The Art of Television Production and Design

Summary

The speaker, an architect turned TV designer, shares their accidental yet fulfilling journey into television design. They emphasize the high-paced creativity in TV, contrasting it with the slower pace of architecture, film, and theater. The speaker outlines various TV design categories, highlighting the importance of understanding one's skills and the specific demands of each category. They stress the significance of design in enhancing viewer experience and offer practical advice on using tools like lighting, color, and texture to create compelling sets, urging designers to think beyond traditional applications and always strive for improvement.

Takeaways

• 🎨 The speaker, an architect turned TV designer, emphasizes the high level of creativity and rapid pace in television design compared to traditional architecture.
• 😂 The joy of the job is highlighted, with the speaker expressing amusement at being paid to do what they love.
• 🏗️ A comparison is made between the slow process of architectural projects and the rapid, high-volume nature of TV design, allowing for more frequent creative output.
• 🚨 The speaker warns of the potential dangers and legal implications of failure in architecture, contrasting it with the lower stakes of TV design experimentation.
• 📺 The importance of understanding the different formats of TV shows and how they each require different design approaches and skill sets is discussed.
• 🎯 The concept of the 'TV success matrix' is introduced, suggesting that different TV show formats have varying levels of creativity, pay, stress, and required personality traits.
• 💼 The speaker advises on the importance of targeting specific types of TV shows to align with one's skills and interests, as producers tend to specialize in certain formats.
• 💡 The value of good design is underscored, arguing that even in successful shows, the design can be transformative and enhance the experience.
• 🛠️ A list of essential design tools is provided, including light, color, texture, and the effective use of foreground, mid-ground, and background.
• 💭 The speaker shares practical advice, such as not taking client feedback too literally and being open to last-minute improvements to enhance the design.

Q & A

What is the speaker's background and how did they get into TV design?

The speaker is originally an architect with two degrees in architecture and is a licensed architect. They accidentally fell into designing for TV and found it to be the most creative thing they could do as a designer.

Why does the speaker enjoy working in television design?

The speaker enjoys the unlimited amount of creativity that television design allows, with the ability to work on numerous projects in a year, unlike architecture where projects take longer to complete.

What are the different types of television projects the speaker has mentioned?

The speaker mentions half-hour, hour, single-camera, multi-camera sitcom type shows, music award shows, comedy, reality, commercials, and movies of the week as different types of television projects.

What does the speaker suggest is important for someone starting a career in TV design?

The speaker suggests that it's important to identify where one's skills fit within the TV success matrix, which includes considering the personality requirement, pay grade, stress level, and creative value of different TV project types.

Why is it beneficial to understand the different categories of TV shows for a designer?

Understanding different categories helps a designer to identify where their skills are best suited and to target the producers and designers who specialize in those categories, which can lead to more opportunities and career growth.

What are the tools the speaker uses to create great-looking sets?

The tools the speaker uses include light, color, texture, foreground, mid-ground, background, and levels of detail.

How does the speaker encourage thinking beyond the immediate use of a material?

The speaker encourages looking beyond what a material or form is and considering what it can become, using the example of using office ceiling tiles as a floor texture.

What advice does the speaker give about listening to clients?

The speaker advises not to listen too closely to clients because they often don't know what they want until they see it. Designers should use their expertise to create what the client wants.

Why is lighting important in set design according to the speaker?

Lighting is crucial as it not only illuminates the set but also provides texture and depth. The speaker emphasizes that lighting should be considered from the start of the design process.

What is the significance of the gloss floor in the design of sets?

A gloss floor is significant as it can double the perceived size of a set by reflecting the set elements, providing more visual interest and effectively using the space.

How does the speaker feel about budget constraints in set design?

The speaker believes that while staying on budget is important, it should not be the only guiding constraint. Designers should strive for great set design, and sometimes going slightly over budget can lead to better results.

