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Whether you're a beginning videographer or an experienced one, an important feature to consider for your shoot is the setting where the action takes place. Just as music plays a pivotal role in communicating mood and tone in a video, the setting of your shoot works as a visual tool that can enhance or frame the action presented in the foreground. 

Depending on your budget and the purpose of your shoot, you may choose to film on location or in a studio on a set. If you film on location, you may be limited by the physical constraints of a real environment. If you're working with a set, you will have more flexibility to design your own world. 

Pete McDonough is a professional set designer who won an Emmy Award in 2001 and 2007 for television set design. According to Pete, the basic key to set design is function first, aesthetics after. "The first function of the set is to be a machine for the actors.  It has to be functional. How many people will be on the program? Do you need a desk or a high table? Do people come and go or are they always seated? Do you need practical lamps, windows, or doors that open?"

In addition to the functionality of the set, it's important to consider the logistics of how long and often the set will be needed. Does the set need durability for lasting use over several months of taping? Can it remain where it is or does it need to be convenient to move and store? A modular set is composed of units or sections that allow for easy take-down and setup and has pieces that are appropriately sized for storage. Modular sets affect how the set design is executed and, if used creatively, can also provide building block pieces which can be re-used for future sets. 

Abstract library: concept sketch

For example, this picture shows a modular set consisting of three wall pieces and an entrance archway which can be re-configured as needed. In addition, since talent moves around this set often, Pete created a clear and unobstructed space with four points of interest for talent to use: the archway, the bookshelves, the translucent podium, and the chair and desk area. 

Abstract library: modular set

Once the set's functionality has been clarified, it's time to fine-tune the aesthetic feel you're trying to convey. Pete explains, "Ordinarily a designer tries to create an actualized vision of the producer or director. Some people are very sure of what they want; they have specifics in mind. Others are unsure or vague. You have to come up with different options. If they have references to shows or pictures they've seen, that's a helpful jumping-off point." 

Aesthetic: traditional library

A set designer determines if the ambiance should be warm or cool, high tech or ephemeral. He decides what textures or colors will evoke the correct look or feel for the scene. For the abstract library set, Pete used richer gold tones and darker reds and grays to create a warm masculine feel. Because the show is about teaching, he used mottling to create a leathery texture for the walls and chose mahogany for the bookshelves. The producers wanted an edgier, more abstract vibe instead of the classic traditional library so Pete projected abstract shadowy patterns on the walls, reduced soft curves and fabric surfaces, and placed a clear podium (instead of a wooden one) left of center.

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