I’ve been working on virtual set designs for most of the past year, but recently had the opportunity to work on a printed backdrop design for a set design by Toby Kalitowski at BK Design Projects. The new set was for STV’s Scotland Tonight, which broadcasts from their studios in Glasgow.
The backdrops depict an stylised interior, and make extensive use of glass, and reflective surfaces. The scene is composed to provide the multiple opportunities to frame shots, whether they were wides or closely framed singles. To complicate matters, the scene makes extensive use of linear perspective, but is displayed on a curved surface. By a combination of different techniques, the scene artwork was provided pre-curved, so that installation would effectively de-curve the scene as it was applied to the lightboxes.
The new look went live on Monday, so I can now share some photos provided from the set.
My latest designs, for a set of digital backdrops for Bloomberg TV’s new, New York studios went live yesterday. The architectural scene in the backdrops is based upon Bloomberg’s own headquarters building in New York and is displayed in a set of massive LED screens. Often, with such large screens I tend to find that the pitch of the LED’s is coarse, but these have a luxurious 1.9mm pitch – by way of comparison, the screen we prepared at Lightwell, for TV4 News in Sweden is of a similar size, but has a 12mm pitch.
The finer pitch resolution has meant that we’ve had to adjust our approach in a number of ways. Previously, we would avoid fine detail and focus on lighting across large areas, and establishing strong contrast within the imagery to counteract the effect of the diffusion screens that would be required in front of the LED’s. The superior resolution of the Bloomberg installation means that no diffusion screen is required, and so we now need to focus on finer details, particularly within the mid-shots, in a way that would have been a wasted effort on previous projects. The absence of a diffusion screen also means that we get better colour fidelity. LED screens tend to be excellent at re-producing colour anyway, but by removing the diffusion layer in the project, we have been able to achieve better blacks, and can be confident that what the viewer will see upon their screens, is the closest to what we see here in the studio that we have experienced.
Another factor that we have had to adapt to on this project, like no other, is that extra pixels mean much larger file sizes. We’ve had to adapt to working with 12k composites, and the logistics of delivering and playing 8k video. This is a challenge that will be ongoing for the foreseeable future, but is one that I welcome, not least because it makes my work look infinitely better with each new technological advance.
This is a bold investment in technology by Bloomberg, one that I applaud. They have been a fantastic client.
From the box office takings, it would appear that the FIFA vanity project United Passions isn’t going to be seen by many people. Given the revelations coming out of FIFA HQ recently (and for quite some time before then) that’s probably what the film deserves. However, French VFX studio CGEV put together some very nice digital sets for the finished film, and they at least deserve a viewing via the above show reel.
Screen grabs of one of my latests projects, a set of animated, and still backdrops for Sky Sports News HQ, which relaunched with a new set on August 12th. The scene is based on designs initially prepared by Jago Design (formerly BDA) and portrays a much more open architecture than my previous design from 2011.
The architectural details and lighting within the scene are a direct continuation of the designs for the physical studio and newsroom spaces.