Why Good Set Design Is Invisible

Have you ever cried while watching a movie or a series and not realised the tears in your eyes? The character's feelings are so relatable, the music is so powerful, and the scene is so perfect that it engulfs you and feels like you are a part of it. Well that is the power of details. The scene, the set, the music is at their best when it isn’t noticed but felt!

And, that is exactly what I aim to do - curate environments that are effortlessly believable by the audience. It is said that an actor should act, not overact. Similarly, a set should be the background in its most natural, believable form. The moment it takes the foreground - it is a job not well done. Whether it is a movie set, a brand advertisement, a magazine cover or simply a picture of a product, the details keep it real. Imagine Ranveer Singh playing the character of Khilji against a green screen. His acting can be as real as possible, but the character will only thrive in the environment which the character is set in. A set captures the essence of the character. Every detail from the fold of his gown, to the screw on the furniture behind him will matter. Specifically in a film, the story is built around a character, which when put in context, makes the story real.

Me, on a set of a photoshoot for Bazaar - trying to make sure the details blend in just right!

How do I do it?

Well, I study. I study history, culture, art, behaviour, fashion, textiles, built environments and pop culture. This is my daily curriculum. Let me give you an example. While I was working on the sets of Sanju, a film based on the life of actor Sanjay Dutt set in the early 90’s, I remember studying the format of number plates on cars in Mumbai. It was important to ensure that the car had the right style, placement, colour and format matching to the exact year the scene was representing. The kind of finish and texture8/, digital gadgets, cutlery, flowers, markings on the road - all matter. It is a 360 degree study of a peculiar set in a particular geography, for a specific culture, community and behaviour that is believable for today's audience. While this amount of detailing can be stressful, the joy of seeing your name on the big screen is unparalleled! But, it is absolutely different while prepping for ad films, it is a shorter time span and therefore the set curation needs to be easy for the audience to relate to. The interpretation of the environment needs to be quick and in sync with the brand’s theme. For static media such as cover shoots and product shoots it is completely different. Every detail matters, it stays - it is captured! The hero of the frame is the product and/or the character. The emotions of the brand are translated by the curated background i.e the set layer by layer.

What inspires me?

I observe. I absorb. I make mental notes. I travel. Travelling is my favourite classroom. It teaches me to be experimental and bring my observations and experiences to my work. So, in a way, it is my homework!

Many times I receive a similar brief for two completely different products from totally different industries. Natural, real, emotionally strong, sharp, relatable etc... It’s all always the same and if I can get away with giving the same mediocrity everytime. Do I? Absolutely not. It is my job to interpret the briefs in sync with the brand, theme and/or story. I mould my approach to every brief from a new perspective - I try! A simple example would be fonts used for the same product for brands that have different origins will differ and so will the colour, the texture and the style.

I get this inspiration from my travels. I observe the people and their behaviour towards their daily life and I bring that to how I approach my work. My travel observations enhance my sensibility to be sensitive to details in my work. Function is important, but in my world it is the functional aesthetics that add value and depth to each frame.

I focus on building one frame right so I never have to look at the others again.