The power of real-world 3D models as a tool of communication in film cannot be overstated. When you’re sitting in a room with Digital Natives, Millenials and people who fondly remember DOS, a model gets everyone speaking the same language.
City of the Sea model: black foamcore, wood, paint, printed paper
For the film “Tomorrowland” I was given generous latitude by Production Designer Scott Chamblis when creating the vignettes at the end of the film. Since each vignette was it’s own encapuslated story, visual design was essential.