1. Scenery and Set Design Lesson 1 - Scenery and Props
Broadcast/Video Production I

2. Scenery and Props Television Scenery Properties and Set Dressings
Standard set units, hanging units, platforms and wagons, and set pieces
Properties and Set Dressings
Stage props, set dressings, hand properties, and the prop list
Elements of Scene Design
The floor plan, set backgrounds and platforms, and studio floor treatments

3. Scenery and Props Television Scenery Standard set units Hanging units
Platforms and wagons
Set pieces

4. Scenery and Props Standard Set Units Softwall flats
Lightweight wood frame covered with muslin or canvas
10 feet high normally
8 feet high for studios with low ceilings
1 to 5 feet wide
Twofolds (book) – 2 flats hinged together
Threefolds – 3 flats hinged together
Supported by jacks
Weighted down by sandbags or metal weights

5. Scenery and Props Standard Set Units Advantages of Softwall flats
Inexpensive to construct
Easy to move and store
Easy to set up, brace, and strike
Easy to maintain and repair

6. Scenery and Props Standard Set Units Disadvantages of Softwall flats
Difficult to hang pictures on them
Shake easily when a door or window closes or when something brushes against them

7. Scenery and Props Standard Set Units Hardwall flats
Much sturdier and most often preferred than softwall flats

8. Scenery and Props Standard Set Units Disadvantages of Hardwall flats
Heavy and difficult to store – never try to move one alone
Reflect sound easily, which can interfere with good audio pickup. For example, can make talent sound as though they were speaking inside a barrel.

9. Scenery and Props Standard Set Units Hardwall flats
Usually built for specific shows – such as newscasts, interview areas, and soap operas and remain set up for the length of the series
A must for HDTV or any other form of digital television that has a higher picture resolution than STV

10. Scenery and Props Standard Set Units Set modules
A series of flats and three-dimensional set pieces used vertically, horizontally, or in various combinations
Found in small TV stations where you cannot build new sets for every show
Versatile and can be used in a variety of configurations

11. Scenery and Props Hanging Units
Supported from overhead tracks, the lighting grid, or lighting battens
Cyclorama
Drops
Drapes and curtains

12. Scenery and Props Hanging Units Cyclorama (cyc) Most versatile
A continuous piece of muslin or canvas stretched along two, three, and sometimes all four studio walls
Some cycs have a scrim (loosely woven material) hanging in front of it to break the light
Better to have a light gray or beige cyc instead of a dark one

13. Scenery and Props Hanging Units Cyclorama (cyc)
Some studios have hardwall cycs that do not hang, but are built solidly against the studio wall
A ground row is sometimes used to blend the edge of the muslin cyc into the studio floor

14. Scenery and Props Hanging Units Drop
A wide roll of canvas with a background scene painted on it
Viewer is aware that it is an artificial setting
Some drops consist of large photomurals
A chroma-key drop is a wide roll of chroma-key blue or green cloth that can be pulled down and stretched over the studio floor for chroma keying
You can make a simple and inexpensive drop by using a roll of seamless paper

15. Scenery and Props Hanging Units Drapes and curtains
Do not use overly detailed patterns or fine stripes that may appear smudgy or cause moiré’ interference when not using HDTV cameras
Drapes are usually stapled to battens and hung from the tops of the flats
Curtains should be translucent enough to let the back light come through without revealing scenic pieces in back of the set

16. Scenery and Props Platforms and Wagons
Typically 6 or 12 inches high and can be stacked
Sometimes called a riser
Can be covered with carpeting to make it look good and to absorb hollow sounds of people moving on it
Can dampen the sound by filling the platform interior with foam rubber
Large risers are often supported by a slotted-steel frame
Durable, light-weight, easily dismantled, easily stored

17. Scenery and Props Set Pieces Freestanding three-dimensional objects
Pillars
Sweeps
Folding screens
Steps
Periaktoi
Move and swivel on casters
Painted differently on each side to allow for quick scene changes

18. Scenery and Props Set Pieces Advantages
Easily moved
Self-supporting
Quickly and easily establish three-dimensional space
Check to see if they need additional bracing
Must be able to withstand bumps by people or cameras
Better to overbrace than to underbrace
Do not forsake safety for convenience or speed

19. Scenery and Props Properties and Set Dressings Stage Props
Hand Properties
Prop List

20. Scenery and Props Properties and Set Dressings Stage Props
Include furniture and items constructed for a specific purpose, such as news desks, panel tables, and chairs
You should have enough furniture to create typical settings
Simple chairs are more useful for an interview set than large, upholstered ones
Use chairs that are not too low to facilitate graceful sitting and rising – especially for tall people
Storage space may be a problem. Store heavier items on the floor and smaller props on shelves. Use a prop cart to transport heavy items

