process.

Take a glimpse into my process for the build of “Late Night with Shelley” as an example of how I work.

On this project…
We had specific challenges on this project such as 2-day build, limited crew per COVID restrictions (filmed in mid-2020), limited budget, and we needed to create the look of 2 sets within one space. The solution was to have moveable and interchangeable walls that would help to quickly transition the space from Late Night Interview to a Performance.

Inspiration

Scouring the world wide web for inspirational imagery is essential for my process. The more reference images I have, the better! For this particular project I was extremely drawn to the aesthetic of 70s Late Night Talk Shows and playing with colorblock geometry.

sketch + renderings

Call me old-fashioned but I always start formulating my ideas with pencil and paper. After that, I take my ideation and convert it into 3D renderings. In addition, I like to create quick-reference set design and decoration notes to share with the director and the client, leaving the more detailed build sheets for my department. I consider the needs of the project and the talent within when creating the color palette. On this project, it was essential that the colors were harmonious with skin tone as well as congruous within the retro 70s vibe

build + final

The build involved creating two similar sets that fan out from the backstage to accommodate the wide. As our budget was relatively tight, we needed to be able to swap out elements from one set and rearrange for the next set. The studio location posed some technical difficulties as we had to be positioned near the cyc on one side and support beams ran the length of the other side.

We hand painted each shaped flat to the color palette, put a custom tile skirt on the stage sides, built the custom light towers that flank Shelley on the interview set, and designed and built the lightbox “Shelley Show” sign behind Shelley. The TV wall behind Shelley’s performance had an inset so the TVs could stack with a space for recessed lights to create an additional glow. In terms of set decoration, it felt best to keep things minimal and intentional to prevent clutter from detracting from Shelley and his guests. The “cooking” segment was a lush spread of interesting fruits and high-sheen fabric to maximize the visuals on a small-scale.

I love working with DP and Gaffer to co-create unique lighting - and we absolutely found the best way to incorporate lighting elements into the set that would work both practically and as another element of set design.