Issue link: https://digital.copcomm.com/i/1529668
just by watching the film! I remember we were all surprised by how small the waiting room set was in reality. Many people remarked that stepping onto the set gave them goose bumps, only to later express their disorientation due to the confusing design of the floors! This set alone particularly highlighted the complexity of the job that the set decorating team faced with endless studying of the first film, often frame by frame, in order to replicate the dressing that, likely as not, originally came from antique shops or thrift stores, but now needed to be custom made. Property master David Balfour and his team were bestowed the task of bringing these established props back into realization in every detail, in addition to the many more new props needed. There was no escaping the fact that this film would be studied in macro detail by the fans. Disorientation spread across all the afterlife sets as the design team pushed the concept of "twisted perspective" to its limits. We deliberately reversed traditional forced perspectives and used the iconic checkerboard floor pattern to create optical illusions that would confuse and surprise viewers. Interestingly, many who viewed the dailies assumed we were using fish-eye lenses, when in fact, the distortion was entirely due to the set design. The graphics department meticulously custom-designed each floor using 3D modeling to ensure the desired effect was achieved in every environment. These designs were then printed directly onto linoleum, which the painters hand- finished to add depth and texture. To further enhance the worn, institutional look that is so integral to the afterlife aesthetic, the crew took the extra step of cutting out individual tiles by hand. Some were reapplied unevenly, while others were D E F G H