Issue link: https://digital.copcomm.com/i/1539634
2 6 P E R S P E C T I V E S E P T E M B E R / O C T O B E R 2 0 2 5 construction drawings for all the different departments that may require it. If the rescue becomes bigger, and believe me, in this show that happens more often than what one might think, we 3D-print the elements needed and assemble the models onto a satellite map in order that everyone knows exactly what they need to do and how to prep for the shoot day. This specific method helps tremendously during production meetings, because every element is in scale and on top of the actual site that we are planning to shoot. Every department then understands where things should be, including condors, SFX cranes and mortars, Technocranes, picture vehicles, specific signage and even the police cars that may help us in the intermittent traffic control (ITC). Once the theory is out there, the symphony begins. Everyone is on top of their tools, and the tools perform the most complex music ever made. And that symphony says happiness, it says wealth, it says family, education, food…home! When the crew was face-to-face with our greatest challenge of season 8, the biggest set on our stages came to our rescue. By then, we were on episode 13 and fairly exhausted. The bio lab was next up. This laboratory was futuristic, top of A. INTERIOR BIO LAB. FORMER HOSPITAL SET WAS TRANSFORMED INTO A LEVEL 4 BIO LAB. BUILT ON STAGE 9 AT FOX STUDIOS. PLAN AND ELEVATIONS BY KYLE COURTER. B. & C. BIO LAB PRE- EXPLOSION. REVAMPING THE SPACE WAS JUST THE FIRST STEP. THE SEAMLESS INTERACTION OF PAINTING, LIGHTING AND VISUAL EFFECTS WAS KEY TO THE FULL TRANSFORMATION OF THE HOSPITAL INTO THE BIO LAB. PRODUCTION STILLS. A B C