For this project I served as a Production Designer. I also assumed many other different roles such as the Research Team Coordinator due to my familiarity of the historical subject matter. I worked very closely with the Director in helping him to select all the appropriate visuals that would achieve his vision for the film. The focus was to portray the most accurate depiction of the environments, scenery, and wardrobe of this period piece as well as to use subtle design cues to reflect mood and setting.

The majority of the props in the film I designed personally. One of which was the Assyrian chariot. The film required two chariots-one for a general and another for King Sennacherib of Assyria. Since, they would not be shot at once I designed two removable cabs to attach to a base. The Assyrian chariot could carry up to four riders and was drawn by up to four horses. The wheels were about 5 feet in diameter which allowed its riders to see clearly over the horses. The machine would not only be use to transport warriors but as weapon itself. With wheels over 5feet high and four horses it would serve as an ancient tank that could pulverize anyone who stood in its way. (Photo Credit top left Angus McBride)

Much thought had to be given in the production of tacking for the chariot horses so that both the look and functionality was achieved.

Study of ancient texts and reliefs, as well as other research material revealed details for props such as the Sennacherib's Assyrian Throne. This prop I also personally designed. (Photo Credit Top right: Angus McBride)

I worked closely with the costume designer to scout fabric in the garment district in NYC. I also provided direction as regards the style and look of costume for the characters in the film.

I also worked closely with the costume designer to help design the principle characters' wardrobe. Displayed here are the Sennacherib's palace and battle attire.

I designed all the weapons for the film and helped with the design of the armor for all the soldiers.

This shot depicts a scene of an ancient historian in Babylon writing key events on a scroll. The setting is in the Babylonian palace. Little of is left of ancient Babylon, but the Istar Gate in Belin served as a design cue for the set design.

I designed the set, desk, costumes, and chose the character.

This scene depicts a prisoner being taken to a subterranean cell in a ancient Rome. I modeled this set after the Mamertine prison that was used to hold prisoners of the state awaiting judgement by Caesar.

I designed the set, costumes, and chose the characters.

The set was designed with two light sources. One from the stairs above, if the prison door was open, and one from a small opening in the ceiling.

The light from the opening in the ceiling left the character and the viewer with a feeling of solitude, but also one of hope.

This scene depicts a prisoner being executed in an ancient prison styled after the ancient Fortress of Antonia in Jerusalem. I designed the set, costumes, and chose the characters.

I pulled reference material and gave some insight into the ancient city of Lachish for a shot of the city being approached by the besieging Assyrian army.