The Art of Television Production and Design - part 3

Summary

The speaker discusses the design process behind TV show sets, emphasizing the balance between functionality and aesthetics. They highlight the importance of collaborating with experts like commercial kitchen designers and lighting directors to create sets that serve both the show's needs and the technical requirements. The speaker also shares insights on working with limited resources, adapting to changes, and the iterative nature of set design, culminating in the concept of 'Tele-Tecture'. They reveal a preference for neutral colors to allow for versatile lighting effects and discuss the significance of architectural training in their career.

Takeaways

• 🏗️ The design of Hell's Kitchen set is a blend of reality and TV production, with hidden-camera aisles and mirrored surfaces to capture everything up close.
• 🤝 Collaboration is key in set design; the speaker brought in experts like Mark Peel and a commercial restaurant designer to ensure the kitchen was both realistic and camera-friendly.
• 🔍 The speaker emphasizes the importance of knowing one's strengths and weaknesses, and when to seek help from others to achieve the best results.
• 🌐 The concept of 'nothing is more than fourteen hours out of your reach' is highlighted, showing the dedication to finding resources anywhere in the world to meet production needs.
• 🎨 The speaker's favorite color for set design is white, as it allows for the most flexibility in lighting and can be transformed into any color needed.
• 🛠️ The process of set design involves creating both 3D computer models and physical models to explore different ideas and refine the design.
• 📐 The use of CNC and VacuForm technology allows for the creation of custom textures and designs that are not limited to existing catalog options.
• 🎭 The speaker discusses the iterative nature of set design, with many revisions and renditions needed to find the right concept that fits the show's theme.
• 💡 The importance of designing a set that is right for the show is emphasized, suggesting that budget cuts should not compromise the core essence of the set.
• 🏫 The speaker reflects on the value of an architecture education for a career in set design, highlighting the skills in historical styles, construction, and communication.

Q & A

What is the key challenge in designing the set for a show like Hell's Kitchen?

The challenge is creating a set that functions both as a real working space, like a commercial kitchen, and as a shootable environment for TV production. The balance between practicality for chefs and visual needs for cameras is crucial.

Why is collaboration important in TV production, according to the speaker?

Collaboration is key because no one can do everything alone. The speaker highlights that bringing in experts, like commercial kitchen designers for Hell's Kitchen, ensures the set is functional while also meeting production requirements.

How does the speaker solve issues related to sourcing materials for the set?

The speaker emphasizes that nothing is more than 'fourteen hours out of your reach,' meaning they are willing to go to great lengths to source materials, even flying items in from different locations like China or Philadelphia to get what’s needed quickly.

Why does the speaker use both computer models and physical models during set design?

Computer models can sometimes be deceptive because they allow for camera angles that aren't possible in real life. Physical models, on the other hand, offer a more realistic perspective of how the set will look and function, ensuring practical design.

How does the speaker respond to feedback during the design process?

The speaker revises designs based on feedback, as seen in the example where a love triangle-themed set design evolved from being too stiff and masculine to a more balanced and visually appropriate concept. They experiment with colors, textures, and structures to find the right solution.

What is the speaker’s favorite color for set design, and why?

The speaker's favorite color is white because it allows for flexibility. White can be lit in various ways to produce different colors on set, giving the lighting designer creative control while maintaining a neutral base.

How does the speaker collaborate with lighting designers?

The speaker designs the set with the lighting in mind but allows the lighting designer creative freedom. They ensure the set has elements like pockets for lights but trust the lighting designer to choose the colors and placement.

What role does technology like CNC and VacuForm play in modern set design?

CNC and VacuForm technology allow designers to create custom textures and elements that aren’t limited by existing catalog options. This flexibility lets the designer realize their vision more accurately and efficiently.

What advice does the speaker give about the process of set design?

The speaker stresses the importance of persistence and constant refinement. Even though some people might nail a design on the first try, most have to go through many iterations, making adjustments based on the show’s needs, camera work, and production feedback.

