Ivan Fraser-Film/Series-Art Direction-Portfolio0

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Art Director


I V A N

F R A S E R

A R T

D I R E C T O R


ART DIRECTOR

A FOCUSED, SOLUTION ORIENTATED AND HARDWORKING APPROACH TO ART DIRECTING AND SET DECORATING, COMBINED WITH THE ADVANTAGE OF HAVING WORKED WITH THE BEST IN THE SOUTH AFRICAN FILM INDUSTRY OVER THE PAST EIGHTEEN YEARS, IS WHAT DIFFERENTIATES ME (AND MY EXPERIENCED TEAM) AND MAKES ME A VALUABLE ASSET ON ANY SIZE PRODUCTION. IN ADDITION TO BEING BOTH VISUALLY EDUCATED AND SELF-IMPOSING THE HIGHEST STANDARDS FOR TIME-AND-BUDGET MANAGEMENT, PROCUREMENT, FABRICATION AND EXECUTION, MY REPEAT REFERRALS COMES FROM MY ABILITY TO CORRECTLY AND TIMELESSLY FACILITATE BOTH CLIENT AND AGENCY AND DEVELOP THE CREATIVE VISION OF ANY PROJECT TO ENSURE AN EXCELLENT FINAL PRODUCT. I AM A LIKEABLE NETWORKER WITH A GREAT SENSE OF HUMOUR AND A WEALTH OF PRACTICAL EXPERIENCE AND AND I ENJOY WORKING CLOSELY WITH BOTH PRODUCERS AND DIRECTORS TO OPTIMISE SMALL AND LARGE PROJECTS WITHIN BUDGET AND ON TIME. I AM PASSIONATE ABOUT FILM AS A COMMUNICATION AND VISUAL MEDIUM AND WOULD LOVE TO TALK TO YOU ABOUT YOUR PROJECTS AND EXPLORE HOW ‘IVAN FRASER’ CAN HELP YOU REALISE YOUR VISION. CONTACT ME ON: iamivanfraser@gmail.com www.ivanfraser.co.za

0027 71 873 1728


WORK DONE WITHIN AFRICA

Botswana 1 YEAR

Johannesburg 1 YEAR

Durban 7 MONTHS

Namibia 2 MONTHS

Mosambique 2 MONTHS


FILM/SERIES



ROTI


Break slide

FILM/FEATURES

Most designers set their type arbitrarily, either by pulling values out of the sky or by adhering to a baseline grid. The former case isn’t worth discussing here, but the latter requires a closer look.


THE RED SEA DIVING RESORT

NO POSTER AVAILABLE

Client Name:

Bron Studios, EMJAG Productions, Shaken Not Stirred

Name of Production:

THE RED SEA DIVING RESORT

Production House:

OUT OF AFRICA

Director:

GIDEON RAFF

Producer:

ALYN SHEARER

Production Designer:

JEFF MANN

Position:

DECORATOR 11 WEEK SHOOT

Retelling of the rescue of Ethiopian Jewish immigrants to Israel in 1981.


SET BUILDS

Due to the remote location and the fact that it was in another country, the 
 Set Dressing of the Diving Resort was quite challenging.

RED SEA DIVING RESORT


FLOOR PLAN

RED SEA DIVING RESORT


CITY STREETS - TECH RECCEE

City streets, Tech Reccee in Durban. A lot of information gets gathered while walking. Street signs needed to get covered and multiple shop fronts altered..

RED SEA DIVING RESORT


SET BUILDS - SECURITY GATES/COMPOUND

SIGNAGE AND FUNCTIONAL GATES

Cladding the building and adding a huge sign and building a security check point.

RED SEA DIVING RESORT


KHARTOUM STREET DRESSING

Re dressing actual city streets. Layers upon layers of dressing to get the hustle and bustle of a market.

RED SEA DIVING RESORT


LOCATION RECCEE - BELIZE DIVING RESORT

Transformed, from an old fishing club house to a Diving Resort

RED SEA DIVING RESORT


CONSTRUCTION ELEMENTS

Panelling/cladding had to get added to all the existing wall spaces

NEW ROOF AND FLOOR CLADDING

RED SEA DIVING RESORT


CONSTRUCTION IN PROGRESS

A Heavy storm washed away the front of the buildings sand bank.

NEW STAIRS AND FRONT CLADDING

RED SEA DIVING RESORT


CONSTRUCTION IN PROGRESS

We had to bring in truck loads of palm fronts to cover the roof.

RED SEA DIVING RESORT


SET BUILD - BEFORE/AFTER

New roof and flooring had to be added, with a lot of panelling and the building of a De-compression tank.

RED SEA DIVING RESORT


THE FORGIVEN Client Name:

JEFF RICE FILMS, LB ENTERTAINMENT

Name of Production:

THE FORGIVEN

Production House:

LIGHT AND DARK FILMS

Director:

ROLAND JOFFEE

Producer:

TERI LYNN ROBERTSON

Production Designer:

WARREN GRAY

Position:

SUP ART DIRECTOR 6 WEEK SHOOT

After the end of Apartheid, Archbishop Desmond Tutu meets with a brutal murderer seeking redemption.