Outlines

00:00

🏠 Transition from Architecture to TV Design

The speaker, an architect by training, shares their accidental entry into TV design and how they found it to be a highly creative field. They compare the pace and creative opportunities in architecture with those in television, highlighting the faster pace and unlimited creativity in TV design. The speaker emphasizes the importance of understanding one's career goals and the various categories within TV design, such as sitcoms, music award shows, and reality TV, each with its own set of requirements and rewards. They also stress the importance of targeting specific types of TV shows and understanding the producers and designers associated with them to build a successful career in TV design.

05:00

🎨 Tools and Techniques for TV Set Design

The speaker outlines the essential tools for creating visually appealing TV sets, including light, color, texture, and the effective use of foreground, mid-ground, and background. They discuss the importance of lighting in set design, sharing insights on how to work with lighting designers from the initial stages of a project. The speaker also shares practical advice, such as thinking beyond the conventional use of materials to create unique textures and using layers to create depth and interest in a set. They emphasize the need to listen to clients but also to use one's expertise to guide the design process, as clients often do not know what they want until it is presented to them.

10:02

💡 The Impact of Design on TV Shows

The speaker discusses the impact of design on the success and perception of TV shows. They argue that good design is crucial at every level, from details to the overall look, and can transform a show's atmosphere significantly. Using examples from their work, they illustrate how even on a tight budget, thoughtful design choices can enhance a set's visual appeal. The speaker also touches on the importance of being flexible and making last-minute improvements to achieve better results. They conclude by stressing that while staying on budget is important, it should not be the sole focus, as design excellence is what ultimately earns recognition and appreciation.

Keywords

💡Architecture

Architecture refers to the art and science of designing and constructing buildings and other physical structures. In the video, the speaker's background in architecture is highlighted as foundational to their approach to designing for TV. The speaker appreciates the creativity applied to reality in architecture, which contrasts with the faster pace and higher volume of projects in television design.

💡Television Design

Television design encompasses the creative process of conceptualizing and executing the visual elements of TV shows, including set design, lighting, and visual effects. The speaker emphasizes the high level of creativity and the opportunity to work on numerous projects within a year, which is a significant contrast to the slower pace of architectural projects.

💡Creativity

Creativity is the use of imagination or original ideas to create something; it is a central theme in the video. The speaker discusses how television design allows for an 'unlimited amount of creativity' to be expressed in a relatively low-risk environment compared to architecture, where failures can have serious consequences.

💡TV Success Matrix

The TV Success Matrix is a concept introduced by the speaker to categorize different types of television projects based on various factors like personality requirements, pay grade, stress level, and creative value. This matrix is used to guide individuals in identifying where their skills and interests align within the television industry.

💡Multi-camera Sit-com

A multi-camera sit-com is a type of television show that is filmed with multiple cameras, often used for sitcoms. The speaker mentions it as an example of a project type within the TV Success Matrix, noting that while it may not be the most creative, it offers financial stability, which is attractive for those seeking a traditional lifestyle.

💡Lighting Design

Lighting design is the art of creating a visual environment with light through the use of various lighting instruments and techniques. The speaker underscores the importance of lighting in television design, stating that 'you can't see a set in the dark,' and shares examples of how lighting is integral to creating the desired atmosphere and enhancing the visual appeal of a set.

💡Reality Shows

Reality shows are a genre of television programming that documents unscripted situations and actual occurrences. The speaker discusses the unique challenges of designing for reality shows, where the set must be 'believably real' while also being fantastical enough to engage the audience, highlighting the importance of scenery in shaping the show's narrative.

💡Budget Constraints

Budget constraints refer to the limitations on spending imposed by the financial resources available for a project. The speaker advises that while staying within budget is important, it should not be the sole guiding principle. Instead, designers should strive for excellence in their work, as clients appreciate great sets more than budget compliance.

💡Foreground, Mid-ground, Background

These terms refer to the layers of depth in visual design, where the foreground is the area closest to the viewer, the mid-ground is the middle distance, and the background is the farthest. The speaker explains that providing these layers is crucial for creating dynamic and engaging visuals that can be effectively captured by cameras, enhancing the storytelling of the show.

💡Texture

Texture in design refers to the surface quality or feel of a material. The speaker uses the example of repurposed ceiling tiles as a floor material to illustrate how texture can add visual interest and uniqueness to a set. This concept is part of the broader discussion on how to make television sets more engaging and visually rich.