What background does the speaker believe is beneficial for set designers, and why?

The speaker believes that an architectural background is very helpful for set designers because it teaches historical styles, how to build things, and how to communicate those ideas effectively to others involved in the production process.

Outlines

00:00

🎥 Designing Hell's Kitchen: A Blend of Realism and Set Design

In this section, the speaker discusses the design process behind the show 'Hell's Kitchen.' They describe how the set is built like a real building but designed with hidden camera aisles for filming. The set balances practicality for chefs and shootability for the camera crew. They emphasize the importance of surrounding oneself with experts and knowing when to seek help, such as bringing in a restaurant designer for the first season. The speaker highlights that in television design, nothing is too far out of reach, often involving resourceful methods like flying in materials from distant locations. Ultimately, creating a functional and visually appealing set requires collaboration and continual refinement.

05:02

🔄 Adapting a Set for Audience and Theme

This paragraph focuses on the evolution of a set design for a love triangle-themed show. The initial design was deemed too stiff and masculine for the predominantly female audience. Through several iterations, the design shifted to a softer, more feminine look, involving adjustments like changing an 'X' to a 'Y' shape. The speaker explains how constraints, both in budget and aesthetics, lead to creative solutions such as using simple scaffolding and columns. The process involves constant feedback and refinement to meet both the aesthetic and functional needs of the production.

10:08

🎨 The Importance of Texture and Lighting in Set Design

In this part, the speaker explains how set textures are chosen and created. Shops often provide catalogs of existing textures, but new designs can also be custom-made using modern technology like CNC and VacuForm. The speaker stresses that creating the right set for the show is paramount, and budget considerations come second. Lighting plays a crucial role, and while the production designer leads the process, collaboration with the lighting designer is necessary to ensure the set is lit effectively. The speaker shares insights on how the design process influences camera placement and overall set functionality.

Keywords

💡Set Design

Set design refers to the process of designing and arranging physical spaces for filming. In the script, the speaker discusses how the set of 'Hell's Kitchen' is both a functional kitchen and a film set, created with considerations for camera angles and lighting. The challenge is making a space that's 'real' for the chefs but also practical for shooting a TV show.

💡Commercial Kitchen

A commercial kitchen is a kitchen designed for large-scale food preparation, typically found in restaurants or food service establishments. In the script, the speaker admits that although they are an architect, they needed help from experts like restaurant owner Mark Peel to design the kitchen for 'Hell's Kitchen' that would function properly for chefs.

💡Collaboration

Collaboration in this context refers to working with specialists to achieve the best results. The speaker highlights that no one works alone and emphasizes the importance of surrounding yourself with the best people. For 'Hell's Kitchen,' the speaker worked with both chefs and commercial kitchen designers to ensure the set worked for both filming and cooking.

💡Lighting Design

Lighting design involves creating the appropriate light setup to achieve the desired aesthetic and functionality for a set. The speaker explains how white sets are often used because they allow the lighting designer to change the look of the set with different lighting, making the same set appear in various colors during filming.

💡3D Modeling

3D modeling is a process in which a three-dimensional representation of a set or object is created using computer software. The speaker mentions using 3D computer models to visualize the set design, but also notes that computer models can 'lie' because they can create shots that aren’t possible in reality.

💡Physical Models

Physical models refer to tangible, small-scale representations of sets that are built to help visualize the final product. The speaker explains that physical models are crucial because they reveal real-world limitations that a 3D computer model might hide, ensuring the final set can function practically.

💡Budget Constraints

Budget constraints refer to the financial limits placed on a project. The speaker discusses how set design often has to balance creative vision with financial realities. For example, when fabric was limited, the team went to great lengths, including sourcing material globally, to meet the design requirements without exceeding the budget.

💡Fabric Sourcing

Fabric sourcing involves finding the right materials for set construction. In the video, the speaker shares an example of needing a specific fabric and how the team searched globally, including contacting a pillow manufacturer in China, to find more of the same material after discovering it was in limited supply.

