Issue link: https://digital.copcomm.com/i/1544119
7 0 P E R S P E C T I V E M A R C H / A P R I L 2 0 2 6 That decision was both creative and practical. On a fast-paced show like Criminal Minds with two stages and 7-day episodes, rehanging ceilings is a significant time and cost factor. Avoiding it allowed us to distribute resources to where they would actually register on camera. Paint, lighting, set dressing and camera direction did the heavy lifting. Each morgue had its own identity, tone and purpose, without calling attention to its origins. What surprised us was how effective that approach became. The limitations forced clarity. Instead of endlessly reworking the structure, we committed to the space and focused on how it could evolve. The result was a set that felt intentional rather than recycled. This became a guiding philosophy for the season: Reuse doesn't have to mean compromise. Another major example of reuse came from a large hospital set built for season 18. Rather than striking it, we left it standing and divided its function in season 19. Half of the footprint became a prison, while the other half remained our rotating hospital set. It played as four distinct hospitals and a veterinary office by the time the season was through, and the footprint never changed. Transformation came through paint, set dressing and minor architectural adjustments. Just as importantly, we worked closely with directors and the DP to rethink camera angles and shooting direction, ensuring the spaces didn't reveal their shared DNA. The result was a set that felt expansive and flexible rather than recycled. It worked because everyone involved—production, camera and direction—was invested in problem-solving rather than ownership. A Culture That Makes It Possible None of this works without the right culture. One of the greatest strengths of Criminal Minds is how ego-free the creative process is. I've been incredibly lucky to work with a showrunner, producers and writers who are open to conversation—who understand that solutions SOURCED CABINETRY FROM KITCHEN STORE, CABINETRY DETAIL TO FOLLOW ADD PLANT-ON FRAMES TO EXISTING WINDOW OPENINGS, MATCH EXISTING TRANSOMS, DETAIL TO FOLLOW REMOVE EXISTING TILE WALL 4' x 8' MORGUE DOOR WALLS (3) PLANT-ON VENTS AS PER ART DIRECTION REMOVE EXISTING MORTUARY WALL PLANT-ON VENTS AS PER ART DIRECTION DISCUSS WITH ART DIRECTION EP: CRIMINAL MINDS SET #: SHEET: SCALE: DATE: DESIGNER: SET NAME: FILE LOC: STAGE/ SHEET TITLE: SET: O.C.M.E. EXAM ROOM (MORGUE) CM_S19_271_REL_OCMEMorgue_Sht001_PlanElevations_CB_V01_250616.pdf CM_S19_271_REL_OCME-Morgue_CB_V01_250616.3dm STAGE 7 001 1 4 " = 1'-0" CHEYENNE BELL O.C.M.E. MORGUE PLAN + ELEVATIONS 271 1906 06/16/25 June 16 2025 004 E D C F 3.0 F E DTL - MORGUE WALL 003 D C 2.0 002 A B B A 1.0 Scale: 1 4 "= 1'-0" Scale: 1 4 "= 1'-0" Scale: 1 4 "= 1'-0" Scale: 1 4 "= 1'-0" Scale: 1 4 "= 1'-0" Scale: 1 4 "= 1'-0" Scale: 1 4 "= 1'-0" B D C A E F ELEVATION B - MORGUE ELEVATION A - MORGUE ELEVATION E - MORGUE HALL ELEVATION F - MORGUE HALL PLAN - O.C.M.E. EXAM ROOM (MORGUE) ELEVATION C - MORGUE + HALLWAY ELEVATION D - MORGUE + HALLWAY HALLWAY MORGUE DTL - TYP. WINDOW DTL - CABINETRY WALL 12'-0" 2'-0" 2'-2" 4'-0" MORGUE WALL 4'-0" MORGUE WALL 4'-0" MORGUE WALL 3'-6" 3'-9" 12'-0" 9" 21'-5" 8'-0" 10'-5" 7'-1" 19'-2 1 2 " 2'-0" 12'-0" 7'-6" 10'-0" 10'-0" 20'-6" 7'-9" 2'-2 3 4 " 4'-6" 1'-0" 1'-0" 4'-6" 3'-6" 4'-6" 1'-0" 4'-6" 1'-0" 28'-0" 1'-0" 1'-6" 1'-1 1 2 " 3'-0" 1'-1" 12'-0" 10'-0" 10'-0" 12'-0" ADD PLANT-ON FRAMES TO EXISTING WINDOW OPENINGS, MATCH EXISTING TRANSOMS, DETAIL TO FOLLOW 30'-7 1 2 " EMBALMING ROOM WILD WILD WILD CONFIRM TUB SIZE WITH SET DEC DARK ROOM DOOR DETAIL TO FOLLOW CABINETRY DETAIL TO FOLLOW UP REUSE MORGUE WALL, DETAIL TO FOLLOW WILD PLUG TREADS WILD WILD BATHROOM WILD B E F E F A B A J Scale: 1 4 "= 1'-0" Scale: 1 4 "= 1'-0" A ELEVATION A - EMBALMING ROOM PLAN - BANCROFT MORTUARY (1908) G H D C D C HALLWAY (OFF-SCREEN) 3'-6" 3'-6" 4'-0" 6'-0" 4'-0" 2'-8 1 4 " 6'-4 1 2 " 2'-6" 3'-1 1 2 " 3'-1 1 2 " 2'-6" 6'-4 1 2 " 2'-4" 11'-9" 5'-4" 4'-0" 2'-8" 12'-0" 20'-2 1 4 " 8'-0" MORGUE DRAWER ZOOKEEPER STAIRS 6'-5 1 4 " 17'-4" 9'-4" 1'-4" 20'-2 1 4 " 8'-0" 16'-6 1 4 " 7'-3" SHRINE HINGED FOR CREW ACCESS 8'-0" 5'-0" 5'-0" +7" +14" +21" +28" +35" +42" +49" +56" +63" +70" +77" +84" +91" +98" +105" +112" 1'-7 1 2 " 1'-6" 3'-6" 08.05.25 1 5'-0" 5'-0" 10'-0" 3" 3'-6" 6'-0" 9'-6" 4'-10" 5'-2" 10'-0" 4'-1" TILE 16'-0" 2'-0" 4'-0" 4'-0" 2'-0" 2'-0" 2'-0" 8'-0" 8'-0" MORTUARY PLANS AND ELEVATIONS A. OCME MORGUE, DISTRICT OF COLUMBIA EXAM ROOM. B. LUPOLD COUNTY MORGUE. C. BANCROFT MORTUARY. DRAWN BY CHEYENNE BELL. D. FRIARS TOWN POLICE STATION. PRODUCTION STILL. E. FRIARS TOWN POLICE STATION. SET PHOTO. F. COLORADO SPRINGS POLICE STATION. PRODUCTION STILL. G. COLORADO SPRINGS POLICE STATION. SET PHOTO. H. FRIARS TOWN POLICE STATION. PLAN BY CHEYENNE BELL. A B C