Issue link: https://digital.copcomm.com/i/1538245
18 FALL 2025 the duration of filming. The six months of pre-production in Los Angeles, prior to our move to Hawai'i, were fully dedicated to a deep dive into research and development. Our focus was twofold: understanding the historical garments, materials, and dyes, along with their profound cultural meaning, while simultaneously developing practical methods to construct these pieces with modern materials for camera, all within a tight timeline. To ensure this authenticity, we regularly collaborated with cultural consultants, engaging in countless virtual and in-person meetings to delve into the cultural significance of each garment. Underlying this creative phase was the ever-present fiscal challenge. The studio and producers continually wrestled with how to fund a project of such scale, leading to a constant state of uncertainty. Each week, we navigated the emotional pendulum, from anticipating a shutdown to unexpectedly greenlighting another seven days. Originally, we were to shoot the entire show in Hawai'i, but as the financial scope of the show came to light, it was realized that this wasn't going to be possible, and it was decided that most of the show would shoot in New Zealand. During prep in Los Angeles, Head Dyer Tÿra Youland was a one-woman dye team. Her primary challenges during prep involved color-matching thousands of yards of feathers and developing a method to dye our Evolon (a 100% polyester kapa replacement) with contemporary formulas that replicated the natural hues indigenous to the islands. This meticulous approach was crucial, as Caroline selected specific natural dyes historically used on each island, thereby, aiding the audience in distinguishing between tribes. Tÿra's expertise was indispensable in translating these historical palees into a production-ready application on our chosen synthetic materials. Ivory Stanton headed up our aging and textile department both in LA and Hawai'i. Caroline and Marina worked with Ariel Boroff (Local 892 illustrator) to create motifs on stamps from research of traditional kapa decorations. Traditionally, these designs are carved into wood or bamboo to create stamps. Ariel also worked with the design team to create kapa designs from authentic "Our focus was twofold: understanding the historical garments, materials, and dyes, along with their profound cultural meaning, while simultaneously developing practical methods to construct these pieces with modern materials for camera, all within a tight timeline." —NORA PEDERSEN Cliff Curtis in Chief of War on Apple TV+