💡Design Tools

Design tools are the various elements and techniques used by designers to create their work. The speaker lists light, color, texture, and levels of detail as essential tools for good design in television. These tools are used to sculpt the visual environment of a set, creating a 'hyper reality' that is more engaging than real-life visuals.

Highlights

The speaker, an architect by training, found their way into TV design by accident and discovered a highly creative field.

In TV design, one can work on numerous projects in a year, unlike architecture where a project might take one or two years.

The speaker enjoys the freedom to experiment with creativity in TV design without the risks associated with architecture.

The speaker emphasizes the importance of understanding the different types of TV shows and their respective demands on designers.

Designers should identify where their skills fit best within the TV industry, considering personality requirements, pay grade, stress levels, and creative value.

The speaker suggests that designers should target specific types of TV shows and understand the producers and designers associated with them.

Design matters at every level, from details to the big picture, and can significantly impact the success of a TV show.

The speaker lists the essential tools for good design, including light, color, texture, and foreground, mid-ground, background elements.

Innovative use of materials, such as using ceiling tiles as a floor texture, can create unique and cost-effective design solutions.

Designers should always be open to improving their designs, even at the last minute, to enhance the visual appeal of a set.

The speaker highlights the importance of lighting in set design, as it can dramatically change the mood and look of a scene.

Budget constraints should not be the sole driving factor in design decisions, but designers should strive for excellence within budgetary limits.

The speaker shares insights on how to make a set appear larger and more visually interesting by using techniques like gloss floors and layered textures.

In reality TV, set design plays a crucial role in creating a believable and engaging environment for the show's narrative.

The speaker stresses that even on a tight budget, it's possible to create visually compelling sets by focusing on texture and lighting.

Every design decision, no matter how small, can have a significant impact on the final outcome of a project.

Transcripts

I'm an architect originally, I've got two degrees in architecture and I'm a licensed architect, and I fell into designing

for TV, accidentally

and I discovered that its

the most creative thing that

you could do as a designer

I mean, I drive to work some days laughing out loud that

literally, laughing out loud, that I get paid to do what I do

and uh...

What I liked about architecture was that there was

a creativity that was applied to reality.

But you would do one project in a year or two years.

In television

you can do

ten, twenty, thirty, projects in a year. It's unlimited amount of creativity that you get

to tryout in a non,

you know, dangerous way, I mean if your building fails

you know, if you tried something risky uh... good god, you know there's lawsuits. If you

try something adventurous on a TV show it's no big deal.

Film, not the same pace as TV.

uh... Theater, not the same pace as TV.

So when Kent asked me to talk to you guys I thought what would have

I liked to known seventeen years ago

If I was starting out on this path and I wanted to try to be successful at it

and so

I very quickly thru together

the seminal

you know, piece to work on on designing for television.

First of all, I think you got to know

where you're aiming yourself, if TV is what you want to do

and most of you are probably seduced by the glamour of film or theater.

When you get down to it

there's an awful lot of work that happens in TV and I've

only subdivided this into

seven sections, half hour,

hour, single camera,

multi-camera, sitcom type shows, music award shows, comedy,

reality,

commercials, movies of the weeks.

Why do you care?

If you are interested in

uh... being successful whether it's in this or in any other

careerpath, you gotta figure out where your skills are and where they fit. Each one of

these

has a different

and I put it in, what I call the TV success matrix.

It has a different personality requirement

a different

pay grade

a different stress level

uh... you know a different creative

value, effectively

Like multi-camera sit-com, to me that's not very creative

but you know, you're making living rooms, and you're making the mall or what not,

but the money is pretty good.

If you want a wife and kids,

that's the spot for you.

So as you, whether it's in this career path, film, TV, think about

the different aspects, because

there isn't one ideal place

I do a lot of work

and most designers

work, in maybe one or two these categories.

some designers do their whole life in one category. The sitcom guy, let's say.

I'm fortunate enough to work in just about all of them. I don't do Movies of the week,

and I don't do single camera.

