Set Design Meeting

Today we had a set design meeting in order to have final discussion regarding the set we need for our shoot. As preparation for this, we re-created our set designs on the digital format of Photoshop. This made the images slightly more clear, and they were presented in combination with the handmade notes and images that we designed.

Set 1

 Set 2

Tracy-Ann came in today to talk to us about our set designs and bringing them to life. As with the lighting meeting, these designs were not overly difficult to described as we don't have a concept that has any huge or far fetched demands in terms of set. As is now common, she understood our concept very quickly and what we were trying to achieve in terms of the two contrasting sets. We briefed her on the lighting for the video. Despite this not being her role it is important that she knows this to ensure that the colours and material will work with the different elements. We ventured into the studio to further discuss the ideas.

The first major discussion we encountered was regarding Set 1. In our original conception of the video, we visualized using a large scale white infinity background. However, this has not been as easy to source as we had hoped. Tracy-Ann said she would have a look around and make some phone calls to try to find one that is suitable. We then talked about the actions we would take if one didn't materialize. The most possible solution would be to use a large role of white material, which we do have at the school, and attach this to the rigging rail featured in the photo (below). However, there might not be enough material to stretch out and create the infinity effect and you also may be able to see the creases in the material. We really don't want this so may have to consider other options when we hear more news regarding he infinity background.

For Set 2, we have more options. We can use either a black box setup or the black material that is already attached to the rigging rail. This would blend in with the black studio floor and would be quite seamless when paired with the collective beam lights. It would simply be a black space and wouldn't be easily seen as material. I spoke to Luke about the possibility of doing a birds eye view shot where we see the studio in its entirety and he said this would be fine. The department have achieved shots like this before, most notably the previous year to make a time-lapse of all the different videos being shot. This meeting really clarified ideas for us in terms of the set which will be key for the success of the video.