I have also created several set designs for Television with a process that grew out of ‘Phenomenology to Photoshop’ (previous post) In this example I show a design for a TV set that grows out of an animation piece. The end result is a dynamic TV set that affords several camera angles, and is capable of constant change. Again the artwork on the set is arranged in a compositional hierarchy that emulates the original 2D version.
A process begins where I derive the design from the inspiration, below we can see how all the elements inspire an kind of hierarchy that preserves the original compositional qualities in the set. The red rectangle refers to what the cameras would potentially frame.
And then finally a set design begins to emerge, again, not so much as a set design as a composition of screens and membranes that can accommodate projected media and displays. This arrangement creates a space on screen; it has an inferred structure and form that then presents the graphics in a hierarchy that emulates the original 2D piece.
Below is an off-camera shot of the final result, this set was designed to convey stories about several of MTV’s reality shows at once; it allowed for several set or topic changes in one session. We shot 18 segments in 3 hours, something a conventional TV set could never accommodate. What I found very interesting about this design process was that the original 2D compositional framework (hierarchy) is still there and available to be modified and augmented with new material.
There is most definitely a relationship between the structure of the set, and the media that it hosts… the two are inter- dependent.