21. Scenery and Props Properties and Set Dressings Set Dressings
Determine the style and the character of a set
Help give each set individual character
Includes draperies, pictures, lamps, chandeliers, fireplaces, flowerpots, plants, candleholders, and sculptures
Can be found in second-hand stores
Can always raid your own office or living quarters

22. Scenery and Props Properties and Set Dressings Hand Properties
All items that are actually handled by the performer during a show
Includes dishes, silverware, telephones, radios, and computers
Must be realistic; use only real objects to avoid dishonest and ridiculous looks
If an actor is supposed to be carrying a heavy suitcase, make sure it is actually heavy

23. Scenery and Props Properties and Set Dressings Hand Properties
If you use food, make sure it is fresh and that the dishes and silverware are clean
Replace clear liquor with water, whiskey with tea, red wine with fruit juice
Even though you want realism, some substitutions are appropriate
Make sure that hand props actually work and are on set for the performer to use to avoid costly production delays

24. Scenery and Props Properties and Set Dressings Prop List
In small productions, the floor manager takes care of the props
In elaborate productions, the property manager exclusively handles the props
A prop list helps you procure props and ensure that they are available at rehearsals and taping sessions
Always double check that all props that appear in the script appear on the prop list and are available when needed by the performer

25. Scenery and Props Properties and Set Dressings Prop List
Mark all props and take photos of the set before putting them away if they need to be set up again later
This will give you an instant record of the props used and where they were placed
A missing prop or one that is placed in a different location can create a serious continuity problem for the editor

26. Scenery and Props Properties and Set Dressings Prop List
Most production studios have a collection of standard props – vases, plants, tablecloths, tables, chairs, couches, etc.
You can borrow most set and hand props when needed
If you shoot a period play, you can visit the theater department of a local college or high school or rent the props from a commercial company

27. Scenery and Props Elements of Scene Design Floor Plan
Set Backgrounds and Platforms
Studio Floor Treatments

28. Scenery and Props Elements of Scene Design
You must know what the show is all about before you design a set
Talk to the director about his or her concept for the show
Define the necessary spatial environment for optimal communication rather than copying what you see on the air
Try to visualize the whole show in screen images and work from there
Sketch the show out a fairly detailed storyboard

29. Scenery and Props Elements of Scene Design Floor Plan
A set design is drawn out on the floor plan pattern, which is literally a plan of the studio floor
It shows the floor area, the main doors, the location of the control room and the studio walls
The lighting grid or batten locations are drawn on the floor area to give an orientation pattern for placing the sets
The completed floor plan should convey enough information so the floor manager and crew can put up the set and dress it without the director and set designer

30. Scenery and Props Elements of Scene Design Floor Plan
The scale of the floor plan is normally ¼ inch = 1 foot
All scenery and set props are drawn on the floor plan
Simple setups do not need to be drawn to scale; you can approximate size and placement
Elaborate sets’ floor plans are drawn precisely to scale
Templates that have cutouts of standard furniture are available; normally have a scale of ¼ inch = 1 foot and are available in college book stores or art-supply stores
Computer- software to make floor plans and set designs is also available

31. Scenery and Props Elements of Scene Design Floor Plan Functions
The director uses the floor plan to block the major actions of performers, cameras, and microphone booms
The floor crew uses it to set up the scenery and place the major props
The lighting designer uses it for designing the general light plot
The audio technician uses to become familiar with specific microphone possible audio problems

32. Scenery and Props Elements of Scene Design Set Positioning
Try to locate the sets where the lights are, whenever possible and position them so that the back lights, key lights, and fill lights hang in approximately the right positions
An inexperienced designer sometimes place a set in a studio corner, where most of the lighting instruments have to be rehung for proper illumination, whereas in another part of the studio the same set could have been lit with the instruments that are already in place

33. Scenery and Props Elements of Scene Design
Potential Problem Areas to Watch for When Drawing a Floor Plan:
Furniture and set pieces are drawn too small relative to the background flats
To avoid this design mistake, draw the in-scale furniture on the floor plan first, then add the flats for the backing
Use basic interior-decorating software programs to show the most common pieces of furniture to scale and move them around on-screen until they are in the right place on the floor plan

34. Scenery and Props Elements of Scene Design
Potential Problem Areas to Watch for When Drawing a Floor Plan:
During set up you notice that the available studio floor space is always less than the floor plan indicates
To avoid this design mistake, limit the set design to the actual space available

35. Scenery and Props Elements of Scene Design
Potential Problem Areas to Watch for When Drawing a Floor Plan:
There is not enough space to correctly position lights and cameras and hard shadows are cast on the background
To avoid this design mistake, always place active furniture (used by the performers) at least 6 feet from the set so that the back lights can be directed at the performance areas at not too steep an angle. Also, the director can use the space between wall and furniture for camera placement and talent movement.