HUT BUILD PLACEMENTS

3 complete huts (int/ext) were built with some hay bales and thatched roofs.

SCREEN GRABS

THE FORGIVEN


SCREEN GRABS - INTERROGATION ROOM

An amazing ‘Labyrinth’ of hallways, connecting to a central room.

THE FORGIVEN


SCREEN GRABS

Re creating a riot in an actual township. Painting and adding walls in a schools dormitory, to create a hospital

SHOOTING IN AN ACTUAL TOWNSHIP

THE FORGIVEN


SCREEN GRABS

The TRC meeting rooms had to be re created as per the original references.

THE FORGIVEN


SCREEN GRABS

EVIDENCE BURIEL SITE

Digging huge holes and adding burnt body parts and documentation. We re painted all the buildings and added a huge fence to block out unwanted houses.

THE FORGIVEN


SET BUILD - GUARDS TOWER/WALKWAY

SCREEN GRABS

The walkway had to hold up top 10 people (incl. camera), it had a trapdoor on the side, with a ladder leading to the top.It was built modular to get broken down daily.

THE FORGIVEN


SCREEN GRABS

Almost every location had to get painted and aged to match the look and feel of Polsmoor’s prison interior.

THE FORGIVEN


INTERROGATION ROOM - CONSTRUCTION BUILD

Metal fabrication for doors and fencing.

THE FORGIVEN


CONSTRUCTION

We kept on adding to the initial size/scale as per DOP. A lot of plastering and painting got done in a short turnaround time.

THE FORGIVEN


CONSTRUCTION

On the outside of the Prison grounds, we build some more security gates.

THE FORGIVEN


VISITORS AREA

GOVERNORS OFFICE

GOVERNORS OFFICE

GOVERNORS OFFICE

1946 mm

11516 mm

5128 mm

3365 mm

11064 mm

955 mm

6403 mm

EXSISTING BALUTRADE

THE FORGIVEN

PAPER SIZE A3

LIFT

"THE FORGIVEN"

SET NAME AND NUMBER:

ISSUE DATE :

DRAWING NUMBER

LOCATION :

DIRECTOR :

PROUCTION DESIGNER :

RIVISION DATE :

PRODUCTION M. :

DOP :

THE FORGIVEN

PAPER SIZE

PROUCTION DESIGNER : WARREN GRAY

SET DESIGNER: A4

SCALE : DRAWN BY :

PRODUCER :

EXISTING OFFICE

1489 mm

6553 mm

RECEPTION

1905 mm

PROPOSED STEEL BALUSTRADE 3200mm X 1200MM

3912 mm

PILLARS

"THE FORGIVEN"

ROLAND JOFFE

APPROVED BY:

PRODUCER :

Interior Pollsmoor Prison - Metal gates were added to build a visitors area.

SET NAME AND NUMBER:

governors office #016

DIRECTOR :

ZAHEER BHAYAT

DRAWING NUMBER

001 PRODUCTION M. :

ISSUE DATE :

RIVISION DATE :

LOCATION : OTTERY

DOP :

SET DESIGNER: SCALE :

1:100

DRAWN BY :

H.Cele

APPROVED BY:

THE FORGIVEN


FLOOR PLAN OF GOVERNORS OFFICE

1946 mm

GOVERNORS OFFICE

1905 mm

EXISTING OFFICE

1489 mm

6553 mm

RECEPTION

3912 mm

955 mm

11516 mm

GOVERNORS OFFICE

A4

SET NAME AND NUMBER:

governors office #016

DIRECTOR : ROLAND JOFFE

PRODUCER :

A new cement floor and some additional walls were added to get the space to work.

THE FORGIVEN

PAPER SIZE

"THE FORGIVEN"

ZAHEER BHAYAT

DRAWING NUMBER

001 PRODUCTION M. :

ISSUE DATE :

PROUCTION DESIGNER : WARREN GRAY

RIVISION DATE :

LOCATION : OTTERY

DOP :

SET DESIGNER: SCALE :

1:100

DRAWN BY :

H.Cele

APPROVED BY:

THE FORGIVEN


WINDOW DETAILS

3200 mm

3200 mm

40mm

OUTSIDE BACK VIEW scale 1:10

INSIDE FRONT VIeW scale 1 :10 Proposed steel flat bar

161 mm 131 mm

40 mm

4 mm

1272 mm

WINDOW PANE PLAN VIEW scale 1:1

THE FORGIVEN

PAPER SIZE A3

"THE FORGIVEN"

PROUCTION DESIGNER :

SET NAME AND NUMBER:

ISSUE DATE :

DRAWING NUMBER

LOCATION : POLLSMOOR

DIRECTOR :

RIVISION DATE :

SCALE :

"THE FORGIVEN"

DRAWN BY : H Cele PRODUCER :

PRODUCTION M. :

DOP :

SCALE 1 :10

SET DESIGNER:

DIREC TOR :

APPROVED BY:

PRODUCE R:

THE FORGIVEN SET NAME / NUMBER

DRAWING NUMBER

DRAWING NUMBER

LOCATION

PRODUCTION MANAGER :

DOP:

