PRODUCTION DESIGN
PRODUCTION
Journey, take a look.” He also points out that when it comes to
workflows, bringing forward vfx from the backend of a shoot to the set design stage, should also mean bringing on the DoP much earlier to discuss the look, if built in Volume, as the lighting and grade may need to be set at that stage too. But leaning into digital tools is becoming
more and more necessary to deal with the sheer volume of work stemming from the streaming boom, which is coupled with problems caused by the lack of experienced crews (“A lot of people went to film school, did a course, and now reckon they’re an art director. Of course you are, dear,” says one PD). “What you’re required to deliver in a timescale
has grown exponentially,” says Lapsley. “They pull the trigger on sets at the last minute. So when you get the material in television, particularly, you’re lucky if you get the first two out of six if you’re on a six parter of and then the rest of the scripts just come in later and later. You’re getting shooting drafts three weeks before you shoot something even on something that’s got a fairly chunky budget. And that means there’s no time to hone those scripts.”
Virtual production Inevitably, it’s not long before any discussion
regarding technology and production design alights on the topic of virtual production and LED volumes. Sonja Klaus has just finished a Covid- delayed three years on The Power due next year for Amazon Prime where it was used to film a scene on a recreation of Paris’ Champs-Élysées. “It was incredibly expensive, because all the
visual information has to be built,” she says. “I mean yes, they have libraries now that have a lot more content and a lot more imagery than they used to have - they probably have the Champs- Élysées now because we paid for it. It’s pretty good but you need quite high ceilings, you can’t walk towards it, you can’t walk through it, so you have to use it in a sort of in a certain way. It’s great, but if I was doing something like a Jane Eyre and it was set on the Moors I’d still want to go to the Moors to shoot it.” Opinion on virtual production is
understandably split. LED volumes remain high end and expensive, with some saying they would rather stick to blue or green screen, partly because it remains easy to replace the backgrounds with new ones throughout the post process, others say that LED screens are great for window shots but perhaps limited in their current form (elsewhere,
yet more would rather use translights or softdrops). Weinberg, however, mainly sees the arrival
Let’s take this moment and appreciate [virtual production] for what it is, which is a great opportunity
of virtual production as a chance for production design to reestablish itself after several years of being edged slightly to the side. “Let’s take this moment and appreciate it for
what it is, which is a great opportunity,” she says. “Take back the knowledge that we are the visual storytellers that we’re always meant to be and that the image is our responsibility.” Kalina Ivanov is the other co-founder of the
Production Design Collective and talks of the importance of technology being seen as a tool to aide storytelling not the end game in itself, something which very much mirrors her own approach. “I’m currently designing a new, high-profile
television series for HBO and collaborating with the vfx department to build one of our main sets in Unreal Engine, so everyone can ‘walk’ through it,” she says. “I can see how tools like Unreal Engine will become an art department staple and I welcome innovative technology and look forward to many more new digital tools, but I still keep my 2B pencil handy.”
Winter 2022
televisual.com 69
The Lost Daughter
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