Production designer Chris Seagers
Production company  Apple TV+, Playtone and Amblin Television.

Colour visuals based on moments from the script
These colour shots are probably the way I love to work  most.  Colour and shapes make you feel what is happening without needing to be too 'real'. Early enough in the process that I don't have to get all the details correct. However I use 3d models of the B17s, Me109s and Focke-wulfs to get their shapes right.  Not wasting my day trying to prove I can draw them!
B-17s engage the enemy. I like working in this more graphic style. Usually can only get away with it near the beginning of production. 
MoftA had a wonderful script all the more jaw-dropping knowing that it was based on real events. Here the armada heading for the continent are met by rising squadrons of Me109s and  FW190s . A mix of what it might look like and a diagram of the action. 
Not sure you would have 'god ray's created  in an aircraft rushing through the air but it's a good way of emphasising bullet holes. 
Concept sketch to help the conversation about what the shot is about and a more finished visual to show what it might end up looking like. 
Exploring the density of aircraft and the chaos framed by the  B17 windows when the squadrons are attacked.   
AckAck gunners scramble tulip fields and windmills
AckAck gunners scramble tulip fields and windmills
Gunners scramble grey day
Gunners scramble grey day
AckAck gun placement
AckAck gun placement
Parachute in to chaos
Parachute in to chaos
view from parachute
view from parachute
P-50 attack!
P-50 attack!
P-50 takes out the camp watchtower
P-50 takes out the camp watchtower
New recruits heading to Kelly's airbase
New recruits heading to Kelly's airbase
Battle Damage from inside B-17
Battle Damage from inside B-17
'War Eagle' battle damage
'War Eagle' battle damage
Location visuals 
These are almost entirely compiled with 3d elements - mostly imported from third parties and models from the art department. If I need to I will  build individual pieces based on historical references or P&Es if they are available.  Skies are probably from hdri downloads and figures are architectural figures that I re-texture to wear military garb.  In a historical film good 'design' is good  reference. My job as  a concept artist is to show what the sets being built  in a location or on a sound stage, combined with vfx set extensions might look like.  The artistry is mostly  in the mood, composition and lighting. Scanned architectural figures are the best because they look very natural. Sometimes posed  (as opposed to scanned)  3d figures can look like bad actors in a scene so I avoid them.   
B-17s foggy morning
B-17s foggy morning
B-17s sunrise clear sky
B-17s sunrise clear sky
B-17 in Hanger for repairs
B-17 in Hanger for repairs
Abingdon Airfield transformed in to Airbase
Abingdon Airfield transformed in to Airbase
350th Squadron building
350th Squadron building
Mooseburg CAmp tents were white in final
Mooseburg CAmp tents were white in final
View from barracks
View from barracks
View from barracks winter
View from barracks winter
North Africa Airmen board the C-47
North Africa Airmen board the C-47
Clevland lands in high winds
Clevland lands in high winds
Location Visuals Aerials
I did a lot of these aerial shots.   There was a huge effort made by Chris Seagers the production designer to get the details historically accurate. Number and direction of runways and hard stands as well as location of surrounding towns and farms. The base was enormous but life carried on as normal just beyond the perimeter.  We also needed to show what the bases and POW camps would look like in winter, summer and so on.   Mostly created combining satellite imagery, maps,  historical aerial footage, 3d models from the art department and a library of ww2 3d elements that I gather from turbosquid, kitbash and other online 3d libraries.  'Painting' the image is about 2% of the effort right at the end. I don't need the visuals to look like paintings but they always need some work to take the CG artificial feel out. 

Sketches 

I love doing quick black and white sketches to get a conversation going about the look of the film. I did a lot of these at the beginning of production including filling notebooks with quick little drawings to try and get the script to stay in my head (I am hopeless at remembering scripts). 
 The problem with sketches is that everybody from the producers to the director to the designer (Chris Seagers in this case) love them but very quickly ask for changes.  ‘Can we raise the camera’ or ‘that B17 has the wrong insignia’ so it’s easier to move over to 3D when we start getting closer to production.  I don’t like revising sketches-it kills them-all the energy is in the first blast, the first reaction to the story.  
I would be very happy to hand the sketches over to a 3d artist or the VFX house to bring them to the next stage but I did that stage myself for MoftA.

At the bottom of the page are my notebook sketches.  Too scrappy to be up top but might be of interest to some people who want to know about process.  I work with a ballpoint pen so I can't erase - its about collecting information not about creating beautiful images.  I  have a pack of white sticky labels of various sizes which I use to 'erase'  if I really mess up. 
Fog delays mission. first sketch for MofA
Fog delays mission. first sketch for MofA
flak explosions in dense cloud
flak explosions in dense cloud
Fly through fjords
Fly through fjords
Bombs away
Bombs away
AckAck 88s respond
AckAck 88s respond
B17s get hit crew bail out
B17s get hit crew bail out
Gun freeze
Gun freeze
Air battle debris storm
Air battle debris storm
Nose gunner trio
Nose gunner trio
Waist gunner loses legs
Waist gunner loses legs
Waist gunners defend
Waist gunners defend
Bomb bay doors crank
Bomb bay doors crank
Ball turret hit
Ball turret hit
propeller danger
propeller danger
Ditch in the Mediterranean
Ditch in the Mediterranean
Hanger repair
Hanger repair
London Destroyed
London Destroyed
London destroyed
London destroyed
Thorpe Abbots Searchlights
Thorpe Abbots Searchlights
Interiors 
Art department supplied the set models and I supply the mood, lighting and distressing.
Thorpe Abbotts Operations Room
Thorpe Abbotts Operations Room
Thorpe Abbotts operations room
Thorpe Abbotts operations room
Equipment room Airmen get their kit before heading out
Equipment room Airmen get their kit before heading out
Equipment room storage
Equipment room storage
Set extensions and location revisions

Notebook sketches 

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