Issue link: https://digital.copcomm.com/i/1433736
thematically to see and feel the boys outgrowing their childhood home. Another exciting detail about the show is that we decided to use LED screens instead of photographic backings. Partially due to budget and time concerns, partially due to our curiosity to try something new. Art Director Harrison Paul, my mentor and dear friend, really heralded and pushed for that idea. We tallied up the numbers and realized we would save in the long run. We photographed existing etroit locations and photoshopped them to look period 1980s; then we developed a variety of daytimes and weather conditions, giving us a broader range to set the mood for each scene. We put together a digital backings library, with each window being numbered, and were able to control what we wanted to see on the LED screens from one computer system. We had dierent horion lines on each oor and could uickly tweak each screen for specific camera setups, which was great. Since the LED screen was only three feet away from the windows, we scratched most of the exterior set dressing you would usually put between the set and the backing. We also tested all window dressing ahead of time to make sure to avoid moirs. The budget allowed the rental of 6-8 screens that were built to the sie of the windows. We would wheel them around between the sets on stage and the operators would come in only on the days we used them. A. LED WALL WITH BACKING IMAGE. SET PHOTO BY SEAN HORAN. B. LED WALL IN USE. PRODUCTION STILL. C. LED WALL BEHIND SET. SET PHOTO. D. LED WALL ON STAGE. SET PHOTO BY SEAN HORAN. A B D C