Issue link: https://digital.copcomm.com/i/1539634
C H I E F O F WA R | P E R S P E C T I V E 1 3 Working on Chief of War had a profound impact on me and proved to be an incredible life experience. The numerous celebrations and blessing ceremonies I had the privilege of attending during the year-long shoot provided me with a unique insight into the traditions of both Hawaiian and Maori indigenous people, and made me realize just how relevant their spirituality and set of beliefs are to understanding the challenges we all, as human beings, face today. Research When I was initially approached about this project, I was both excited and intimidated by its subject matter. It was the first time a major motion picture or TV series was not only going to be made in Hawaii, it was actually about Hawaii and its history. The first thing I did was to immerse myself in research, to deep dive and explore the topic, which for me is always the starting point in the design process irrespective of the concept and theme. The experience turned out to be fascinating, but also more complex as the Native Hawaiian history is very much rooted in oral traditions and I did not want to rely on colonial/European-driven representations of Hawaiian heritage. The main objective of the series was to try to bring the indigenous civilization to life in all its scope and glory and, at the same time, give it a universal resonance. Having the opportunity to do it was truly an honor, as was being part of this passion project Jason Momoa and Thomas Pa'a Sibbett had been dreaming of for quite a while. The design team approached the project with a lot of humility, seeking guidance and trying to gather as much information as possible from the Hawaiian cultural advisors who were on board the project with us. The goal was to fully utilize all the craftsmanship of our crew and make the most of our previous experience of bringing historical pieces to life in order to create a cinematic world that would vividly evoke the richness and scope of the traditional Hawaiian civilization. Concept On every project, I try to develop a concept that drives the design process, gives it meaning and informs numerous choices that need to be made along the way. In this case, after reading the script for the first few episodes, what struck me was the strong tension between the mana A. VIEW OF THE LE'AHI VOLCANIC CONE (DIAMOND HEAD/ WAIKIKI BEACH) ON THE SOUTHWEST COAST OF OAHU. CONCEPT ART BY DEAN SHERRIFF, CREATED WITH PHOTOSHOP AND BLENDER, RENDER ASSETS BY ANDREW LIMA. B. OAHU KINGDOM. FILM STILL. COURTESY OF APPLE. C. KOHALA VILLAGE. CONCEPT ART BY ANDREW LIMA (SKETCHUP AND TWINMOTION) AND ANDRÉS PARADA (PHOTOSHOP). C