Rather than using previs to flesh out a storyboarded sequence, we decided to set up a number of large camera moves that would provide an overview of the virtual set that Steven could use to become familiar with the vast space. We knew that the length of time we would be shooting in the set, if he commented favorably on particular angles and moves, we'd end up seeing them in the film. Camera, grip, lighting, ADs and the designers could use all the previs overview data for advance planning in the set. And of course we could adjust the set to minimize any areas he didn't think he wanted to use, before we physically started to build those areas.

The decision to use a painted backing was a way to give Steven complete freedom in his set. He approaches his shooting so economically that if we had put a giant greenscreen outside the windows, he would have often avoided shooting in that direction. By using the backing, he could decide in post whether he wanted to enhance the view with any DMP or 3D animation, or let the backing stand alone.

The production design and the visual effects teams collaborated early to plan out the film's more complex visual effects shots illustrated in this previs sequence.

By keeping the early vfx planning in-house within the production and art department, DreamWorks was able to give the effects houses specific shots and moves during the award process, and we were able to specifically discuss our approach to the airport views, and how CG would be used to tie together the various interior and exterior set elements.

After the vfx was awarded, we collaborated with vfx producer Rob Yamamoto, supervisor Charlie Gibson and vendors Paul Bolger of Digital Filmworks and Robert Stromberg of Digital Backlot, and decided that we would use previs and 3D design within the art department to take the exterior model to a much higher degree of finish than would normally be attempted during the preparation and production period.

Because the architecture of the exterior of the airport was largely fictional, the set designers were able to carry the interior design through to the exterior detailing to retain the believable reality of the airport. Ben Proctor then developed the exterior design in XSI into a highly detailed model that was exported directly to Digital Filmworks and to Stromberg for matte painting.

I believe this process represents an important trend to develop the initial stages of the design of the whole film as a close interlock between analogue, digital and previs. This creates a wealth of design that originates a flow of data through preparation to post-production, maximizing the use of the centralized design for many departments with minimum redundancy. This also leads to a more efficient and collaborative relationship between design and vfx, and to a more consistent look for the film.

The design team looks over their plans to turn this 750' x 300' x 70' hanger into the thriving concourse of JFK.

Design Personnel:
Supervising art director: Chris Burian-Mohr, art directors: Harry Otto, Martha Johnston, Bruce Hill and Brad Ricker. Graphics art director: Francois Audouy. Decorator: Anne Kuljian. Props: Doug Harlocker. Key set designers: Maya Shimoguchi, Luis Hoyos and Theo Sharps designed the principle space in pencil, in collaboration with the 3D set designers. The 3D set design work in the art department was carried out primarily by set designers Richard Reynolds and Victor Martinez for the architecture; previs was by Ron Frankel, Patrick McEneany and Ben Proctor of Proof, with Ben continuing to add architectural detail and texture to the previs model. Ben also worked as an illustrator; during the back and forth with the 3D Exterior Airport model he took specific previs views of the Main Concourse interior to fully lit, textured and dressed stills that we used as the basis of lighting discussions with Steven, director of photography Janusz Kaminski and gaffer David Devlin. Mark Goerner and Daren Dochterman worked in 2D and 3D to create all other concept art.

Diary:
End of January 2003 — I’m in Brussels for a week, researching a film for DreamWorks — I’ve taken time off during the last weeks of shooting The Cat in the Hat to do this early research. Mid afternoon, Steven calls — he is in Paris for the Catch Me If You Can press junket — and asks if I would like to change tracks and join him for a film called The Terminal?

As it happens, I've been hearing about this for a while — a film about a man trapped in an airport. I’m impressed with what I've heard, and, yes, I'd love to do it for many reasons — primarily for the chance to work with Steven again and to see what he will do (and have us do) with such an unusual story and setting. And it’s a wonderful design challenge to create a single space that can sustain the story and the audience for the length of a film.