Issue link: https://digital.copcomm.com/i/1544119
6 4 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 space needed for stunts and rigging. Her schedule was absolutely packed, including the BTS and social media shooting crews that also always seemed to need something. Vision Scenery, especially Ian and Fernando and their team, really rolled with the constant estimating and subsequent canceling of various sets. They managed to get every deliverable done on time, producing sets of excellent quality. I had to draw and build numerous sets, with the rooftop bat light scene being the most iconic. For this, we ended up starting with an existing light that was used in a Batman film, adding a yoke and base, some additional cladding and the bat logo. Ricki Flores had two teams that managed the installation and the wrapping of the various sets in different locations at all hours, based on time and location constraints. Some of the locations had major access problems and the sets had to be built in smaller pieces to make the load-in possible. We left no room for error on the shooting days regarding FX or stunts. The cases for the jewelry heist were built with reenforced tops. All stunt work had to get rehearsed before we shot. The Art Department worked closely with VFX to guarantee that the practical and digital elements blended perfectly. Ultimately, it really did feel like we made a short film with all the Head of Department meetings ahead of the shoot. It was a true high in my career—watching the moving parts of this massive production come together. ADG A. TWO-FACED GALLERY. ILLUSTRATION BY JAMIE RAMA. B. TWO-FACED GALLERY ARTWORK. SET PHOTO. C. TWO-FACED GALLERY. PRODUCTION STILL. A C B