PRODUCTION DESIGNER: SET DESIGNER: ISSUE DATE: REVISION DATE: DRAWN BY: APPROVAL BY / NAME :

20 mm

1220 mm

1260 mm

20 mm

PAPER SIZE: A3

SIDE VIEW scale 1:10

FRONT VIEW scale 1:10

1134 mm 189 mm

189 mm

PERSPECTIVE scale 1:10

square bar 20mm x 10mm steel welded centre of each fram resessed into window sill

TOP VIEW scale 1:10

SCALE 1 :10 "THE FORGIVEN"

DIREC TOR : PRODUCE R:

PAPER SIZE: A3

THE FORGIVEN SET NAME / NUMBER

DRAWING NUMBER

DRAWING NUMBER

LOCATION

PRODUCTION MANAGER :

DOP:

We made over a hundred replica prison windows to go into various sets.

PRODUCTION DESIGNER: SET DESIGNER: ISSUE DATE: REVISION DATE: DRAWN BY: APPROVAL BY / NAME :

THE FORGIVEN


GRAPHICS - FLOW CHART

I always make sure that all aspects of Signage is on a flow chart, for all departments to share.

THE FORGIVEN


PIRATES OF SOMALIA Client Name:

HUNGRY MAN, BCDF PICTURES

Name of Production:

THE PIRATES OF SOMALIA

Production House:

KALAHARI PICTURES

Director:

BRIAN BUCKLEY

Producer:

IRFAAN FREDERICKS

Production Designer:

DAVID SKINNER

Position:

ART DIRECTOR 5 WEEKS SHOOT

•

In 2008, rookie journalist Jay Bahadur forms a half-baked plan to embed himself among the pirates of Somalia. He ultimately succeeds in providing the first close-up look into who these men are, how they live, and the forces that drive them.


SHOOTING IN PROGRESS

Its always a good feeling, once sets gets handed over to the shooting crew.

PIRATES OF SOMALIA


AEROPLANE SET BUILD

6.30 m

? Seat spacing.

1.60 m

12.78 m

3.5 m

30 Economy Class Seats

2.40 m

0.80 m

3.50 m

6.30 m

21.19 m

SET:

WTWMRA DIRECTOR: Bryan Buckley PRODUCTION DESIGNER: David Skinner

AIRBUS 300 LOCATION:

OTTERY YOUTH CENTRE/GLASS SLIPPER SCALE

1: 100

REV.

DATE

DRAWN

DRAWING #

13 03 16

PIRATES OF SOMALIA


SET CONSTRUCTION - PLANE INTERIOR

The roof became to heavy and we ended up building a cross brace to support it, rather than having the supports on the side.

PIRATES OF SOMALIA


PLANE INTERIOR

I didn’t fasten the seats to the floor - It made moving them around by shooting crew easier. I got all the roof panels re cast and re wired for lighting.

PIRATES OF SOMALIA


BOYA’S HOUSE LAYOUT

We had the whole location re painted and aged. Some big panels were build to move around to block out , un wanted back ground elements.

PIRATES OF SOMALIA


RADIO GAROWE PLAN

We build a functional security gate and guards hut. All the int. booths was built with glass panelling to get some depth.

PIRATES OF SOMALIA


HOUSE BUILD LAYOUT WITHIN A DINING HALL

I got the hall measured and drawn up. I had to make sure about the feasibility to try and build/shoot two sets in one location.

PIRATES OF SOMALIA


HOUSE BUILD LAYOUT WITHIN A DINING HALL

We had to direct match all the elements of both apartments from existing locations.

PIRATES OF SOMALIA


JAY’S HOUSE BUILD

PIRATES OF SOMALIA


ABDI’SHOUSE BUILD

PIRATES OF SOMALIA


GRAVE YARD LAYOUT

Survey of the Grave Yard.

PIRATES OF SOMALIA


CONSTRUCTION WORKSPACE LAYOUT

My construction team, needed a space to work from.This became their space.

PIRATES OF SOMALIA


THE BROTHERS GRIMSBY Client Name:

BLUE SKY FILMS, BIG TALK PRODUCTIONS, COLUMBIA PICTURES

Name of Production:

THE BROTHERS GRIMSBY

Production House:

MOONLIGHTING VWX PRODUCTIONS

Director:

LOUIS LETERRIER

Producer:

SASHA BARON COHEN

Production Designer:

KAVE QUINN

Position:

LEAD DRESSER 8 WEEK SHOOT

A new assignment forces a top spy to team up with his football hooligan brother..


STUDIO SHOOT

We ended up, sound proofing a big warehouse and building in that space.

GREEN SCREEN SETUP

THE BROTHERS GRIMSBY


NOBBY’S HOUSE - SET BUILD

The exterior was already shot in England. We re created the interior.

THE BROTHERS GRIMSBY


THE BROTHERS GRIMSBY


SAFARI LODGE

This set was technical to dress. One weeks shooting, going through a lot of pre and post explosion phases.

SET BUILD

THE BROTHERS GRIMSBY


SET DRESSING ELEMENTS

Exploding walls and damaged dressing. All dressing was already aged and battered for re dressing purposes.