36. Scenery and Props Elements of Scene Design
Set Backgrounds and Platforms
Helps unify a sequence of shots and places the action in a single continuous environment. It can also provide visual variety behind static foreground action. Most platforms are used to keep the camera at eye level with the seated talent.

37. Scenery and Props Elements of Scene Design Set Backgrounds
You can achieve scenic continuity by painting the background a uniform, low-energy color or by decorating it so that viewers can easily relate one portion of the set to another
A uniform background color or design, or props help viewers relate the various shots to a specific location
You need to “dress” the set by hanging artwork, posters, or other objects on the wall to break it up into smaller yet related areas
Place the set dressings so that they are in camera range

38. Scenery and Props Elements of Scene Design Platforms
Cameras are normally positioned so that they look down on seated performers
This point of view indicates a sense of inferiority and also creates an unpleasant composition
When recording events where the talent is seated most of the time, place the chairs on a platform
The camera can then remain at a comfortable operating height for the cameraperson, while allowing you to shoot the scene at eye level

39. Scenery and Props Elements of Scene Design Studio Floor Treatments
The studio floor may only be seen occasionally in long shots, but an untreated floor looks unattractive
Two primary considerations in dressing the studio floor are that:
The treatment should not interfere with the camera and boom travel
The treatment should be easily removable once the show is other

40. Scenery and Props Elements of Scene Design Studio Floor Treatments
Rugs and mats
Rubber tiles
Glue-on strips
Paint
Virtual floors

41. Scenery and Props Elements of Scene Design Studio Floor Treatments
Rugs and mats
An excellent and realistic floor treatment
Often get in the way of cameras and booms
Tape the edges of rugs in place to keep it from bunching up under the dolly wheels when the camera rolls over it
Secure grass mats with tape so they do not slip on the smooth studio floor
The rug is usually the first prop placed

42. Scenery and Props Elements of Scene Design Studio Floor Treatments
Rubber tiles
Make excellent floor patterns for offices, dance set, large rooms, or hallways
Available in contrasting, low-energy colors
Easy to install
Tape the outer edges so that camera travel does not move them
Clean the tiles with soapy water before camera rehearsal and the final taping to remove footprints

43. Scenery and Props Elements of Scene Design Studio Floor Treatments
Glue-on strips
Come in different patterns and have removable backing like shelf paper
Can adhere them side by side
Easily removed
Cameras and booms have no travel restrictions
Quite expensive
Used only for elaborate productions

44. Scenery and Props Elements of Scene Design Studio Floor Treatments
Paint
Some set designers prefer to use water-soluble paint on the studio floor
Most paints last through rehearsals and videotaping, but are hard to remove and leave some residue on the studio floor
Get permission from the studio supervisor before painting the floor

45. Scenery and Props Elements of Scene Design Studio Floor Treatments
Virtual floors
Sometimes complex floor patterns are computer- generated and digitally inserted in the scene
Such procedures need highly-skilled creative and postproduction people and are very time-consuming
This type of treatment is rarely used in routine productions

46. Scenery and Props Main Points
Television scenery encompasses the three- dimensional aspects of design

47. Scenery and Props Main Points
There are four types of scenery: standard set units, that is, hardwall and softwall flats and set modules; hanging units, such as cycs, drops, and curtains; platforms and wagons; and set pieces, such as pillars, screens, and periaktoi.

48. Scenery and Props Main Points
The three basic types of properties are stage props, such as furniture, news desks, and chairs; set dressings, such as pictures, draperies, and lamps; and hand props – items such as dishes, telephones, and computers that are actually handled by the talent.

49. Scenery and Props Main Points
When a set must be struck and set up again for a subsequent taping session, take digital photos of all set details to ensure consistency of the setup.

50. Scenery and Props Main Points
A floor plan is drawn on a floor plan pattern and shows the exact location of the scenery and the set properties relative to the lighting grid. The floor plan is essential for the director to prepare the preliminary blocking of talent, cameras, and microphone booms; for the floor crew to the set up the scenery and place the major set properties; and for the lighting director to design the basic light plot.

51. Scenery and Props Main Points
Studio floors can be covered with rubber tiles, glue- on patterns, or paint without interfering with camera movement. Rugs are useful only if camera do not have to move on and off of them while on the air. Virtual floors that can be digitally inserted in the scene require skilled and time-consuming postproduction.

52. Scenery and Props
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