I printed store graphics as well as road and highway signs directly onto Sintra and aluminum panels. We pushed anything that was safe through the Roland DG hybrid UV printer, and the graphics came out beautifully. The production designer was wide open to experimenting with printing on non-traditional substrates like glass, metals, Sintra, foam, wood, and translucent materials. Of course, I also printed on standard vinyls, photo paper, blueback paper, canvas, adhesive film, and adhesive fabrics. One of the most important materials I used was an optically clear film by 3M IJ8150 and a removable micro-adhesive film made by Phototex. You will never look at a hospital in the same way again. There was one scene where the graphics really came to the fore – the hospital scene. In the end, the effect was just as we intended. I was amazed when I saw the final graphics on set – the illusion of radiation and decay we were able to create using graphics was really impactful. I created colors that were appropriate for the tone of the film, and the Roland DG printers allowed me to hit those targets every time. My design focus was really on how the graphics were affected by the post-apocalyptic environment, both indoors and outdoors. These graphics were meant to be in the background to set the tone for the scenes. Simplicity, and not calling attention to the practical graphic designs, were my main concerns. What design elements were important to maintain throughout the film? These devices were fast, accurate and reliable, which made the process much easier for me. Having two printers meant production was extra efficient, and I was able to use different materials on each printer to get the full range of printed graphics. I also took advantage of the SOLJET’s White and Metallic inks for many of the graphics. I was able to push the coating and texture capabilities of that device to get some unique and visually interesting effects. The hybrid printer was especially helpful for this project. To do all this, I relied on two printers: a 64-inch Roland DG printer/cutter and a 64-inch Roland DG hybrid UV printer. Additionally, I had to print directly on glass, metal, wood and reflective materials. I needed to print on different kinds of vinyl and paper. What digital printing equipment did you require for this project? AdvertisementĬharles used a Roland DG UV flatbed printer to print set graphics directly onto Sintra and aluminum panels. It’s now harmful to mankind and to any living thing. The Earth is decayed and completely bleached from the sun’s radiation. What type of Earth were you creating?Īccording to the script, in 2028, the Earth is destroyed by a major catastrophe, and the film is set five years later, in 2033. In this film the setting is Earth, but not as we currently know it. Of course, working with Tom Hanks (my seventh movie with him) and Miguel Sapochnik, the director from “Game of Thrones,” were the icing on the cake. When he called me about doing “Finch,” I put everything else aside. I met production designer Tom Meyer several years ago and the desire for collaborating on a project was mutual. Martin Charles: One of the most exciting things in the film business, after you’ve had time to develop your reputation and a few friendships, is to get a call about a future project while you’re still busy. What (or who) initially drew you to this project? Big Picture magazine spoke with Charles about how he pulled together the intricate details of a world that previously existed only in the director’s imagination. He’s a graphic designer for some of the biggest producers in Hollywood, with film projects including: “Ghostbusters,” “42,” “Public Enemies,” “Love and Other Drugs,“ “Charlie Wilson’s War,” and HBO’s hit series “The Newsroom.”Ĭharles’ latest project is “Finch,” a post-apocalyptic science fiction film starring Tom Hanks and available now on Apple +. Martin Charles has designed more worlds than most people can imagine.
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