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. 

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. 

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." 

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.

Another important consideration for set design is how the set will be shot by the director. "In TV, the director creates the perspective for you so you're seeing through his eyes," says Pete. "TV is a close-up medium with tight shots." 

A set gives a director more control and consistency. The placement of actors or objects can be manipulated, and walls can be moved to get different shots. Sets can be designed with flexibility so that, for example, adding a backlight is easily achieved where, in a real location, space might be too confining for maneuvering the camera or lighting gear into place. In this set, flexibility was needed to capture close shots of thirty-person choirs from multiple angles. The tiered and angled stage created a more interesting and versatile visual than the flat-walled choir lofts of real world, traditional church spaces. To empower the director with a maximum of options for uplifting, energetic or emotionally moving close-up shots, creating a set for this musical showcase was essential.

Pete also works with directors to incorporate lighting into his set designs. "Traditionally you think of scenic design as a finished thing prior to being lit. As I've matured in my design, I'm using the power of lighting more—taking neutral finishes on walls and objects and giving them the pop they need with light instead of trying to paint on colors or textures. By using panels that are translucent, you can create a different energy using light for color. There's no way you could get that vibrant color with paint, but you can create it with light. Sets that take lighting well either from the front or behind have a different feel to them." This living room achieves a higher level of energy and intensity than a traditional living room set by using neutral back walls boldly lit by blue and magenta light.

It's important to note that set design for the camera differs from set design for the stage. "There's a difference between what looks good to the naked eye and what works on TV. In television, the background directly behind the talent is a lot more critical than the overall look of the set.You're trying to get a good contrast between the talent and their background. How much of what's behind the talent will be soft focus or very sharp? Working with what the camera sees, you try to create a sense of depth by placing a wall element like a picture on one plane behind them, and next to that, on a deeper plane of the same shot, a window, and beyond that, you want a plane of what's behind the window. The image becomes more rich if you can add depth and layers to the director's composition of the shots."

In this set above, Pete created a contemporary kitchen for a male chef. The primary functionality of the set was a demonstration area with a range top where meals would be prepared and a parallel counter behind it with a sink. To create depth of field, Pete evoked four consecutive layers of space. First, he placed a wall behind the demonstration area which opened onto a family room area. Second, he enclosed the family room with an additional wall of windows, skylights, and cut stone columns. Third, behind the wall of windows, he placed life-sized trees and shrubs, and lastly, behind that, he dropped a canvas of a distant mountain scene. When camera shots from the front showcased the chef teaching, the layers of space indicated behind him made the images rich and visually interesting.

When function, aesthetics, and camera shots have been evaluated, it's time to document the set design. Pete advises first making an overhead floor plan that shows the dimensions of the space, the location of walls, the windows or doors, and where you want to place people and any sizeable objects (i.e. furniture). Next, make a second sketch showing the set as viewed from the front. Color is a great tool to convey the aesthetic feel of the set at this stage. It's important to have the director or producer sign off on the finalized sketch. "It's cheaper to make changes now than later," cautions Pete. Before construction begins, write a budget for construction costs along with a timeline. To add the final touches to a set you have built, don't forget to create or find the appropriate set dressing props.

In the end, how do you know if you've created a good set? "Evaluating a good set is subjective. If it works for you, serves the needs of your ministry, and is a comfortable set to be in, then it's a good set! There's no one way to do anything," says Pete. If, however, you're unhappy with the set you've designed and can't quite put your finger on what seems to be wrong, it might be time to bring in a professional. Someone with experience can help explain what is and isn't working and how to change things for the better. An experienced designer may also help an aspiring designer avoid the trap of perfectionism.

Pete's parting words of wisdom: "There's no end to the fine-tuning that can take place with set design. I think 'done' is beautiful!" 

Keys to Designing a Good Set Determine the set's functionality How many people will be in the scene? Will they enter and exit? Will you need electrical appliances that work or doors or windows that need to open? Will the set need to be constructed in a modular fashion? Will the set have special features like tiered bleachers for choirs, an organization's name to showcase, or a screen to play footage? Develop the set's aesthetic feel How does the producer and/or director describe the scene? How does this translate into aesthetic values for the set (i.e. warm or cool, well-appointed or spare, historically accurate or abstract)? What colors, textures, or lighting techniques will convey these values? What level of detail will you need to consider for furniture, fabrics, or props? Consider the set through the camera's eyes Do you understand the director's vision and storyboards? Can the set be manipulated to achieve all the director's shots? Do you have multiple layers behind the talent to create depth of field? Does the set dressing enhance the look of tighter shots without being distracting?