Issue link: https://digital.copcomm.com/i/990311
M A R V E L' S A G E N T S O F S . H . I . E . L . D . | P E R S P E C T I V E 7 5 E the installation because the crew is being asked to install large heavy metal pipes high in the air. Since each individual pipe was duplicated in the 3D model, I simply numbered the rental pipes with a corresponding tag. It was set up right on the first try. As Art Director for seasons three through five, I developed my project management skills by maintaining good organization and prioritizing assignments. This made the workflow run faster, which created more time for Greg Melton to focus on Production Design and for me to prepare a location, source materials or guide the construction staff. With such a large set list, it was important to be organized at the beginning of the season, so I created three color-coded binders. I use a red binder for the current shooting episode, a blue binder for the episode in preproduction and a white binder for inserts/reshoots. This makes it easy to find the next script or the current schedule in a rush. COMIC BOOK ROOTS This show has comic book roots, and inspiration comes from the dark and tragic themes that are part of this genre. The variety of settings comes from the various science fiction subjects, and is contrasted with the normal everyday world E. SKETCHUP 3D MODEL BY JOHN VERTREES. THE PLACEMENT NUMBERING SYSTEM EASED LOCATION INSTALLATION. F. FINAL OVERKILL DEVICE AT AN INACTIVE REDONDO BEACH POWER PLANT LOCATION. PHOTO BY MARVEL/ABC. G. A DARK AND POIGNANT MOMENT LIVES ALONGSIDE SCI-FI SETTINGS. THE ARCH DETAIL WAS ORIGINALLY PART OF THE APARTMENT'S INTERIOR BUT THE DIRECTOR LIKED HOW IT FELT AND WAS INSPIRED TO USE IT TO SHOOT AS THE BUILDING'S CORRIDOR INSTEAD. F G