THE BROTHERS GRIMSBY


INTERIOR DRESSING

I got a bigger toilet manufactured for our lead actor Sasha.

THE BROTHERS GRIMSBY


FAN WALK DRESSING

We shot over a good couple of days. We only had access to dress in the mornings and wrap every evening.

THE BROTHERS GRIMSBY


CARGO PLANE - SET BUILD

Ribs got built and cladded. We added all the piping and hydraulics.

THE BROTHERS GRIMSBY


THE GOOD LIE Client Name:

ALCON ENTERTAINMENT BLUE SKY FILMS

Name of Production:

THE GOOD LIE

Production House:

MOONLIGHTING / IMAGINE ENTERTAIMENT

Director:

PHILIPPE FALLARDEAU

Production Designer:

AARON OSBORNE

Position:

LEAD SET DRESSER 5 WEEK SHOOT

A group of Sudanese refugees given the chance to resettle in America arrive in Kansas City, Missouri, where their encounter with an employment agency counsellor forever changes all of their lives.


PLANE ON LOCATION

THE GOOD LIE


AFRICAN VILLAGE - CONSTRUCTION

All the materials that was used, got sourced from the farm and the surrounding area.

THE GOOD LIE


All the details were attended to, regarding the look and feel of a lived in rural village.

THE GOOD LIE


REFUGEE CAMP

This set was a 3 week set dress. It had multiple buildings and houses and tents.

THE GOOD LIE


An open field got transformed into bits of a bigger Refugee camp.

THE GOOD LIE


REFUGEE CAMP - MARKET

THE GOOD LIE


ENDGAME Name of Production:

End Game

Time:

5-Week shoot

Production House:

Film Afrika

Director:

Pete Travis

Executive Producer:

David Aukin

Producer:

Hal Vogel

Director UK:

Pete Travis

Art Director:

Birrie le Roux

Director of Photography UK:

David Odd

Set Decorator:

Fred du Preez

Set Dresser:

Ivan Fraser

Vantage Point director Pete Travis turns his attention from high-profile political assassinations to the high-risk talks that ushered in the end of apartheid while securing the release of Nelson Mandela in this historical drama Read More...starring William Hurt, Chiwetel Ejiofer, Mark Strong, and Johnny Lee Miller. The time is the late 1980s, a crucial period in the history of South Africa. President P.W. Botha is hanging onto power by a thread as the African National Congress (ANC) takes up arms against apartheid and the country tumbles towards insurrection.


BORDER CONTROL - SET BUILD

This border control house had to get erected and removed in one day.

ENDGAME


INTERIOR DRESSING

We changed a double story apartment into a Antique dealers showroom. Painting and re painting and removing and installing all the elements.

ENDGAME


THE NO1 LADIES DETECTIVE AGENCY Name of Production:

Number One Lady Detective Agency

Production House:

Film Afrika Bundle Two t/a Precious Films

OS Production House:

Mirage

Director:

Anthony Minghella

Producers:

David Wicht/Amy Moor/ Anthony Minghella

Head of Department:

Johny Breedt

Director of Photography:

Seamus McGarvey

Position:

Set Dresser

After her father's death, sensible and cheerful Mma Precious Ramotswe sells her inherited cattle and opens the country's only female-owned detective agency. She hires Botswana Secretarial College graduate (97% in the final exams!) Grace Makutsi as her assistant. Together they solve problems big and small with their wisdom, big hearts, and endless cups of red-bush tea. Meanwhile, Mma Ramotswe's best friend, mechanic Mr. JLB Matekoni, hopes for a chance to win her heart...


SCREEN GRABS

I spent two six month periods on this Feature and Series. We created the whole market hub from an open piece of land outside Gabarone.

THE NO1 LADIES DETECTIVE AGENCY


SCREEN GRABS

All dressing elements got found in and around Gabarone. We ended up exchanging various Bought items for ‘used’ ones from local people and markets.

THE NO1 LADIES DETECTIVE AGENCY


SCREEN GRABS

Most locations got altered.

THE NO1 LADIES DETECTIVE AGENCY


SCREEN GRABS

THE NO1 LADIES DETECTIVE AGENCY


ROTI


THE SCORPION KING 2 Name of Production:

Scorpion King II

Time:

6 Weeks

Production House: Producer: Head of Department:

Scorpion King Film Afrika Ltd Nina Heyns Fred du Preez

Position:

Standby Set Dresser

In Ancient Akkad, Mathayus grows up as the proud son of Ashur, a captain in the world-renowned military corps of Black Scorpions, first-rate bodyguards, most of which are sent to courts wide away. By objecting to young Mathayus joining the corps, Ashur incurs the undying enmity of ruthless generalissimo Sargon, gets killed and the orphaned knave is shipped off to a desolate training camp for six years by king Hammurabi's clemency. When he returns as a Black Scorpio, Sargon has bloodily seized the throne and demands cruel proof of blind loyalty. Mathayus refuses, becoming a chased hero.