The other reason it's important to identify

these targets is

the producers, that produce these types of shows

they rarely produce anything else

and those are the guys, that are your clients.

So as you think about it, then you go hey you know what, awards shows seem like an interesting

thing.

You're not gonna go out there and

learn, uh.. you know, introduce yourself to the producer of that show

but you find out who the designer of that show is and you dog them until uh... you know, they give

you a shot at working with them

and then over time, you learn,

you learn, the different personality's and your career grows.

But the very real, real,

you know, it's sorta a joke, you guys are too young to worry about you know your personal life

or or whether it's four dollar signs of three dollar signs.

But ten years down the road

you know, you want to be in a place where you have the flexibility to do

to do what you want with your life

you know, a lot of people look down at TV

and I just got a call last week for this project this is the set for

uh... Biggest Loser right now

and

uh... you know what, the show is a success it's great

they make a lot of money off it

but it's like working out in a basement.

So why even worry about what it is designed like when you have a incredibly successful

show

well because

it doesn't have to be this for the same amount of money it could be that

which is what, I've just pitched to them

uh... as a new look for, for it, thats inspirational,

aspirational, it's

you know, a place where you could actually feel good

trying to regain your health and fitness rather

than, feeling like you're in a prison yard.

Design does matter

and it matters at every level whether it's details or

the big picture and we'll get into that.

So, in my mind

the tools for good design

I don't have all them up, oh ya I do

These are the tools that I employ to make great-looking sets:

Light, Color

Texture,

f g, m g, b g, foreground, mid-ground, background,

and I'll talk about this stuff as we get into the the slides

levels of detail

every one of the slides that I'm gonna show you is gonna embody

all these aspects and I don't think you can get a great looking show

if you drop any one of them out. Already you can see light, I designed

the lights on just about all of them, all of this lighting

uh... you know this

internal lighting, that's

in the steps and underneath it

I think about and I talked to my lighting designer from the very start

you can't see it, you can't see a set in the dark

so you might as well figure out how to maximize

what you can do with it, what the lighting designer can do with it, there's a lot of

tools to do that.

I've also

filled this, with little tidbits of wisdom that I wanted know seventeen years ago.

When you look at a material or a form look beyond what it is

and instead consider what it can be.

This floor

goes back to Texture,

on that first list

this floor is ceiling tiles the type you'd stick in a drop ceiling in a office building

and they're translucent

turned around put on the floor it makes for a hella nice texture.

Nobody else has it.

you know. But if you think about product in a different way you can find all kinds of

things that you can use

uh... in in uh...

surprising new ways

uh... layers, mid-ground, foreground, background

we're looking through an etched hundred-dollar bill

to the rest of the set

If you

provide tools for the camera to work with

uh... like

foreground

and a mid-ground, not only do you expand the space

uh... but you can create interesting shots that they can pan through, that they can pickup

characters, and it's not limited to

a game show like this

uh... I think its, its

critical to all good design. I always say, its like if you're looking at the night

sky

and there weren't any stars up there, you might as well be in a dark closet, you have no sense

of the expanse of

what the universe is, except for the fact that you have

mid-ground and background.

Never listened to closely what your client says, because they don't really know what they

want, until you show it to them.

That's not to say don't listen to your client,

but most the time they don't really know what they want

and they're counting on you

to use your

infinite wisdom, to create what they want.

This started out

as, (this is the California Lottery) started out as

a junk yard of California artefacts they wanted the Golden Gate Bridge, the Mann Chinese

the Hollywood Hills

and

I said no you don't

that's not

a cutting-edge game show, you want to make the lottery

as hip as Let's Make a Deal or whatever.

Instead I proposed something that picked up on some of the glamour of Vegas, the gold

the lights the

you know, the slick surfaces

and they looked at it and loved it.

So, listen

but don't listen to closely.

You can see lighting is involved in the whole thing.

Even these lights

not only, can you chase em, but you can dim them but they provide a texture in and of themselves

you can you can hit all those

initial seven points again and again

unanimous

This is a reality show we had to put ten people inside this space

until

until they decided which one of them walked out with a million dollars

reality shows are a different animal, they have to be pretty fantastic but

they have to be also believably real

and this where scenery

you know, in a non-scripted shows scenery comes in, it makes the show.

