Issue link: https://digital.copcomm.com/i/990311
B L A C K - I S H | P E R S P E C T I V E 6 7 E It's always interesting to see how the use of a set evolves over the course of a series. I initially designed many playing areas and walkways through the set. There's an entry, reception, two offices, a bullpen, kitchen and conference room. Now, in season four, about ninety-five percent of the S&L scenes are shot in the glass-enclosed conference room. The full extent of the set is in view, but most scenes are shot around the table. The majority of my career in television has been working on one-hour procedurals: crime, medical, legal, etc. I was used to designing sets for "walk and talks." Circular and figure-eight pathways through a set were always helpful. Many times I would get a script and literally pace out the distance it took to read a scene. That helped determine the length of hallways and my beginning and end points of a scene. But Black-ish is a half-hour, single-camera comedy. It has a completely different pacing. As one of the executive producer/writers said to me, "Drama walks, comedy sits." And so the S&L "counsel of idiots" (as they've been nicknamed) sits down and conjure up the laughs. My favorite part of the whole S&L set would have to be an oversized poster I originally designed for the pilot. It's a full face shot of an immaculately groomed bichon frise with word "stylish" below his chin. I've affectionately dubbed him Afro Poodle and I smile every time I see him! C. JACK & DIANE'S BEDROOM REMODEL IN SEASON THREE. D. BABY DEVANTE'S BEDROOM. E. S&L COLOR BOARD. SKETCHUP DRAWINGS BY CAROLINE QUINN, WALLPAPER SAMPLES BY ASTEK WALLCOVERING, PAINT SAMPLES BY BENJAMIN MOORE. F. S&L CONFERENCE ROOM. G. S&L BULLPEN. H. AFRO POODLE. PHOTOS BY MAXINE SHEPARD. F G H