ROTI


DISGRACE Name of Production:

Disgrace

Production House:

Do Productions

Director:

Steve Jacobs

Producers:

Marlow de Mardt/Julio Del Petrio/Emile Sherman

Head of Department:

Michael Berg

Director of Photography:

Steve Arnold

Position:

Standby Set Dresser

Cape Town professor David Lurie blatantly refuses to defend himself for an affair with a colored student whom he gave a passing grade for an exam she didn't even attend. Dismissed, he moves to his daughter Lucy's farm, which she runs under most disadvantage terms, favoring the black locals. Yet rowdies violently robs and abuse them both, unprovoked. Lucy refuses to fight back, unlike David, who however is surprised by his own altruistic potential.


ROTI


PRIMEVAL Name of Production:

Primeval

Time:

9-week shoot

Production House:

Wyatt Film Production(Pty)Ltd

Director:

Michael Katleman

Producers:

Gavin Polone / Mitch Engle

Head of Department:

Fred du Preez

Director of Photography:

Edward Pei

Position:

Assistant Set Dresser/Standby Set Dresser

TV show star reporter Tim Manfrey and his cameraman Steven Johnson travel to Burundi to get sensational footage of a giant crococilian monster which attacked a UN identification team and the Tutsi-Hutu tribal civil war carnage mass grave corpses it was digging up in a Great Lakes marsh area. But it turns out danger also lurks in the armed form of a local war lord.


BOAT BUILD AND DRESSING

This boat became quite tricky to get to float.A huge metal frame with some foam boys got added to the bottom.

PRIMEVAL


BOAT DRESSING

Retelling of the rescue of Ethiopian Jewish immigrants to Israel in 1981birirpjr jrrljbrlkjrr;okr;lmr;lmr;lmrl;m.

PRIMEVAL


NIGHT SHOOT

Retelling of the rescue of Ethiopian Jewish immigrants to Israel in 1981birirpjr jrrljbrlkjrr;okr;lmr;lmr;lmrl;m. SFX - RAIN RIGS

PRIMEVAL


SHOOTING ON LOCATION

Retelling of the rescue of Ethiopian Jewish immigrants to Israel in 1981birirpjr jrrljbrlkjrr;okr;lmr;lmr;lmrl;m.

PRIMEVAL


ACTION SEQUANCE

Retelling of the rescue of Ethiopian Jewish immigrants to Israel in 1981birirpjr jrrljbrlkjrr;okr;lmr;lmr;lmrl;m.

PRIMEVAL


WATER WORK

Retelling of the rescue of Ethiopian Jewish immigrants to Israel in 1981birirpjr jrrljbrlkjrr;okr;lmr;lmr;lmrl;m.

PRIMEVAL


WATER WORK - SPECIAL RIGGING

Retelling of the rescue of Ethiopian Jewish immigrants to Israel in 1981birirpjr jrrljbrlkjrr;okr;lmr;lmr;lmrl;m.

PRIMEVAL


PASSPORT CONTROL POINT - AFRICAN AIRPORT

Shooting inside Cape Towns train station, was quite challenging.

PRIMEVAL


ROTI


Break slide

TV SERIES

Most designers set their type arbitrarily, either by pulling values out of the sky or by adhering to a baseline grid. The former case isn’t worth discussing here, but the latter requires a closer look.


TUTANKHAMUN Client Name:

ITV Studios

Name of Production:

TUTANKHAMUN

Production House:

FILM AFRIKA

Director:

PETER WEBBER

Producer:

DIANE BEATY

Production Designer:

MIKE BURG

Art Director:

KURK DOMAN

Position:

SET DEC LEADMAN 14 WEEK SHOOT

Young, penniless and ostracized archaeologist, Howard Carter, whose obsession is to find the legendary tomb of the boy-king, Tutankhamun, in the so-called Valley of the Kings is hired by British aristocrat, Lord Carnarvon, to do just that.


SET DRESSING ELEMENTS

Detail is the most important aspect when it comes to a period piece and Im convinced that all the areas was covered to really capture the ‘time’ correct.

TUTANKHAMUN


SET DRESSING ELEMENTS

Every digging site had to be personalised and working functionally.We ended up manufacturing all the ladders, tents, trestle tables and most crates.

TUTANKHAMUN


SET DRESSING ELEMENTS

From the start I knew that its going to take a lot of dressing to cover such a huge area.

TUTANKHAMUN


SET DRESSING ELEMENTS

It was quite a big operation to get all the tents up and dressing back out, before shooting crew arrived every day for shoot. Eventually we had teams for all the tasks.

TUTANKHAMUN


SET DRESSING ELEMENTS

TUTANKHAMUN


SET DRESSING ELEMENTS

The hotels exterior was built on a hill and the interior back in studio.

TUTANKHAMUN


CONSTRUCTION IN PROGRESS

It was a very barren and hot location. The ground was very hard and a lot of soil movement had to get done.

TUTANKHAMUN


CONSTRUCTION IN PROGRESS

Even though I was part of set dressing on this project, I was amazed at the level of ‘hands on’ work and scheduling it took to complete the sets on time.

TUTANKHAMUN


DIGGING SITE

One of the main characters, digging site. We even dug a whole for him to climb out from.

