A very small preview of some new designs I have been working on at Lightwell, for PWC for use in the Newtek Tricaster equipped greenscreen studio. The new virtual set designs feature four separate presentation spaces, each designed a different presenting style and format. The complete set of new designs are due to launch in Spring 2017.
Paramount have just released a cluster of teaser shots for their live action remake of Ghost In The Shell (GitS). They are frustratingly brief and play out like a digital glitch, but what they do reveal of the designs, coupled with what the art direction of the original animated versions (if you haven’t seen the original animated version, I thoroughly recommend you to do so), suggest we could be in for some gorgeous production design and cinematography.
Production designer for this version is Jan Roelfs, whose previous work includes Gattaca, whilst cinematography is by Jess Hall who provided the cinematography on Son of Rambow and Hot Fuzz. VFX is to be provided by Weta and MPC, so I am hopeful that we will see some superlative digital sets amongst the set design. The quality and influence of the original animated version of GitS demands that any live action re-telling of the story be accompanied by nothing less than a work of unparalleled visual quality. Please don’t disappoint.
My design for a new digital backdrop, intended to run on the back projected screen in Bloomberg’s London Studio.
The all-new Lightwell website is now online, and features a responsive design, completely updated text and a new folio section.
We still need to add some of the older projects, and a couple of newer ones, but will be attending to this over the next few weeks.
I designed, and prepared these virtual sets between March and June 2015. The studio and desk were already in place, but cameras and lights were being set-up as the design progressed.
The brief was to provide a design for a news studio within a newsroom. The client expressed an interest in some of my previous backdrop designs, and so I set about adapting these ideas into a three dimensional solution.
My initial concepts were for a predominantly white, high-key set, based upon the Radio Free Europe logo. Although they liked this look, the client already had a set for another show with a similar palette and wanted to differentiate between the two by employing a different colour scheme, as well as a different design. Taking my cue from the titles, I switched to a deep blue colour scheme, offset by orange detailing. Although I am pleased with the final colour scheme, I can’t help but ponder how great it might have been to explore that white/orange/grey palette that I used in the initial concepts.
The finished digital sets were prepared for use with the Newtek Tricaster, and accommodate both desk based, and standing presenter shots. Out of a relatively modest studio space, RFERL are now able to record news bulletins set within a generously proportioned set, and surrounded by a large, modern, newsroom space. A nice client to work with, and a fun project to design.
The Radio Free Europe’s Farsi news re-launched today, from a brand new virtual set, designed and prepared by Lightwell.
The resolution isn’t ideal, but I have been promised grabs and clips. The broadcasts are recorded in a greenscreen studio equipped with the Newtek Tricaster. The only real, physical elements within the space are the desk, and the rostra (designed by others).
The sets were prepared in 3DS Max, and rendered with V-Ray, but the level of finish within the design isn’t really apparent from this video. Once I have the stills from the recording, I will be able to post these here and illustrate the quality of the lighting and materials.