Issue link: https://digital.copcomm.com/i/1470106
was used extensively both in design and presentation, as well as to assist directors and producers in virtually exploring complete sets while their physical manifestations were still under construction. Key to this environment was the individual who would occupy it. Nivellen is a layered and complex character and his home needed to refl ect that. The internal struggle with who he once was and who he has become was a big part of what drove the design concept. The decaying grandeur of his once family home had to stay on a knife's edge, yielding a feeling of protective faded glory in one light, and dilapidated and corrupted danger in another. Keeping the palette quite neutral allowed light, or more specifi cally, light temperature to help achieve this. There were also elements of whimsy, such as the bath, the dinner table, and the zoetrope to provide a lightness and joy to an environment that could easily be perceived as uite dangerous. Another aspect of this set that was fairly unique was how it was designed to play with the audience's point of view. With the character Vereena occupying the spaces above the ceiling and below the fl oorboards, the series wanted to create a 360-degree visual scope that was as much about what was up and down as what was left and right. ight out of the gate, ob ameron and his team set the bar extremely high with this set. Although we hadn't worked together previously, we very quickly developed a mutual understanding of what was needed to create the detailed and textured environments to augment and assist storytelling. I fi nd a very critical part of roduction Design to be fi lling in the spaces between the lines and creating visual sub-stories for the audience to expand their imaginations into. ob's carefully crafted props and décor took the base level set environment and elevated it to a place that allowed the cast and the audience to completely fold into the world. C D E F