TUTANKHAMUN


VALLEY OF THE KINGS

HOTEL - LOCATION BUILDS

TOMBS

Shooting in Namibia in the middle of a summer heatwave.All materials had to be brought to the site.

TUTANKHAMUN


MANUFACTURING OF TOMB DRESSING

We had to get multiple elements manufactured.

TUTANKHAMUN


MOCK UPS OF CAIRO STREET SETS

It gave all parties involved a good idea of where what needed to get done.We raised many of the buildings to hide other elements.

TUTANKHAMUN


TOMB HALLWAYS

Carving foam panels to get plastered and painted.

STUDIO SHOOT

TUTANKHAMUN


DOMINION Client Name:

Bold Films, Sony Pictures Television, Universal Cable Productions

Name of Production:

DOMINION SEASON 2

Production House:

FILM AFRIKA

Director:

DERAN SARAFIAN

Producer:

CHERYL EATHOCK

Art Director:

GUY POTGIETER

Position:

SET DEC LEADMAN 15 WEEK SHOOT

Follows the perilous journey of a rebellious young soldier who discovers he's the unlikely savior of humanity.


CADECEUS’S ROOM

This location used to be an office block. We had to rip out the ceiling and all the carpets. A lot of paintwork and layers of set dressing.

DOMINION


CADECEUS’S ROOM

It became quite a technical dress. We worked closely with a rigging team to get all the elements to stay and hang in the correct places. Every item had to be movable for shooting crew.

DOMINION


CONTROL ROOM - SET BUILD AND DRESSING

The overall result came out amazing!The scenic department knocked it down and with a new ‘aged’ floor, it helped to sell the abandoned look.

DOMINION


CONTROL ROOM - SET BUILD AND DRESSING

Working closely with the construction team and finding all the correct dials and switches Made for a challenging set dress. The consoles was built on caster wheels.

DOMINION


LUXURY ROOM

We had to turn a part of the ‘Market’ set into a room. We added layers of curtaining and drapes and brought in some scaffolding and beautiful dressing elements and practical lighting.

DOMINION


CARGO PLANE - CONSTRUCTION AND DRESS

The back cargo door was functional and could open and close in 40sec.We created a piece of open field on the outside to match the actual location.

DOMINION


CARGO PLANE - CONSTRUCTION AND DRESS

It took some clever planning and a lot of metal fabrication to get all the parts in and looking correct.

DOMINION


INTERIOR STUDIO - APARTMENT LED-BACKING

One of the main sets that was built inside the studio.(43rd floor)

DOMINION


HALLWAYS BUSY BEING PAINTED AND AGED

Almost every location needed paintwork and ageing done.

DOMINION


INTERIOR PSYCHO HOSPITAL

Getting all the elements to dress such a huge place, was quite a challenge. Distressing and aging the whole set had to get done with a personal touch.

DOMINION


LAB

Very specific dressing elements, to enhance the character.

DOMINION


TENT - INTERIOR STUDIO

Due to bad weather, the tent became a weather cover.

DOMINION


INTERIOR STUDIO - TOWN CENTRE CONSTRUCTION

The dressing of this space, took a lot of layering of multiple materials. The ‘studio’ that was used is actually an old abandoned Movie Theatre.

DOMINION


DRESSED TOWN

DOMINION


OUR GIRL Client Name:

BBC Drama Productions, BBC

Name of Production:

OUR GIRL

Production House:

OUT OF AFRICA

Director:

ANTHONY PHILIPSON

Producer:

HAYDEN MATTHEWS

Art Director:

MARK AURET

Position:

LEADMAN 5 WEEK SHOOT

Our Girl is the story of Molly Dawes, born and raised in the London Borough of Newham. Molly is the eldest of five kids with little future, a difficult father and a mother who always wanted more for her. Leaving school with no qualifications, Molly has a part-time job in a local nail bar. Drunk and despondent on the evening of her 18th birthday, she throws up in the doorway of an Army Recruitment Office. She doesn't know it then, but it's an action that will change her life forever...


INTERIOR ARMOURED VEHICLE FABRICATION

Working with a seamstress on site and a metal fabricator and a rigger, made for an interesting 3 days of fabricating.

OUR GIRL


ARMY CAMP

Working for actual references, we had to get 15 big tents manufactured (with interiors). Ply board and canvas and chicken mesh was the building blocks of this set.

OUR GIRL


ARMY CAMP - DRESSING

A closer look at the elements that makes up an Afghan English Military Base.

OUR GIRL


TOWN STREET AND DRESSING

Most dressing we just left out over the 3 weeks of construction to give it the weathered look.

OUR GIRL


BOMB FACTORY - BUILD AND DRESS

Its amazing how much sourcing can get done at a scrap yard!

OUR GIRL


SAF3 Client Name:

Emmett/Furla/Oasis Films (EFO Films)

Name of Production:

SAF3

Production House

KALAHARI PICTURES

Director:

GREGORY BOWMAN

Producer:

MICHAEL BAY

Position:

DECORATOR 20 WEEK SHOOT

The series follows Southern California's elite rescue task force, SAF3 (pronouced "safe") , consists of the cream-of-the-crop from the sea, air, and fire divisions of the Malibu Fire Department. They are the heroes who answer the most challenging calls; specialists who collaborate, coordinate, and initiate daring rescues in the most dangerous venues to save human life, always aware of the harsh reality that one of them may not return.


