Issue link: https://digital.copcomm.com/i/1512164
A B L A C K L A D Y S K E T C H S H O W | P E R S P E C T I V E 1 0 3 various looks so that multiple sketches are shot in one place. Simultaneously, we are prepping about 9-12 sketches each week to present in a shooting plan review meeting held weekly with Robin, director Bridget Stokes and DP Kevin Atkinson. These meetings not only go over Production Design but are also our chance to talk shots, blocking, and ideas for lighting and any SFX or VFX needs. Everyone comes out of those weekly meetings knowing what the plan is for each sketch. With our quick turnovers, it's crucial to know exactly what will be seen and what to prepare. By our very first day of shooting, it's likely that we've all already talked through at least initial plans for every sketch we'll shoot that season. That's what has made the process of designing ABLSS unique in our experience. We prioritize having conversations really early on that detail what everyone will bring to the table, and we have them across departments. It can be intense because of the short timeline, but it's all very organized and intentional. It's one of the many ways A Black Lady Sketch Show has set the bar high for what a production can be like. Over the past four seasons, we have all worked hard to cultivate a respectful workplace, and a world-building experience where all creatives can get in a room and know they will be heard and appreciated. There's a lot of laughter and positivity. The word "family" is not one we use lightly, because it can be a word that is used in this industry to excuse abuses in the workplace, but we have often felt fortunate to have worked on a show where everybody from day players to PAs to department heads have all jumped at the chance to reunite for another season, because it has been such an overall supportive experience. Behind the scenes of ABLSS is a vast team of people who have loved working together, and we think that translates to the screen. "There are two of you?" We were hired to design ABLSS as a team. In every interview and meeting we book, we are always asked how this works. We've known each other for over twenty years and have worked in tandem for most of that time, but there are so few design duos active in the industry that it's common for us to encounter surprise, if not shock, at the fact that we choose to collaborate and share the department head credit—even though teams are common in parallel creative fields like writing, directing and producing. When we got our start, we worked on projects where we were the only two people in the Art Department. Because indie work was such a bootcamp, we got into the groove of collaborating and communicating with each other on all fronts. Together, we learned to make quick decisions with fast turnarounds on tight budgets. Our partnership was built on friendship and trust, and remains this way. For us, collaboration is the only way to work. Our partnership is both creative and practical. We attend all creative meetings, create initial pitch decks and build the overall look together. Production Designers often need to be in two places at once, and with our collaboration and shared vision, we can be. The benefit of working as a team has proven to be essential many times, helping us move forward quickly when things A. "CURZUZ." ONE OF OUR FAVORITE SKETCHES IN SEASON 4 HAD US CREATING A COMPETITION SHOW ARENA FOR TWO RAPPING WITCHES TO BATTLE IT OUT USING SONGS AS SPELLS. THIS SET STARTED OUT AS A DARK CORNER OF A SOUND STAGE WHERE WE PREPPED, SHOT AND WRAPPED FOUR DIFFERENT SKETCHES WITHIN A WEEK'S TIME. PRODUCTION STILL. B. "MIND YA BIDNESS." THE SET DECORATION TEAM SOURCED AND LICENSED PIECES BY BLACK WOMEN ARTISTS. SET PHOTO. C. "WHAT UP? I'M THREE-K." PRODUCTION STILL. D. "FRONT DESK MESS/ HOTEL LIKE IT IS." THIS LOUNGE AT AN AMERICAN LEGION HALL SERVED AS THE SET FOR TWO VERY DIFFERENTLY PACED SKETCHES SET IN THE SAME HOTEL. SET PHOTO. E. "FRONT DESK MESS." AN ON-CAMERA TITLE CARD WAS CREATED FOR EVERY SKETCH IN EVERY SEASON. PRODUCTION STILL. D E