💡Tele-Tecture

Tele-Tecture is a term coined by the speaker, blending 'television' and 'architecture,' to describe the unique design considerations for creating sets that are both functional and visually appealing on screen. The speaker explains how this approach is a core part of their work, ensuring that every step of set creation enhances the final product.

💡CNC and VacuForm Technology

CNC and VacuForm technology refers to modern tools used in set construction. CNC (Computer Numerical Control) allows for precise cutting, and VacuForm creates custom textures. The speaker discusses how these technologies enable designers to create unique set pieces that aren't limited by what's available in standard catalogs.

Highlights

The challenge of designing a real kitchen set for 'Hell's Kitchen' that also functions for filming, balancing practical use and camera needs.

Importance of surrounding oneself with experts in areas outside one's expertise, such as consulting a restaurant designer to ensure authenticity in 'Hell's Kitchen.'

The concept that 'nothing is more than fourteen hours out of reach,' referencing how the crew sourced fabric from a manufacturer in China to meet design needs.

Tele-Tecture: The integration of architecture and television production, constantly evolving sets through multiple revisions to meet creative and practical demands.

The use of both 3D computer models and physical models in set design, with computer models providing flexibility but physical models offering more realism.

The iterative nature of set design, involving multiple versions and revisions to refine the look and feel of a set.

The importance of lighting in set design, particularly how using neutral colors like white allows for flexibility with lighting to create different atmospheres.

Collaboration with lighting designers and directors, ensuring the set design aligns with the camera work and lighting demands.

The balance between aesthetic design and budget constraints, with core elements prioritized and the rest simplified if necessary.

Custom textures and set elements made possible by CNC and VacuForm technology, enabling designers to realize unique concepts beyond standard catalog options.

The role of architectural education in teaching communication, historical styles, and building techniques, which are crucial for set design in television.

The significance of design flexibility, allowing the team to adjust and improve sets even during the building process.

The concept of designing sets for specific themes, such as creating a love triangle-inspired set with symbolic structures.

A key takeaway: the most critical part of set design is ensuring it aligns with the show's concept, as removing budget-dependent elements will still leave a strong core design.

Favorite color for set design: white, as it allows for full lighting customization, giving it the ability to change into any color depending on lighting choices.

Transcripts

hell's kitchen, you guys, some of you guys saw this

really a phenomenal

show that we do

uh... built like a real building

designed like a set

you know there's

hidden-camera aisles, this is all mirrored, goes along the kitchen

You'll see it in the next shot better, so that you can shoot everything up close

uh... its

its designing all of this is mirror

so you can literally stand behind it for those of you who work there

uh...

your your designing a set that has to be real but it also has to be shootable and they're

not always compatible

and its

the balance of figuring out how do you

uh... do that

and this shows also a good example

of number thirteen, no one does this alone, surround yourself with the best people

when I got the show

even though I'm an architect, I don't know how to design a commercial kitchen for a restaurant

so we got Mark Peel who owns Campanile in Los Angeles and we got a commercial restaurant

uh...

designer, and I brought them in, we sat down

I showed what I needed it to do, for camera

and they told me what it needed to do for chefs

they helped us out with season one and we haven't had to use them again

we learned it

but we knew we needed the help

you know it's like

know what your strengths are, know when to get the right people to help you do it

just as important

a couple more shots

this last season's

if you watched it, you maybe familar with it

Nothing in the world is more than fourteen hours out of your reach

Hell's Kitchen is an excellent example that we will get

my decorator will come to me and show me a fabric

and I love it

but there's only one bolt of it, there's thirty yards, we need a hundred

Well, don't tell me that

the factory where ever it is only made one thirty yard bolt

they sent out

hundreds, thousands, of bolts all across the world

find where they are, if one fabric store doesn't have it,

another one will

if no fabric store in LA has it

someone in New York will have it

you know we found a great fabric, that was actually on a pillow case this year

and I couldn't find it anywhere in stores, we called the pillow manufacturer they had thirty yards