SAF3 - HEADQUARTERS

HOUSE BUILD ON CAMPS BAY BEACH

GUARD TOWER

SAF3


HOUSE CONSTRUCTION UNDERWAY

Getting a real house building team to put up the structure on top of pylons.

SAF3


INTERIOR STUDIO - SET BUILDS

DECOMPRESSION CHAMBER

Repurposing of some wooden flats.

TATTOO STUDIO

SAF3


HELICOPTER BUILD

The manufacturing/fabrication of the working dials and lights was a first for me.

SAF3


SET BUILDS

BOAT BUILD

Upholstering of the boats sides and roof and dressing it to go through some burnt stages.

SAF3


HOSPITAL - SET BUILDS

All of the dressing had to be functional and contemporary.

SAF3


APARTMENT - SET BUILD

Creating a world that assist the actor to become the character is always fun.

SAF3


STRIKE BACK S2/3 Client Name:

Left Bank Pictures, Cinemax, Sky

Name of Production:

STRIKE BACK 3

Production House:

OUT OF AFRICA

Director:

BILL EAGLES/MICHAEL BASSET

Producer:

TREVOR HOPKINS

Position:

LEADMAN

August to November 2011

24 WEEK SHOOT

Follows the actions of Section 20, a secretive unit of British military intelligence. A team of special operations personnel conduct several high risk missions across the globe.


ROTI


OUTCASTS Name of Production: “

Outcasts“ BBC 8 Episodes

Time:

4-month shoot

Production House:

Film Afrika

Production Designer/Decorator:

Leon van der Merwe

Set Dresser:

Ivan Fraser

Leaving a deteriorating Earth behind, a group of courageous pioneers have colonized the planet Carpathia. Ten years later, the citizens of the settlement town Forthaven have lost contact with Earth and are uncertain if or when more transporters will arrive. President Tate governs the settlement, aided by Stella Isen and her security officers Fluer and Cass, while Expeditionaries like Jack Holt explore their new home.


SPACE SHIP - SET BUILD (LAY OUT)

OUTCASTS


INTERIOR STUDIO BUILD

The scale of this build was huge.It was my first serious set dressing experience.

OUTCASTS


SET BUILD PHOTOS

OUTCASTS


SPACE SHIP - SET BUILD (LAY OUT)

Seeing the set build progress and getting all the dressing elements togethe, was very rewarding.

OUTCASTS


INTERIOR STUDIO - SPACE SHIP

Taking ownership of such a dress, was daunting in the beginning.I learnt to work with different contractors and fabricators.

OUTCASTS


SPACE SHIP - SET BUILD (LAY OUT)

LED lighting strips and plastic correlated sheets gave some amazing depth.

OUTCASTS


INTERIOR STUDIO BUILDS

The set got to converted into various other sets.

OUTCASTS


TOWN LAYOUT

OUTCASTS


LIVING QUARTER

Dressing sets with part (repurposed) elements and part self made elements.

OUTCASTS


HOSPITAL SET/SCHOOL CLASSROOM

I got a couple of Street Artist in, to create ‘self made’ elements.

OUTCASTS


BAR

Lots of ‘found’ objects, of the life that was left behind, was placed everywhere.

OUTCASTS


LIVING QUARTERS

Some of the living quarters, was part steel shipping containers and part set builds. Each one had a unique look/feel.

OUTCASTS


EXTERIOR HOUSES/ AFTER STORM DRESSING

The main set, went through a couple of dress and re dress moments.

OUTCASTS


FLOOD Name of Production:

Flood

Time:

10-Week shoot

Production House:

Quickvest 215 (Pty) Ltd

Director:

Tony Mitchell

Producer:

Peter McAleese

Head of Department:

Leon van der Merwe

Director of Photograph:

Pierre Jodoin

Position:

Set Dresser Assistant

Timely yet terrifying, The Flood predicts the unthinkable. When a raging storm coincides with high seas it unleashes a colossal tidal surge, which travels mercilessly down England's East Coast and into the Thames Estuary. Overwhelming the Barrier, torrents of water pour into the city. The lives of millions of Londoners are at stake. Top marine engineers and barrier experts Rob, his ex-wife Sam and his father Leonard Morrison, have only a few hours to save the city from total devastation.


INTERIOR STUDIO MAIN STAGE- CONTROL ROOM


THE TRIANGLE Name of Production:

The Triangle

Time:

8 Weeks Shoot

Production House:

Kalahari Pictures CC t/a The Triangle

OS Production House:

Electric Entertainment UK

Director:

Craig Baxley

Producers: Alex Garcia

Dean Devlin/Michael Murphy/Steven St Amaud/

Head of Department:

Leon van der Merwe

Director of Photography:

David Connell

Position:

Set Dresser Assistant

A shipping magnate hires four experts from various fields to investigate what happened to his ships that went missing in the Bermuda Triangle. The team discovers a threat that might unravel time itself and cause the world to end.


