The basic building element was a cube had a footprint of twelve-feet by twelve-feet. To be authentic to the game, I wanted to keep to that basic model. This required a lot of coordination between the Set Designers and the Illustrators because the build "rules" had to be applied to all the sets. Laura insisted we use the team communication platform Slack for interdepartmental communication. Thank God she did because we could share in real-time what everyone was doing. As things evolved and we added in the Virtual Art Department and distant location teams, it was a great tool to handle communications on a project of this scale and complexity. There were still, however, times that my phone would basically be exploding with continuous alerts. Laura also started working with construction manager Joe Alfieri and Scenic Artist Elizabeth Linn to figure out how to pull off the very dense level of detail the vault sets required. A lot of repetitive parts with complex compound curves and an abundance of texture. They employed an extraordinary amount of C&C, along with vacuform and molded materials from the plaster department. In the design office, we ran a couple of 3D printers to make the originals for casting the various bolts, rivets, and control device elements to give to the plasterers. There were some complicated floor details that we ended up addressing by having Graphic Artist Holly Watson make as 2D print trompe-l'oeil stickers. Matt Sama took on the illustration for the vault farm. This very large room is not in any of the games and had a unique technology that also was not in the game. To emphasize scale, we decided the room would hold one square acre of corn. It became the first set we planned on using in the Volume, as it was too big to even think to build on stage. Matt analyzed how it would be built using parts in the game from other larger spaces. The entrance to the room was built on the stage and he D F E F. VIEW OF THE VAULT FARM CORNFIELD, ILLUSTRATION BY MATT SAMA, THIS WAS THE DAYTIME LOOK FOR THE PROJECTED MIDWESTERN IDEALIZED FARM IMAGE. THE IMAGE WAS MEANT TO HAVE AN ARTIFICIAL 2 -1/2 D LOOK. G. VIEW FROM THE FARM CLEARING TOWARD THE VAULT, ILLUSTRATION BY MATT SAMA, THIS CONCEPT IS FOR BOTH THE DIGITAL ASSET USED IN THE VOLUME AND THE PRACTICAL SET FOR THE ENTRANCE FROM THE VAULT. MODELED IN SKETCHUP AND MOVED INTO 3D MAX. G