the pillow manufacturer gave us the name of the manufacturer in china

so we can get the rest

now nothing is more than fourteen hours out of your reach, that's because

you can fly to china, and get it if you have to

and uh... and believe me I've

flown stuff from China, I've flown stuff from Philadelphia, I've put it on an airliner because

it's faster than overnight

you do what you need to do

so that's kind of the overview, now how I go through a show

and work on TV, I'll give you a run-through quick example of of a small gameshow

I start working and plan

I think three-dimensionaly when I work and plan

I combine it with visual research, magazines, tear sheets, books, my library, go through and

find

images of kind of what I'm thinking of

I create 3-D computer model

and all these things happen simultaneously

I build a physical model. Why do both?

Because a computer model is really good at lying to you.

I can set a camera or lens in a place where you could never do it

in real life

and I can make a phenomenal shot that you will never get

but you can't do that in a physical model

uh... then we draft didn't revise it

we build on stage and

we still adjust it because it's never too late

to make it better

so this is the first sort of rough uh... plan

I knew what the show was

it's a two people

it's a love triangle, somebody has to decide between two people they are two timing

uh... so there's two entrances, there's a host there's the two timer

a place to sit

early computer model

I'm playing with different surfaces, in different textures

on, on, the different pieces

a little more refined, is a little more consistency to

to the the look

and then this is the first one

That we presented to production

uh... they felt it was a little too talk show like, a little too stiff with just columns

um... they wanted something a little more

that played more with the love triangle theme

so the second concept

played with a triangle theme

but they felt, here's rendered version of that,

but they felt, that these mid-ground

structural elements, were a little bit to

strong, that there was a feminine viewership for the show

and that that X was a little too macho

I went through

uh... first let's change the color make it a little softer

that doesn't work

try a different, it's a Y instead of an X

you know make it little a smaller, well now let's get really frilly and make it more feminine

not working for me

you know I've shown you three out of

thirty options I might have gone through

So, I got rid of the problem

I just took them out

but I realize that again, now I've lost my mid-ground

its going to look incredibly flat when I when I do that

so the solution both budgetwise and

you know sort of tone, character wise was

to do a simple set of columns with scaffolding

and that's what the final

renderings looks like, that they bought off on

Instead of just being a column, I cut a circle out of it put a round tube on it. This is actually a

a lighting instrument that goes on the end of it

and then we build the model

look surprisingly like the computer rendering but they did tell us to change the height

on a few things

set of drawings for

typical drawings

everything's elevated

the platform we'd tell the shop how we want the platform more or less structured

and we build it

um... this is sorta halfway through the process not lit

but all the elements there

without lighting it's not much

but when you get to the finished product

it's really pretty,

you know, delicate and and uh... and lacy

very simple set, really

there's a site for background, and change of color

this is just a quarter-inch thick

uh... MDF that

was cut out, in the triangle patterns

laminated with uh... reflective surface

and in the mid-ground of the columns with one more layer to sort of ghostly see-through

and I that can change color

and finally

nothing takes the place of working hard whether it's small show like this

or one of the big ones that I've shown you earlier

I will do

rendition, after rendition, after rendition, until

I find, what I feel, is the right thing

and then I'll present that to our producers

you uh... you know some people are lucky to be totally naturals in the first thing they

put on paper works

most of us are like that

the show's change

the the way they want to block the show and position cameras, changes

you have to keep working at adjusting it

uh... looking at where the opportunities are to create a better set

with every step through the process it didn't matter whether it was the first rendering

uh... you know when we when we start doing the working drawings for for the shop

I put another level of detail in those drawings that aren't in the computer model that aren't

the the physical model

but uh...

so with every step you you try to take it one step forward

and ultimately that's what I call Tele-Tecture

and uh...

hopefully you've learned something that it took me seventeen years to do

and hopefully you find TV is a little

more interesting than the

unglamorous reputation

Student: What's your favorite color?