BOAT - SET BUILD

This was my first ever set, that I had to learn to read plans/drawings and work with construction, in order to achieve the final product.

THE TRIANGLE


WATER WORK IN TANK

Dressing a technical shooting set, is a lot of hard work and focus.Handing it over to the shooting crew and walking away is sometimes even more difficult.

THE TRIANGLE


THE TRIANGLE


AVENGER Name of Production:

The Avenger

Time:

7-Week Shoot

Production House:

Dexter Films (Pty) Ltd

OS Production House:

Warner Brothers

Director:

Robert Markowitz

Producers: Judy Goldstein/ Mitch Engel

Larry Spiegel/

Head of Department:

Fred du Preez

Director of Photography:

Oliver Bokelberg

Cast:

Sam Elliott/Timothy Hutton/David Hymen

Position:

Set Dresser Assistant

After his own daughter was killed in Panama in 1994, former CIA agent Calvin Dexter became a private 'specialist' in cases which wouldn't reach justice trough the regular legal channels. Two years later he accepts to find Richard 'Ricky' Edmunds for his pa, influential rich businessman Stephen Edmonds. Ricky for a private Canadian war victims charity in Bosnia and went missing. Dexter discovers Ricky was beaten to pulp and drowned for no other crime then helping street boys from the other side by Zoran Zilic and his Serbian paramilitary 'order'.


HOTEL INTERIOR SET BUILD


KIDNAP AND RANSOM S2 Name of Production:

Kidnap & Ransom 2

Time:

6-week shoot

Production House:

Out of Africa Films

Director:

David Drury

Producers:

Eve/Trevor Hopkins

Production Designer:

Robert van de Coolwyk

Decorator:

Henry du Randt

Position:

Set Dresser January to June 2011

Expert British hostage negotiator Dominic King (Trevor Eve) is called upon when a businesswoman (Emma Fielding) from the UK is kidnapped in South Africa by a sinister figure named Willard (John Hannah). When the release of the woman goes wrong and Willard strikes again in Britain, King realizes this was never a straightforward case of kidnapping for ransom, and that the man's motives run much deeper than ever imagined.

Pictures


STREETS IN CAPE TOWN

A huge part of a street was barricaded off in Cape Towns, very busy Salt River station.

KIDNAP AND RANSOM


STREETS IN CAPE TOWN

INDIAN MARKET

Awnings and huge wooden CNC fabricated shutters, transformed the buildings.

KIDNAP AND RANSOM


STREETS IN CAPE TOWN

All the road surfaces had to be covered in dirt.Most buildings had to get painted.

INDIAN MARKET

KIDNAP AND RANSOM


STREETS IN CAPE TOWN

A Huge amount of produce was brought in daily, to keep the vibrant functioning market place, open for business.

KIDNAP AND RANSOM


STREETS IN CAPE TOWN

All the street dressing and market stalls, got packed up every night and then re dressed in the mornings, before the shooting crew arrives.

KIDNAP AND RANSOM


STREETS IN CAPE TOWN

I put a lot of effort into the layers of detail.Truly capturing years and years of market place.

KIDNAP AND RANSOM


MARKET PHOTOS

KIDNAP AND RANSOM


MARKET PHOTOS

KIDNAP AND RANSOM


MARKET PHOTOS

KIDNAP AND RANSOM


HOSPITAL SET

Taking an old abandoned building and turning it into a hospital.It took flooring, painting and more sand to sell the space.

KIDNAP AND RANSOM


HOSPITAL MORGUE SET

This was a fun set to dress. Small but almost ‘prop’ specific type dressing.I got labels made and put some shelves up, never mind getting the big extractor to hang.

KIDNAP AND RANSOM


FABRIC DYING HOUSE

Once again a completely empty building, that was transformed into a functional set. The dying bath I got manufactured and it worked.

KIDNAP AND RANSOM


Break slide

MORE PROJECTS IMAGES

Most designers set their type arbitrarily, either by pulling values out of the sky or by adhering to a baseline grid. The former case isn’t worth discussing here, but the latter requires a closer look.


ENOLA GAY - B-29 INTERIOR SET BUILD

I was the Decorator of this project

The plane and most of the interior dressing got built/ manufactured.I really had to think ‘outside of the box’ to dress this set ie. the view finder is a theodolite on a plastic pipe.

HISTORY OF MANKIND


PIRATE BOATS

Re dressing all the sets for 2nd unit (there was 2, second units). Wow, this was a physical and mentally draining job. Working with so many department heads to help get the staging correct.

BLACK SAILS SEASON 1


SCREEN GRABS

The Cape Town Studios back lot is huge and it took a lot of planning to get all the dressing from various sets or warehouses, back to where they belonged for TODAYS shoot!

BLACK SAILS SEASON 1


FISHING VILLAGE ARCHWAYS

This was my first ever set that I dressed and my first ever movie that I worked on!

STARS OVER MADEIRA


SCREEN GRABS

STARS OVER MADEIRA


MARKET PHOTOS

My main job, was to re dress already shot sets, back into continuity.Little did I know at the time that its going to become my job for the next 3 months.

STARS OVER MADEIRA


THE END


THANK YOU


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