Issue link: https://digital.copcomm.com/i/1521244
Headset The most iconic element of the Game was the headset. The specification from our showrunners was that it should have such advanced technology that no one in our modern day would be able to understand how it would work. It was to appear completely seamless with sound and vision integrated into one, no cables, no charging, no on/ off button, no nothing. In the books, it is written as a body suit, but our version had to be able to be taken on and off very quickly and easily. Because of the difference in head sizes, each actor going inside the Game had to have one made to fit their own head. The mirror finish is understandable to the book readers, but was a nightmare for the visual effects team, who had to digitally map the reflections of the room onto the headset to remove the true reflections of the camera and crew. You can imagine how popular I was when I added the black mirror finish to Wade's desk and the visual effects team had to take care of the reflections of reflections! To think that the headset is now for sale in the Netflix online store makes me ridiculously happy. Game The environments of the Game were the most difficult for all of us to collectively visualise. The Art Department created many, many different pieces of concept art to establish the tone of the Game, including what was to be either built, on location or what was to be visual effects. The look of the Chinese pyramid in the VR landscape was the first to be signed off. The base, the entry to the pyramid and interior were built out at Farnborough Studios in the style of the Shang Dynasty. With very little visual reference available, on Derek's direction we kept the space simple and open, which was a clean palette for the beauty of Michael's costumes and the I Ching mandala. G F E D. RED COAST BASE ENTRY GATES, MODERN-DAY. CONCEPT ART BUILT IN MODO AND RENDERED IN PHOTOSHOP. BY RYAN DE SILVA. E. RED COAST BASE, BROKEN SATELLITE DISH. MODELLED IN 3D BY CHAPMAN KAN AND THEN BUILT BY MATT GELDARD. F. LIAM CUNNINGHAM'S CHARACTER THOMAS WADE, SITS IN HIS OFFICE WITH THE MIRRORED HEADSET ON HIS DESK.. PRODUCTION STILL. G. KUBLA KHAN'S PLEASURE DOME EXTERIOR. CONCEPT ART BY JULIAN CALDOW CREATED IN MODO AND PHOTOSHOP.