For the past month I have been working for Youhug Media from the China Film Group Studios (CFG) just outside of Beijing. The project is titled ‘Ice Fantasy’. It is a Television Series adaptation of the Novel of the same name from Jing Ming Guo China’s most successful author of young adult fiction.
The series will consist of 50 x 40min Episodes. It is no understatement to say that this is an epic undertaking. This will be the largest and most expensive fantasy series produced by a Chinese company. I find myself right in the middle it.
This began earlier in the year when Dan Hennah (Production Designer, The Hobbit) was invited to production design for the series. I, along with artist Anthony Allen, joined Dan for 3 months in the production of concept art. That was, for the time, the end of my involvement. 3 months later Dan, alongside the Director and cast, was asked to attend a press conference in Beijing announcing the series. I was asked to join him and to then stay on as Supervising Art Director.
And so here I am entering a project in the middle of pre production. I’ve been charged with the role of delivering set designs and construction of the concept design laid out by Dan. The producer’s aim is to create a series that is unique in appearance. Therefore I am working with the Chinese art directors and art department to create environments unfamiliar to Chinese audiences at a quality of design and finish not before seen in Chinese television. The result will be neither Chinese nor western but rather uniquely ‘Ice Fantasy’.
I hit the ground running. The design was slipping back into something safely Chinese. Revisions to work already in progress were required quickly and a whole new direction for the designs to follow. Dan was here for a week as we broke down, with the Director and producers, what was needed. One other New Zealander Juan Robertson, a VFX artist, was with us in the role of set designer.
Already we have four sound stages at CFG with enormous sets underway. We have a back lot with a constructed forest and a wet set of ocean cliffs nearing completion. Off site another 2 stages have equally large and complex sets underway. Additionally 3 major set builds on locations are under development. The first two are within 3hrs drive of Beijing. The final location I visited only yesterday in the beautiful Savannah of Mongolia. The number of builds on this is comparable only to the biggest productions I’ve been involved with. Over the next 5 months we will be in a constant state of build and turn around for a demanding shooting schedule.
The team here is excellent and stepping up to the task of trying new techniques. We’ve quickly improved rock texture through the use of molds and polyurethane to replace carved polystyrene. The sculpting team is full of talent. After working with scenic painters I’ve found they needed minimal input before proving quickly they know how to create very exciting work. Some of the construction methods are surprising to me but the speed of build is unparalleled and the result exactly the framework required.
Generally the approach to art department here is as familiar as anywhere in the world. Holding it together to a singular vision is as always the challenge. So far so good. The next 5 months is going be an experience!!
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