Issue link: https://digital.copcomm.com/i/1539634
H A C K S S E A S O N 4 | P E R S P E C T I V E 3 1 2 4,6 DET # 8 11-13 DET # 7 9 DET # A1 1 DET # 6 8 DET # 1 2-3 DET # 15 20 DET # PAGES PAGES PAGE 3 4,7 DET # PAGES PAGE PAGE 5 5,6 DET # PAGES 4 5,7 DET # PAGES NOTES: -DRAWINGS MADE FOR DISCUSSION WITH LIGHTING/ FIXTURES DEPT. -SEE ADDITIONAL PAGES FOR BUILD SPECIFICS. BUILDING CUT OUTS (UPLIGHT?) BAND AREA INTERVIEW AREA 14 10/22/24 AS NOTED LIGHTING LAYOUT UPLIGHT ON TOP HEADER LIGHTBOXES IN COLUMNS "VEGAS" MARQUIS BULBS - UNDER SIDE OF HEADER (DESIGN TBD) DOWNLIGHT IN PLATFORM TRIM DOWNLIGHT IN COLUMN TRIM LIGHTS BUILT INTO BACK SIDES OF ARCHES ON BAND WALL LIGHTS BUILT INTO TRIM SURROUND ON ARCH LIGHTBOXES IN COLUMNS DOWNLIGHT IN PLATFORM TRIM UPLIGHT ON TOP HEADER LIGHTBOXES IN COLUMNS "VEGAS" MARQUIS BULBS - UNDER SIDE OF HEADER (DESIGN TBD) LIGHTBOXES IN COLUMNS LATE NIGHT - MAIN SET- LIGHTING LAYOUT - ELEVATION VIEW 9A SCALE: 1/2" = 1'-0" RELEASED "VEGAS" MARQUIS BULBS - UNDER SIDE OF HEADER (DESIGN TBD) "VEGAS" MARQUIS BULBS - UNDER SIDE OF HEADER (DESIGN TBD) LIGHTS BUILT INTO BACK SIDES OF ARCHES ON BAND WALL DOWNLIGHT IN PLATFORM TRIM LIGHTBOXES IN COLUMNS DOWNLIGHT IN PLATFORM TRIM LIGHTBOXES IN COLUMNS LIGHTBOXES IN COLUMNS LIGHTBOXES IN COLUMNS LIGHTS BUILT INTO TRIM SURROUND ON ARCH UPLIGHT ON TOP HEADER UPLIGHT ON TOP HEADER DOWNLIGHT IN COUNTER/ COLUMN TRIM DOWNLIGHT IN COLUMN TRIM DOWNLIGHT IN COLUMN/ COUNTER TRIM DOWNLIGHT IN COLUMN TRIM DOWNLIGHT IN COLUMN TRIM DOWNLIGHT IN COLUMN TRIM LATE NIGHT - MAIN SET- LIGHTING LAYOUT -PLAN VIEW 9 SCALE: 3/8" = 1'-0" STAR DROP SEQUIN DROP D. PREVOST LATE NIGHT MAIN SET STAGE 1 1 SET DRAWING LOCATION DRAWN BY: RELEASED: SCALE: SCALE: EPISODE: SET #: SHEET: OF: PD: ROB TOKARZ AD: JEANINE A. RINGER SD: JENNIFER LUKEHART Preproduction started on Stage 1 at Universal Studios; the former stage of The Kelly Clarkson Show, and Conan O'Brien. While there was some infrastructure for a live broadcast—a control room, some pedestal cameras, monitors and speakers—the Art Department was starting with an empty black box that the audience would see every inch of. Our overall approach was to make the on-camera side feel new and polished. We wanted to impart to the audience the full force of Deborah Vance's take on "Late Night," while keeping everything around the set grounded in the history of the institution. I had the advantage of knowing that the "Late Night" set would need to be designed once we reached the end of season 3. I was able to sketch during that hiatus and see what stuck. So, when the show came back for season 4, I knew I wanted to weave together Vance's relationship with performance, her journey from LA to Vegas and back, and elements of classic late night. The focus is on Art Deco to represent Los Angeles. I looked to the Griffith Observatory for the shape and finish of the columns, and to the Eastern Building for bandstand finishes and details like the entry arch; all accented in soft golds. I borrowed header arches from Johnny Carson's 1972 set, when he moved to Burbank from New York. The design team brought in some Vegas glitz in the glowing wall B. "LATE NIGHT" SET. PRELIMINARY CONCEPT SKETCH BY ROB TOKARZ. C. "LATE NIGHT" SET. PLAN AND ELEVATION DETAILING FIXTURES AND INTEGRATED LIGHTING. DRAWN BY DARCY PREVOST. C B