What works good on TV

um...

you know

I don't, I can't say that I have a favorite color. What my, okay I'll tell

you that my favorite color is white

and

if you look thru

this slideshow, half of those sets

were shades white and grey

and the reason for that is is because

if you

color a set

red, dark blue, whatever

it's more or less going to be those colors

but if you give it shades of color soft toning

then the lighting designer can make it paint red, yellow, purple, whatever color you want

any given moment

and like that last, that last uh... that last set

this is all silver and white there's no color in this set

it's black, silver, and white

Yet, its full of colors

because the way its lit

white is my favorite because you can make anything of it

and my house is the same way, I let sunlight play over it

Student: With all the different wall textures that you have, do you

get an idea for a texture in your mind

and then try to tell a shop to

build it, or like do they have textures setup that you have to decide which one you want?

Both a lot of shops will have a catalog of VacuForm textures that

they have made for other shows that you can

draw off of, there's always brick textures, there's always

uh... you know all kinds of different

existing things

but we'll make, we'll make what we feel is right. I mean the most important thing

you know when you're creating a set

uh... is that you create the right set for the show

and I'd try to do that

not totally without regard to budget but

that to me is the most important thing, because if you get that right

then you can distill set to it's essence

to trim money if you have to

uh... but if the core is right, then if it's missing a couple of pieces for the sake of

budget

it's still going to be fundamentally

the right thing

uh... so you know it completely changes, this was designed out of the need for you know

love triangle theme

and that's the beauty of actually the CNC and VacuForm technology that we have now

you're not limited to what's in the catalog you can think it up, and the shop can make it just

about as easily is using something they already have.

Student: So when you decide on a texture

do you work with the lighting people

or do you just give them ideas?

umm...

no, I mean you don't work with them, you know like, shoulder to shoulder, it's their jobs to light

the set

But, in many ways

you've already

usually, the production designer comes on before they hire a lighting designer and

more often than not

the first thing, more often than not, I'm hired before the director hired.

uh... because we have a longer lead time than a lot of those guys

My first two questions are whose Lighting it and who's Directing it.

Because how I designed it

is going to

uh... affect how somebody shoots it or how somebody wants to shoot it

will affect the set

I need to know the basic Eyelines

uh... you know for a game show or for a sitcom or whatever I'm doing

and uh... so

by the time I've designed a set I've already handed in to both the lighting designer and the director

as to what they can do

I've already determined where there's entrances and where there's exits

uh... you know what's a decent backing, where he's got space to put a camera and where he

doesn't

So, it's collaborative

but you gotta remember that you come first and and so you can steer them in ways

you can give them opportunities. I mean I'll build in

pockets like on that dance your ass off

uh... pockets where you can put lights

and I'll put the lights in

so I've already

told 'em you're gonna turn that on sometime during the show

but you know do I get to choose whether it's purple back there, not necessarily

you know where he hangs his other lights that's up to him

I'll, you know in the middle of the process if we're

doing rehearsals and I really think something isn't right

I'll go and say look can you try a different color on this

it's not feeling good to me.

But, it's his domain and I can't dictate it entirely

Any questions?

Student: If you had to do it over again?

Student: Would you go to Architecture School?

Student: Realizing that you are in fact still an Architect.

Student: But if you got rid of that

part of it, would you have gone to Architecture School or something else?

umm... law school

the uh... look architecture is a great background for what we do it teaches you historical

styles, it teaches you

how to build things, its teaches you how to communicate to other people how to build stuff

uh... you know

which is the single most important thing you got to get an idea out of your head

you gotta communicate it to a client

uh... you've got a then communicate it to a shop

and for the people who actually put it up

uh... as a background for this it's it's a tremendous education

you know as a career path well

goes back to that success matrix

which dollar sign do you really want

I left lawyer off of that, that would have been

ten more dollars signs

Student: What would say was your favorite project?

uh... I enjoy all of them for different reasons

uh... even something this small