Thank you, Oren!

That would be fun. Even it doesn’t make economical sense, give me a call and there may be a way to make it work😉

Check discussion in earlier responses.

Good question. The guidance was to do it practically rather than digitally. Real backgrounds do have a different feel. On top of that there’s having to deal with green spill on talent and set pieces when so close to the back wall, but that is less of a problem these days than it was in the past.

@@meetthegaffer I would have thought greenscreen because you can keep the lighting on the talent constant, and also to the sets seperately and then key it all together with no DOF problems. also a creative could decide those bold background colours are not it and change to different clours in post. I like the rgb on a white wall idea too. Moving stages seems pretty extreme?

RGB on a white wall is not always what people thing it will be. It’s a look, for sure, but has a different quality to it.

I honestly thought it was a chromakey job at first while watching the final ad. Maybe we are used to them so much that it doesn't seem so different now.

Luke mentioned some of these things already, but we have found it tricky to replicate textural void with green screen for large volumes of space. It becomes a VFX project more than just simple compositing - which of course has budget and timeline implications that have to be weighed. Green screen is not typically our first choice but rather a solution to some other problem that can't be overcome any other way. Practical is always our preference for this style and we had the time, space, and budget to keep the colored sets practical. Aside from the “feel” of actual space and paint, green screen in large, close quarters sets casts so much spill that it’s hard to control, especially with a lot of white set pieces, wardrobe, and skin. With more space it’s easier to combat, but we knew we were going to be pretty darn close to the cyc and didn't want to risk the contamination. We did consider RGB lights on a white or grey cyc, but having used this style for another regular series we produce, we have learned that (1) it's difficult to accurately match very specific brand colors and (2) it's near impossible to match the perfectly flat, smooth look of painted walls that we wanted for this spot.

Yes, a light gray with colored light could have been an option, but again, it’s a different feel than an actual practical background. It would be interesting to do a side by side.

You leave all the triangle loose and the bend the assemble truss over a couple apple boxes, and the tighten! If you freeze the first timelapse you can see the boxes in the middle.

@@meetthegaffer Thanks.

It was at least 24 ft; not super long. I often do it with ladder truss and even single pipe spans. It just that basic sprung bridge idea that the arch gives you added protection as weight increases… kinda like those cool Panther wall spreaders😀

Box truss would have been an option, but it becomes a transportation issue. Given the truck I was working with and our desire to keep the weight down, this appeared to be our best approach.

Hi Xavier, Check out some of the other responses below, especially from Matt Townley, the producer, on why we chose a practical background.

Are you able to build it with longer pieces of pipe? It seems like 12’s and 8’s or doubling up 10’s would have more lateral integrity. Either way, that seems a doable length and weight. If you have the opportunity to add one or two pic points that would be good: a place in the ceiling that you can tie off to down to the truss. And giving the whole assembly a bit of a bridge bend, where it goes up in the middle, will help once you add the weight. You can do this by assembling the triangle truss with an able box under the middle and all of the inline connector sleeves somewhat loose; then tighten everything up so the bend stays… it will flatten out with the weight. Happy trial run!

@@meetthegaffer Great Reply! 8' is the longest I can transport easily. Thanks for telling me what a "pic point" is. Also, thanks for telling me how to add the bend to the whole assembly. I knew I wanted a bend in it, but I didn't know how to do it! Thanks, Mathew

Hi Luke, One more question. Where do you buy your SpeedRail? I was going to buy my SpeedRail from CineMilled, but 6' is the longest SpeedRail that they offer. Where do you buy your 8' or 10' sticks of aluminum pipe. I like 1-1/2" SpeedRail. Thanks. Mathew

@@mathewcoulliette2233 There are different places where you can purchase speed rail. I often get sticks from my local expendables store: JCX Expendables, who often has different lengths on hand. I’m actually picking up an extra 12 ft section this afternoon. There are online vendors too. If you go to the Dana Dolly site, they have a direct link to Online Metals for schedule 40 or 80 pipe. I keep one set of 6 ft /schedule 80 pipe separate for Dana work. All the rest is schedule 40 and 1-1/4”, but Alan uses 1-1/2”, which is certainly sturdier it’s just more than I need for most rigs. www.danadolly.com/track---adapters.html

For a Dyno 1200c I like to take the unit out of the case with two people and then loosen the bale/yoke and put it at 90 degrees to the fixture. Prepare the stand by locking it’s wheels and making sure the receiver is fully free of the T-handle. Lock the bale on both sides, and then, with a person mirroring me on the other side of the unit, put one hand on the bale and the other on the unit. Then feed the junior pin into the hole of the stand. It helps if the person you are working with has a similar height and strength, but not required😀

@@meetthegaffer In a pinch I have developed a method of using the liftgate at slightly higher than the roadrunner to mount an 18K.....solo. Not recommended.

Lift gates are the best!

@@meetthegaffer Thanks man appreciate it 🙏🏻, I saw couple of people online mounting light to the stand on the ground then lifting the whole thing up..

That’s another method… a la Iwo Jima.

Of course you cant beat the real thing with paint. But skypanels on a cyc would been my bet before seeing the bts. Perphaps it was since they wasn’t sure the floor would be in frame and also how deep the set was. If the set would be to small there would be a risk to hit some of the props with the colored skypanel light.

The white set funiture would have been especially susceptible to color contamination.

We did consider RGB lights on cyc, but we use this style for another recurring series that we produce and we have learned a few things….. (1) it's difficult to accurately match very specific brand colors. By the time you go through the entire production and post production pipeline, RGB color isn’t quite as accurate as paint matched the PMS colors, and (2) it's near impossible to match the perfectly flat, smooth look of painted walls that we wanted for this spot. I’m not a gaffer or DP, so I only know enough to get myself in trouble and cause problems, but RGB color washes are also dependent on very fickle brightness levels in order to get the desired saturation. When a specific color and saturation is desired, it’s hard to beat paint. Maybe Luke or someone more knowledgeable than me in this realm can chime in with the technical science behind this.

I think you expressed it very well. Getting digital color correct is not as easy as it sounds unless you can keep it well isolated from everything else in the scene and have a good handle on how it will be affected by the color grade. Saturation of digital color can be less than optimal in higher key situations, so you need to be thinking about how the colored light may fall on talent and set pieces, but also how other light may affect the saturation of the colored light.

​@@matttownley149 "RGB color washes are also dependent on very fickle brightness levels in order to get the desired saturation". YES This! And thank you for chiming in, in the comments! I do believe as Luke says you expressed it very well.