Cloud 9 centers around the lives of a group of young snow boarders who hang out and compete at the fictional ski resort Summit Valley. This is the snack shack at the bottom of the snow board half pipe.
We prefabbed this set off-site, and moving only at night, hauled up to our site by snow cat in carefully ordered loads. It was built on a 12 foot deep pad of compacted snow at 9,000 feet elevation in temperatures well below zero. Although it was a temporary set, it had to be designed to withstand a potential snow load of 30,000 pounds. A nerve racking experience all around.
Lunch counter in the interior of the snack shack.
Portable Summit Valley Resort sign, served us in a few locations.
The "historic" Summit Valley billboard. An escaped sled hurtles down the slope and crashes through the prized relic of the resort owner. Here it is rigged with det-cord, ready for a hole to be blown in it before it falls over and crashes on the snow.
In the story, a struggling family takes a ratty old retail space and tries to make a go of it by opening a dog spa and day care for the pets of ski resort patrons. The challenge was to make it terrible without it being too terrible. We went with a 70's Swiss inspired vibe.
A reverse of the shabby dog spa showing the counter.
Another angle of the shabby dog spa showing the dog washing stations.
The resort owners daughter (Dove Cameron) decides to throw down her gold card and give the sad shack a makeover. We originally had planned to build the nearly identical sets side by side to save maximize shooting time, but ended up transforming the same room over a couple days.
A view of the sexy, remodeled kennels.
A reverse of the remodeled spa showing the counter and new dog washing area.
High School mascot sign for the Summit Valley HS Snow Leopards.
Will Cloud's (Luke Benward) basement bedroom.
Uber-rich girl Kayla's (Dove Cameron) bedroom.
The movie ends with the climactic Fire and Ice snow board championship, staged in the Park City super pipe, a 2002 Winter Olympic venue. We built this massive lighting/pyrotechnic installation on both sides of the 666 foot pipe. Since all these moving/theatrical lights and rigs were actually in shot, my team took the lead rather than the DP.
Another light look on the super pipe. We had enough instruments and programming capability to design a different look for every competitor. To enhance the light we had over 1,000 feet of smoke tube lining the pipe.