I was employed as a Sculptor and Scenic Painter over the time of the production.
My tasks as a sculptor included:
- Making silicone boat molds and brush-on silicone molds with plaster casing, of ornate architectural details and various organic textures (ex: ostrich skin, sea moss, cotton rope, natural rock crystals and foam slices)
- Making plaster molds of various organic textures
- Casting ornate architectural details and various organic textures
- Carving in Expanded Polystyrene foam various brick sheets, rock retaining walls and sandstone bricks to be part of an add-on extension copy to and existing building.
- Texturing EPS foam
- Making textures as part of research and development for the Cordyceps virus in the storyline. Using various materials from tiny plastic beads, foam clay and sea moss, to Hilti foam, latex rubber and puff paint. I was part of a duo team for 3 months.
My tasks as a Scenic Painter included:
- wash aging
- painting marks left by a Molotov cocktail on a wall
- spraying (with HVLP) smoke residue around windows
- painting flats
- staining wood
- creating crackle age on wood with sodium silicate
- aging a rooftop scene to look like its been there untouched for 30 years, with overgrowth, moss and general dirt age.
- creating a cracked cement aged wall and age washing it
- dust aging windows and a car interior
- working on set as Standby Scenic Painter
Copyright © 2022 Charlotte Greenwood: Film Portfolio - All Rights Reserved.
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