Sets

• Main
• Puppets
• Props
• Sets
• Models

The sets for Hyperhelion were constructed using a wide range of materials and techniques, since the two cultures were so different.

The forest set was constructed using plaster over a wooden framework. It was then covered with soil, and trees were added using wooden branches and silk leaves. The interior of the control room was built in the same manner as the rocky exterior of the biosphere to reflect that it was carved from an asteroid. Soft green moss lined the walkways, and the consoles and equipment was designed to blend in, giving the impression of a people determined to live in harmony with nature even in the depths of space.

The forest habitat set, showing the trees and foliage at the water's edge.

The console displays sweeping organic lines and natural earth-tones.

Rayd Wat Sinn's office, in sharp contrast, was built of plastic over a rigid base. It displays hard, clean lines and smooth curves. The colour scheme used the so-called "power colours," blues, greys and metallic tones. Golden sculptures and abstract artwork lined the walls.

The set for Rayd's office, with the camera positioned
to shoot the cityscape through the window.

A closeup of Rayd's desk. Note the artwork and sculptures in the background,
along with a model of the Galen II and certificates of achievement.
The viewscreen is articulated and uses back projection.

 

The city set began with a 2.5m (8 foot) long background painting. Model buildings sit in the foreground with layers of mounted photographs of the buildings positioned to give the impression of distance through forced perspective.

Owen E. Oulton preparing the city set for photography.

Calvin Climie shooting the finished city set.

Delsinth City as it appears in the final shot.