Issue link: https://digital.copcomm.com/i/974985
A. RIVER TRIBE PROVINCE BY RAH RIHALL USING MODO AND PHOTOSHOP B. HALL OF KINGS ILLUSTRATED BY: RICK BOUENUSING PHOTOSHOP C. ENTRANCE TO THE HALL OF KINGS. SET PHOTO (?) C D E on, a cohesive and immersive space station was needed—a living, breathing habitat rather a series of disconnected set pieces. In that spirit—and to the degree that the facilities at Paramount Studios would allow—the stages were filled to maximum capacity with interconnected sets that flowed from one to the other. The budget was spare, so the practices of retrofitting and redressing the finite sceneryscape were embraced. THE DESIGNS In early concept meetings, a series of simple napkin sketches became a jumping-off point for the design of the space station's exterior. The sketch shown in this article is by director Julius Onah. Our goal was to create a structure that struck an iconic pose. The dominant element of the space station exterior is the X-Deck—a massive disc- shaped structure that houses the Shepherd Particle Accelerator and sits atop the Interstitial, the station's spine. Three counter-rotating rings— M-Deck, R-Deck and S-Deck—engage the Interstitial along its axis. These rings serve as the crew's habitat and command center. Finally, a Solar Array caps the Interstitial's terminus. X-DECK (Shepherd Particle Accelerator): I thought of this as the "bomb" to which the crew was tethered. It is the ultimate paradox… C