Issue link: https://digital.copcomm.com/i/1541514
efforts to make our fictional ship have a "real" history. I had steeped myself in so much boat research, it was essential to me that I break down the length, the beam, the sail plan, the complement of crew and so on, of this vessel. It quickly became apparent that there was no shooting on a preexisting ship anywhere in the world, particularly one trapped in an ice field. We needed to build it from scratch. A long and arduous process of where and how we were to build the ship took place early on in our prep. Supervising Art Director Brandt Gordon took the helm (pun intended) on finding a warehouse or studio large enough to hold the ship with all the VFX blue screens and lighting cranes needed to light for Arctic dusk to day. Many hours were spent by our team exploring the actual area required to satisfy the wide angles that Guillermo and our DP Dan Lausten wanted to achieve. In the end, we all concluded that, though not ideal, having the ship built outdoors to accommodate all the equipment was a necessity; there simply wasn't a stage or space big enough. And once we had decided that, we chose our studio parking lot to be the spot. Although not ideal, with polluting light from the city, an inaccessible fenced area next door, and a fairly tight space that caused us to lose tech truck and crew parking, it was conveniently close. It enabled us to pre-light and move freely from inside the studio to the outside lot without losing valuable time. Led by our Senior Set Designer Etienne Gravrand, a confessed landlubber, we began modelling the vessel in April 2023, roughly a year before any filming would take place on the Horisont. The ship measured some one hundred and thirty-five feet from bow to stern, with a beam width of thirty- five feet. It was built onto an enormous steel gimbal with which we could rock the boat from port to starboard, this movement being for the one moment in which Frankenstein's Creature pushes the boat with his enormous strength. The separate interior Captain's quarters set was built in the studio, with a duplicate section of corridor to seamlessly tie the two sets together from exterior deck to interior. For the interior cabin, Guillermo wanted to keep it tight with a low ceiling, so low that the creature, played by 6-foot, 8-inch-tall Jacob Elordi, would have to almost duck under the lowest beams. Each General Characteristics Denmark-Norway Name HDMS Horisont (English: Horizon) Ordered 30 January 1805 Builder D. Lausten Builders at Nyholm, Copenhagen Launched 28 August 1806 In service Second Battle of Copenhagen August-September 1807 Refitted 1835 for polar exploration Arctic explorations 1855- 1858 Fate Wrecked and abandoned Timeline Class and type 22-gun Laurel-class sixth-rate post ship Tons burthen 522 36 ⁄ 94 (bm) Length Overall: 128 ft (39 m) Keel: 98 ft 8 in (30.07 m) Beam 31 ft 8 in (9.65 m) Depth of hold 10 ft 3 in (3.1 m) Propulsion Sails, steam engine added in 1935 Sail plan. Full-rigged ship, Barque rig Complement up to 155 men, less for arctic exploration Horisont Above: Illustration of the Horisont in the Second Battle of Copenhagen, 1807 Below: Etching of the Horisont trapped in ice, winter 1858 A. HORISONT "WIKIPEDIA" PAGE. CREATED BY TAMARA DEVERELL. B. HORISONT AND FROZEN ICESCAPE PLAN. RHINO AND CAD TECHNICAL DRAWING BY SET DESIGNER. HENRY SALONEN BASED ON THE ORIGINAL SKETCHUP MODEL OF THE SHIP BY ETIENNE GRAVRAND. C. HORISONT FROZEN ICESCAPE. ILLUSTRATION. 3D RHINO MODEL BY SET DESIGNER HENRY SALONEN BASED ON THE ORIGINAL SKETCHUP MODEL OF THE SHIP BY ETIENNE GRAVRAND. A D C B