We try to put them in a place

where they

were effectively in limbo they didn't know if they were above ground, below ground,

uh... in a warehouse, an office building.

No one thanks you for being on budget, only for a great set.

Doesn't need any explaining nobody ever comes to me and says

oh god, thank you for being under budget.

It's only a compliment if you've done a really great job on the set.

Now i'll get to the second half of that

which is not to ignore budget.

But don't let it be your only guiding

you know, constraint.

This set is actually interesting, because we made a large um...

pool of water in it, which made it really feel infinite, cuz you didn't know how far down

it was, we painted black.

and uh...

It's also interesting that is lined with mirror

almost on all three sides, cuz there's a camera aisle behind it so you can shoot people from

any angle

and yet you could stand in the middle of the space and not see yourself in any mirror in it

central voting area

again much of the same

premises, backlit surfaces,

you know, practical lighting

uh... texture.

I can't believe this show exist

but it's also a great example of how even on a I really tight budget

you can always do

you know, the things that make for good

visual design.

Everything in here has some kind of a texture.

This is a paint texture

and it's played on simple rectangles against the site.

The site all of them are lighting elements

This is a VacuForm, we pull a lot of our own VacuForm for any pattern we wanna make.

you know this header is a pattern that I just created

and I had the shop manufacture it.

all the lighting that you see, that's internal like this, this, up above,

inside the columns, these things

those are things that I design into the set to begin with, before the lighting designer

even touches it.

It's not enough to light the show

but it's enough to give it a sculpting to fit,

he could never do

with instruments out infront.

Look at the difference between this shot and the next shot

and the point I was going to make with those is that lighting in and of its itself

can be as set

sometimes

you get in camera shot and you have nothing to fill it with

they've changed the angle they're shooting at, you didn't plan for, what do you do

uh... you talk to your lighting designer

and you're asking the throw some beams up

get a little atmosphere in the sky

and all the sudden you've got a background out of vapor.

uh... the point is

look at all the tools that you have to draw on when you get into designing projects.

There is always time to make something better.

We finished rehearsal

and we are looking at close-up shots against these back plates,

and we weren't happy with them. We were taping the next day

I decided to add these lightboxes and we did it overnight,

really simple lightbox, just simple bulbs in it,

screwed it on the next morning and by noon we were taping a show. The close-up shots were

tremendously better.

Again, because we had

a lighting elements to add variety to it.

I can give you a thousand examples of in the last minute

uh... making a change, all for the better.

This is a neat shot because it shows you a cheap way to double the amount of your set.

I love using a gloss floor.

If this was anything but gloss floor

the set would end right here.

It would be from here, up.

But the camera loves it too, I've got twice the scenery for

the cost of one set.

Any which way you turn you've got a great-looking pattern somewhere in that floor.

Master Chef, now you saw this,

some of you saw this,

another reality show,

again most of same techniques, backlit surfaces, layers, we're looking through numerous things,

texture, the the

egg uh.. the cheese grater,

and internally lit elements,

lit floor,

and there's a density that you have to think about if you think about the way you look

at stuff with a hundred eighty degree plus you know, peripheral vision.

You get a lot of visual information

and the world doesn't look so boring.

When you look thru a camera lens and you're really looking at a spot this big suddenly a

wall that only had a small blank spot and it might be the only thing you have in the background

so in a sense, what you are designing for is

a hyper reality

just a little bit more than what you would really do

so that wherever they camera turns it has

it has a uh... background and a texture

and a quality that's pleasing.

Now this goes back to, no one thanks you for

being on budget.

You go over budget three hundred dollars at a time.

Thing to remember, whether you're doing theatre

or you're doing TV, or doing your own kitchen remodel at home

is that any design project

has hundreds of decisions and they're hundreds of

three hundred dollar decisions

Do you buy a hundred-dollar chair, or buy a four hundred dollar chair, do you buy ten of them, or

do you buy three of them

ten three hundred dollar decision